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398 results for “vocal+mixing”
Jacquire King - Go To Chains
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From 00 min
Some typical chains of gear that I use on my lead vocal, I have a Neve module.
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The rest of it's just like a 1073. I use that on lead vocal, and that goes into a
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From 01 min
So that's the primary analog chain that I use for the vocal. But before that,
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That's kind of a typical vocal EQ for the Neve. In the computer, I use the MDW EQ,
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emulation. But back to the vocal, I use the Massenburg EQ.
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out of the computer to that analog chain. And then part of my vocal mixing sound is
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in that encoded Dolby sound. That's pretty much my primary vocal chain.
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Decapitator, you can put right on the vocal and get a little bit of distortion
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From 05 min
and a couple delays for a vocal. Also, I use a micro pitch-shift plug-in.
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A chain that I use on bass in mixing... I use a distressor pretty often for
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From 08 min
Other chains that I use for mixing that I feel like are really successful for me,
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From 09 min
a distressor is great. An 1176 can be great too. In mixing, if I'm going to
Stuart White - Beyoncé - Yoncé
As a key player in Beyoncé’s production team, Stuart White has traveled the globe making records with one of the world’s biggest superstars. In this 4-part series, the Grammy-winning engineer revisits the recording and mixing of a standout track from Beyoncé’s self-titled 2014 album. Codenamed 'Yoncé', the song is a bold artistic statement featuring all-star production from Mike Dean, Justin Timberlake, Timbaland and more. Stuart reopens the original ProTools session and explores how the track came together. He walks through his entire recording template, revealing all of his plug-ins, effects chains and routing choices. He also elaborates on Beyoncé’s signature recording chain and explains the reasoning behind each piece of analog gear. Outside of ProTools, Stuart discusses his experience working in a highly dynamic environment. He shares his tips for keeping sessions organized so when Beyoncé enters the studio, everything is ready to go.
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But that's the art of mixing too, is knowing when something's better
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But that's the art of mixing, too, is knowing when something's better
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and just how it kind of came together sonically from a mixing standpoint.
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Here's a vocal all-group where all the vocals combine there.
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But typically, when I'm tracking her and mixing her at the same time,
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and it's finished and she wants to rerecord vocals, I can load the session up
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If you're tracking and mixing and you want to be able to track
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From 07 min
Behind that, I'm boosting some mids to separate it from the lead vocal
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or whatever vocals it's going to it.
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And I very much think in layers when I'm mixing.
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And creating depth is a huge part of mixing.
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off Jay-Z's "Magna Carta" on her lead vocal
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but that's the art of mixing, too, is knowing when something's better
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He's a master vocal engineer and a vocal arranger.
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then it would distract from the focal point which is the lead vocal
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That's a huge part of mixing is finishing and knowing
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- Let's move into the lead vocal.
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and I love the Neve on vocals, don't get me wrong.
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It has less low mid than the Neve which I kind of like for her vocal,
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So, that's a little backstory on just how I record vocals with her.
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From 36 min
This is the only vocal EQ I'm using on her lead.
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when you're mixing to do what I didn't do here,
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But either way, I think we can all hear that it's grabbing the vocal
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smooths the top a bit, and that's the whole vocal chain
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on this particular vocal.
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Sometimes when I'm working with a vocalist or mixing a vocal
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taking off some mids to make room for her actual dry vocal,
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This is just smart mixing with delays and vocals,
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From 42 min
is all buttons in on drums, vocals, anything you want
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Reason being is they're combining into being one lead vocal sound
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and I want that one lead vocal sound to trigger the effects,
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From 44 min
it just makes it easier when you're mixing and stuff.
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and they'll have all the vocals grouped to an aux the way I do here, right?
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they'll group all the vocals to an aux and they'll send to the effects again.
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sending to the effects as well and now you have double-bussed vocal effects
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The next vocal we got is kind of her rap track.
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Okay, now let's move into her background vocals.
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I can turn her vocal up while she's recording way louder than the track,
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where you don't need to be mixing through a lot of saturation
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One of the arts of mixing is knowing when it doesn't need that
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From 59 min
with the vocals where the low end is not ducking the vocals
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and the vocals aren't ducking the low end and it's all working independently.
Jon Castelli, Aron Forbes - Billie Eilish - BIRDS OF A FEATHER
Explore the collaborative mixing process behind one of 2024’s biggest hit singles. In this series, we venture into the studio with two of LA’s brightest musical minds to break down their most closely guarded sonic secrets.
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- [Aron] This whole album, Billie went so deep on vocals, right?
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But it's like how do you get that balance of the drums, the loud vocal,
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- [Jon] Once we established that Aron and I were going to be mixing this record,
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And mixing it, like, "This is a big record."
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- It's the vocal, right?
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juxtaposed with her airy vocal performance on that.
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So much of the mixing process here is this conversation.
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you hear the vocal loop of the handheld mic.
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And this whole album, Billie went so deep on vocals
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mixing the vocal first, for me personally.
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A lot of the time when you're mixing alone, you're trying things out
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It's actually rare that I do what we did necessarily on the Billie vocals.
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of what I know the benefit of mixing with someone else in the room,
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- And again, we weren't starting from... there's not a vocal chain.
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So that's on the overall vocal bus.
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And still mixing with like...
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On her vocal? Is that where we landed?
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Because if you have too much energy from it, then the vocal doesn't feel
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which is really informed by mixing the final song.
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And honestly, that's my favorite part of mixing, is caring about
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and nothing distracting you from the vocal and it's just effortlessly existing
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epic vocal moment she's doing, she's stepping out.
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are just right there with the vocal and it's actually nice
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On the vocal, we talked about different...
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a lot on vocals, and they sound...
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to the origin, like the early songs, where it's really dark vocal, so mid rangy.
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I'll do some processing on the actual vocal.
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And then there's another vocal bus over here
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you can now control all the vocals together.
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on the vocal bus to give it a little bit more of that pop energy.
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But on the overall vocal bus.
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Let's go to a place where there's more vocals.
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where the vocal high end density never leaves.
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how I would categorize my style of mixing and I said,
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I don't really want to have a style of mixing.
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create space for the vocal here, very subtle moves, and again,
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when I was 18, 19, 20, 21, just starting out mixing
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And they truly inspired me to push the limit on what I knew what mixing could be
Shawn Everett - Kacey Musgraves - Slow Burn
Explore the mix of this hit single, taken from the artist’s multi-award-winning album ‘Golden Hour’. Drawing influence from psychedelic rock and synth pop, Shawn crafts an unusual mix that has set a new standard for country music as we know it.
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Initially mixing her vocal,
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that very LA way of compressed vocals,
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more of a heavy atmosphere around the vocal.
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and asked me if I would consider mixing some songs for Kacey Musgraves.
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This album had come out pretty close to the time when I had started mixing
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when the actual artist is that good at mixing.
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I'm a fan of his mixing.
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that I would say I love their mixing as well as I like their music.
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of mixing stuff, I was referencing maybe some of the "Thriller" stuff.
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Up here, we'll go through the vocal, but for sure the vocal is going through it.
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A lot of times when I'm mixing, if I'm mixing for a while,
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Let's go up to the vocal.
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happening with her vocal where I would send out the clean track
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Then I had a parallel version of her vocal coming back as well on a console.
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So, I've just imported the original lead vocal
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Here, we have this vocal effect, so I'm pushing her vocal even further
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I like vocals sounding a little dark
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I think that when I was initially mixing her vocal, I was thinking of it
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of maybe compressed vocals forward and not a lot of actual effects,
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that have that sound where it's there will be vocal forward
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around the vocal with this setting, which they were really loved
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And I've gotten more into thinking about vocals in that way
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Coming up here, we have some more background vocals.
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in the mixing process because it's the end, and I understand why,
Tom Elmhirst - Travis Scott, David Bowie, Norah Jones, Melody Gardot, Elisa - Vocal Production Workshop
Join the multi-award-winning engineer as he explores the art of mixing vocals. Tom reveals his closely guarded engineering secrets and provides a complete breakdown of his post-production techniques. Uncover the creative process behind each artist’s sound and learn how he transforms their raw recordings into compelling sonic masterpieces.
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all radically different artists requiring very unique treatments of vocal.
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or dropping little bits of the vocal down to achieve really radical effects.
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At the same time, it's not just for vocals.
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of vocal and production, and with their own inherent style,
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the principal vocal, to be the thing that gets most of your attention.
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a lot of manipulation for different vocal sounds in different settings.
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I'm mixing an Elisa song right now, who's an Italian artist.
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vocal textures and a vocal ambiance that allows me to play with it
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And below this lead vocal track here is created a bunch of audio tracks,
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So sending my lead vocal to three faders, subgroups, and then sending that
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Twenty-six, as I told you, is going to be my vocal throw.
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I'm doing a fair amount of work already before I even go... leave the vocal.
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I'm constantly, while I'm mixing vocals, thinking about focus.
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If the vocal's up front in my face, what that does,
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I've duplicated the vocal twice, hard panned left and right, you can see.
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So, yeah, essentially I've got a stack of the lead vocal copied here
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I've literally just dragged my lead vocal track,
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which is this guy here, Elisa's vocal track.
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So you can have super distortion on this vocal effect track,
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At the same time, I've still got on her lead vocal
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throwing the vocal down onto audio tracks.
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is that, because I get really bored when I'm mixing,
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It's a completely different vocal treatment
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wool feeling around the vocal.
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I'm mixing and for this very little, I think the vocal stem,
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If we add Norah's dry vocal...
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sense of width, which is all I want to add to this vocal track.
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on these effects tracks rather than the vocal.
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or until Travis's vocal kicks in.
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in terms of vocal effects.
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apart from some of the background vocals,
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So we've got Travis's dry vocal up top, a few bits and pieces on it,
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if you start changing your vocal lyrics and things
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these vocal tracks, but I'm throwing other things onto them now.
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We had a little lead-up into the vocal there.
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So let's just hear all the vocal effects now.
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or dropping little bits of the vocal down to achieve really radical effect stuff.
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Travis has already done a lot of all the vocal effects, he's brilliant at it,
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Sometimes when you've got a lot of effects work going on, on a vocal,
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I'm going to leave all the high end in his vocal, and I'm not going to have
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any of the effects, especially long tails interfere with his dry vocal
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So we've gone from this quite a large vocal spread, if you like.
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to then right back to his vocal.
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I'm going to set up a vocal template
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I can use it later and I can see the vocal jumps around a bit.
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vocal information condensed to one track.
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But let's start dragging down her vocal and removing
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But because there's rides on the lead vocal,
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background vocal information.
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So, there's the OG vocal, and here's the duped audio
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But because I've time stretched it there, I've got no place to put this vocal.
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but it's good on the vocals.
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But you got to be careful, obviously, that your vocal track's in shape.
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Quite often we have vocal changes, lyric changes, all sorts of shit happens
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particularly, in regards to vocals and how you can play with
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At the same time, it's not just for vocals.
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And when I'm listening to the song that I'm mixing,
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library of effects for a vocal or for a track for a mix.
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I think it's just about being really smart in your mixing.
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Why spend four hours doing vocal delays
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and they've never used vocal delays before,
Dolby Atmos, Steve Genewick - Staci Griesbach - White Lightning
Step inside the legendary Capitol Studios for our second series on mixing in Dolby Atmos! This instalment is hosted by Steve Genewick, a renowned engineer who began exploring this format in 2017 and pioneered a number of techniques. Alongside Ceri Thomas of Dolby Music, Genewick opens the stereo mix session of 'White Lightning' by Staci Griesbach and demonstrates how he transfers the material to a new session for mixing in Atmos. He explains how he changed his Pro Tools stereo mix template for this workflow, and gives you a walkthrough of his routing, inserts, and positioning of tracks using objects and zones. You will learn Steve's method of adapting mono effects plug-ins for Atmos, his binaural parameter settings, how he manages integrated loudness, and much more!
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but that's part of mixing.
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We all want to do Atmos mixing.
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This is my stereo mix. Bass, drums, piano, some horns, vocal, you can see the mix
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The nice part about when I'm mixing something in stereo,
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mixing it in Atmos is the reverbs I use are basically the same
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I like to tell everybody, at some point, I'm not mixing an Atmos demo here.
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It really depends on what you're mixing and why you're mixing it.
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I think the other thing to remember is we're mixing music, not films.
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it's all the same stuff, but we have a different approach to mixing music
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- Sure. When I'm mixing...
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This is Object-based mixing. I don't care where the speakers are.
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So if I make something and I want it in the middle, if I take a vocal
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I had been mixing Atmos for years.
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Had I not been mixing for years, I don't think that transition
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But what I will do is I'll go through so what was the vocal chamber here,
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So there's the vocal plate. You can see it's already assigned.
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but that's part of mixing.
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- And now, it's a matter of mixing.
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I have the vocal, the bass, and the drums because those are the things
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And I was experimenting with this, and I made the vocal an Object,
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So now I have this vocal, but as I go over there,
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suddenly the vocal's coming from over there and not from over there."
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So I want the vocal, even though I want to hear it everywhere,
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And then here I would go back to the Vocal Plate and the Chamber, I always use
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I'm sure Staci's going to love it that I soloed her vocal.
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put it in the Front Aux, and now I can do, like I treated a vocal.
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Something that works very effective is to push stuff, especially solos and vocals,
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From 40 min
So, I'm mixing musically more than that.
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But if I want something, a vocal that happens in one spot of a song
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and I'm just mixing, and I'll notice if something,
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Background vocals don't always...
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You don't want the main vocal up here and the harmony vocal in the back.
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You do have to keep that, you're still mixing music.
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At some point, the Atmos hat comes off and mixer hat goes on, and you're just mixing.
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was over there, and that vocal was there, and it just sounds odd.
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I'm taking care of the mastering as part of the mixing process,
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Let me just pull everything down now," and then, keep mixing, and then I'm closer
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and make sure that everything's sounding cool, and I can hear the vocal,
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So, I will say that I do monitor a little bit louder when I'm mixing in Atmos,
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If I run into a situation where I have to do that, I'm probably changing my mixing
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and that kind of thing more in the mixing than in the...
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mixing individual tracks rather than on a Stereo Bus situation.
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But, I'm not at a loss for my Bus compressor when I'm mixing in Atmos.
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The way I set up my reverbs, again, when I started mixing,
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Again, if you look at my Vocal Plate here, you look at the Medium Hall,
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General rule of thumb that I found mixing in Atmos, there's things that,
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From 59 min
if you're mixing a film, that you want to stay away from:
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When you're mixing music, you don't really have those rules
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Can you split the vocals out?
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So when you're talking about mixing catalog, you do have some technical things
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It's actually been more fun recently mixing new records, the new releases
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We used to have a saying as mixers, is when you're mixing in stereo,
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I've had the great advantage in my Atmos career that I was able to start mixing
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As this expands, we all want to do Atmos mixing.
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I would suggest if you're mixing for real, if you're a professional
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And at that point, you're mixing, it's your Pro Tools hardware.
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or five years mixing Atmos.
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It's really invigorated my mixing career and the way I feel about mixing.
Al Schmitt - Mixing Vocals
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- When I'm mixing vocals, I try to mix here at Capitol because they have a live
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chamber here that I love, chamber number four. And it's a great chamber for vocal.
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vocal and how the vocal hits it that goes off in my head that says, okay, that's
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do it if you're mixing in your home, but if you're in a building where somewhere
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Sometimes on vocals I'll use a delay, maybe a 16th, an 8th and a
Al Schmitt - Surround Mixing
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Mixing five-one which was one of the thrills that we all loved to do. It was so
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music. If it's a vocalist, a pop vocal record then in the center I might have the
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vocal, the bass, the kit, the snare, they may all be coming from the center. And
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the middle with Paul almost. And so mixing surround you can do it one of two ways.
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I'm mixing in surround and orchestra I would use my 6000 surround echo overall
Michael Brauer - Vocal Sound Part 1
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Send-Return compression, in regards to vocals
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You're mixing into compression
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vocal sound
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being really the vocals, really well represented now
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If the vocal itself is very dynamic
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And it wakes up. There's a point where the vocal sounds good
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of the vocal, you just stick to it for the rest of the album
Andrew Scheps - Mixing Lead Vocals
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- So typically on vocals, I can split my stuff into things I would use as inserts
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on the vocal tracks I'm sent, and things that are in my template that get imported
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into the mix. So on vocals themselves, obviously there's De-Essing if you need it. I
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make the sound of the recorded vocal just a little thicker and more interesting. And
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on a vocal, just because it's all over the place and I wanna give it a little bit of
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compression, and at times, there might be three chains of vocals. So there'll be the
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uncompressed vocal, then there's a chain which utilizes a Pultec into an LA2A, and
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and crank the mid-range so that this very, very mid-rangey vocal goes into the LA2A,
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of that in, and all of a sudden, you can get this very mixed sounding vocal, but
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you still have the uncompressed vocal to go with it. And then the other parallel
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vocal, and those two smashed vocals, which are completely different from each other.
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And that blend is my vocal sound. And you can change that blend section by section,
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drastic options, but the core of the vocal sound never changes. It's that
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uncompressed track. The LA2A is a very smashed up pop vocal sound, so it's very
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enhanced, and it's a very spitty, aggressive vocal as opposed to a very
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smooth vocal. But like I said when we talk about parallel compression in
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you use. But if you used it on its own, it's too much. The regular vocal, if I put
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plug-ins on it, that is the vocal sound and that's what feeds all the parallel
Andy Wallace - Mixing Vocals
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- [Andy Wallace] When I'm mixing vocals, I do more than occasionally, actually use
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a completely dry vocal, sometimes for effect. Usually if it's completely dry,
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vocal, just enough so if you took it away, you'd hear a difference. You go "Oh yeah."
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reverb. I'll change the amount of reverb, not just on vocal but on a lot of things.
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echo or a reverb or something like that. But getting back to the vocals,
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when I have a dry vocal, I'm not usually using much else on it. No trickery or
Jaycen Joshua - Ed Sheeran - Take Me Back To London
Watch the world-renowned mixing engineer test the boundaries of his signature mixing workflow. Jaycen loads up a chart-topping grime track by two of the UK’s best-selling artists, demonstrating how he translates his signature transients and low-end to a new musical style.
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trying to figure out new plugins and mixing
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So we'll look at the vocals real quick so you kind
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on the vocal day, but look at release time, not as release time of,
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So now you got the heavy vocals and every time the
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To carve out space for your lead vocals.
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Using it in stereo mode and I have the lead vocal feeding.
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I have lead vocal all feeding it.
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with our vocal to give us the shine because we need to balance the weight.
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Remember, the shinier the vocal, the heavier this bottom end better be.
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of mixing ears.
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And now, let's put the lead vocal in, so everything's going.
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that you left the vocal untouched, because like me, this is just my experience,
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so sometimes you get vocals you want to work on,
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because trying to figure out new plugins and mixing
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and when it comes to the vocals, the vocals are in a place all
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but then you might say to yourself, oh, I need that same weight on my vocal,
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doing the kick and the vocal.
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my compressor and my parallel for the vocals,
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the RCA compressor on the vocal...
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Would you parallel your drums into the drums as well and throw the vocal
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From 54 min
so this damn thing doesn't scream all over the lead vocal.
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seconds and they're there all day and you lose a day of mixing.
Andrew Scheps - Mixing Background Vocals
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- Background vocals are usually treated in big groups. Those do actually
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go through an aux fader on their way to the mix. Either all the background vocals
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go together, or if there are 50 or 60 tracks of background vocals, I'll break
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wise, there would be the same things I put on a lead vocal. You'd have a slap
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compression is almost identical to the lead vocal. There is a very smashed up pop
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vocal sound with the LA-2A and a pull tech on either side, or there's a very
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aggressive, spitty 1176. I tend to use a lot less of those on the background vocals
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than I do on the main vocals, only because there're usually enough vocals that they
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there's a double, I break my vocals up into lead vocals and background vocals.
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Those do go through auxs and a double will go into the lead vocal aux, because that
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thing and it's a vocal. Usually the double is tucked in. But that way, the effects
Jacquire King - Hybrid Mixing Part 1
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- So my mixing set up is primarily a hybrid mixing set up. I have a
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Protools is the vocal because I'm using the computer, that aspect of it, the
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computer I use for the automation. So I don't want to be doing vocal rides into
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session, it can be kind of taxing, and you never know, if you're mixing for somebody
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computer to get it done. But, for me, my set up is I do some of the mixing, some of
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gets done on the desk, as well. Having all the outboard gear, my favorite vocal
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vocal. But then the Chris Lord-Alge Bluestripe Wave Simulation is great. And
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so is the Universal Audio one. So if I have some other vocals, like a double
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vocal or some background vocals and I want that type of sound, well then I have the
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had strings, and tons of background vocals. It was more tracks than I had
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the brass and all the background vocals, which those things were just those
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strings you've got 36 tracks. And then many, many background vocals and brass.
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difficult to, like on drums, let's say. Let's just take the mixing of drums. I
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mixing, I primarily use plug ins for effects now because if there is a sound
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studio that I'm recording in has a great plate, I'll record it, with the vocal,
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a vocal reverb, before the session is done and we move out of there, I'll record that
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For me, the immediacy and the sort of little bit easier aspect of mixing when
Jacquire King - Hybrid Mixing Part 4
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few hours to get comment, or it happens sometimes where I'm mixing for somebody
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That's primarily what mix comments are. Or there's too much vocal effects, not enough
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vocal effects. It's usually about those type of taste issues, not that you made it
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mixing for somebody else, I want to have a rough mix. Not to necessarily study it and
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I'm mixing the records that I've made. So we've been making rough mixes along the
Chris Lord-Alge - Mixing Backing Vocals
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Let's talk about background vocals
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I touched on that earlier with regular vocals but
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Background vocals are meant to work with the lead vocals so
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There's vocals that sing with the lead vocal
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We want to match the dynamic of the lead vocal
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we want to match the background vocals
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dynamic with the load vocal
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So that's harmony vocals
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Let's stick with the lead vocal. Ok
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Then we have other vocals like Ohs and Ahs
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And like all backup vocals
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back, regular background vocals that are singing with the lead vocal
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treat them the same as the lead vocal and they'll blend better
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Then the third kind of background vocal
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is going to be the gang vocals ok
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Usually with gang vocals. I'm usually trying to get a
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I'll compress the gang vocals pretty hard
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you have vocal harmonies
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You can have choir vocals. Choirs are like gangs
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match the dynamic of the lead vocal
Al Schmitt - Orchestra Mixing
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Ninety percent of the time when I'm mixing I won't put any echo on the room
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overall thing if it's an orchestra and a vocal or something.
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when I'm mixing with the orchestra and the vocal, in a sense. I have my compression
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on the vocal, but then when I use the three band it's on everything the vocal
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to them. The difference, and you'll see this when you get into mixing, is set your
