Pop has always been known above all else for it’s clarity and audio quality. Very few artists have perfect mic technique, and not every singer understands the relationship between what they’re doing on stage and how it affects the sound that reaches the listeners’ ears. You don’t want to come off aggressive and demanding, but you need to find a way to have constructive conversations so that you can both achieve your common goal: a great mix with amazing vocals that blows the audience away. Is there a live band with loud guitar amps and crashing cymbals, or does the production use more direct inputs like keyboards and drum machines?
The UA Neve 33609 was a game changer in this regard.
Generally speaking, a dynamic mic with less handling noise will help if the singer mishandles the mic. That said as the mix grows and evolves, I lean on this strip for further adjustments as required.
This also frees up sonic space for for the vocals to sit around the bass, synths, drums and other competing frequencies.
Lately I’ve been loving the UA Pultec EQ for this. But the truth is, there’s no one-size-fits-all method to mixing. I find subtle nipping and tucking along the way leads to a present and rich vocal without sounding over compressed or EQ’d.
I hope you enjoyed this article, but I also invite you to view the full JBL Learning Session webinar video replay that this article was sourced from: ‘Mixing for Pop Vocals with Vincent Casamatta’. from the start, things like compressors don’t have any “real” peaks to work with. While there are …
Plugins like doublers and spatial wideners do a great job of taking a mono source and stretching them wider, adding to the presence of the vocal. Plugins like doublers and spatial wideners do a great job of taking a mono source and stretching them wider, adding to the presence of the vocal. The sweet spot tends to be crisp sounding but not too thin. Subtle fader moves can easily fix most of the stand out problems and that way you avoid shaving off to much top end with something like the ‘C4’ or any de-esser for that matter. If your compressor has an Output/Makeup Gain control, use that to offset and leveling issues that occur as a result of processing.
It’s easy to get into a routine and think that you have to use every tool, every time to be a good mixer. Velveteen Music is an award winning team of producers creating music in a state of the art recording studio located in downtown Edmonton. By adding a bit of an offset to a double of a vocal, it will sound instantly fuller. If you have the option, the best way is to attend or get involved with the band’s live rehearsals before the tour starts. Vocals are naturally very dynamic instruments, and as such, they can really use some compression to help smooth them out.
Last updated 7/2020 English English [Auto] Current price $34.99. For better or worse, pre-recorded tracks are becoming increasingly common for touring artists of all levels and genres. Talk To the Artist Smaller rooms and. Possibly the most important tip we can share is to learn when to use and when not to use each of these techniques. Depending on the sonics of the over all song, I may also boost 16 khz and above to add a little “air” if the track calls for it.
A great way to break the ice is to point out what they’re doing well. 5 hours left at this price! Following the compressor I like a channel strip like the SSL 4KE. I really like Waves ‘Rvox’ for this - it’s quick, easy and affective.
Every now and then, take a full step back from the console, and just listen. However, the tradeoff is that if your singer moves off-axis, you risk losing their voice in the mix.
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