When it comes to mixing music with vocals, the most crucial element is the vocal track itself. The drums, synths, and other instruments in the mix may be important, but the vocal always takes center stage. It's the one element that listeners want to hear loud and clear, and for good reason. After all, no one hums along to the bassline or the guitar solo.
As a mixing engineer, your goal is to make the vocal stand out and cut through the mix. This can be challenging, especially if you're working with a crowded arrangement or a poorly recorded vocal. But with the right techniques, you can create a radio-ready sound that showcases the vocal and brings out the emotion in the performance.
Here are some tips for getting your vocals to cut through the mix:
Corrective EQ
Before you can start enhancing the vocal, you need to correct any issues with the recording. This typically involves using a parametric EQ to cut any frequencies that are causing problems. Start by applying a high-pass filter around 80 Hz to remove any unwanted low-end rumble. Next, use a wide bell to target any problematic frequencies in the low or low-mid range. If the top-end is too harsh, consider using a high-shelf to tame the highs.
To help identify specific frequencies that need to be cut, you can use the frequency-sweeping technique. Set the Q to the highest setting on one of the EQ bands, then crank the gain to create a resonant peak. Use the frequency knob to sweep through different frequencies and listen for any problem areas. You can also use a reference track to compare your mix to a professional mix and identify any flaws in the vocal.
De-Essing
Sibilance can be a major issue in vocal recordings, especially when the performer is singing words with "s" or "sh" sounds. To prevent these sounds from sounding harsh or piercing, use a de-esser to target frequencies between 5 and 9 kHz. This will help smooth out the vocal without making it sound dull or lifeless.
Compression (Peak Limiting)
To help even out the dynamics of the vocal and prevent any sudden jumps in volume, use a peak limiter-style compressor with fast attack and release times. This will help tame any unruly transients and create a more consistent sound. However, it's important not to over-compress the vocal, as this can make it sound flat and lifeless. Use multiple compressors in serial and parallel to control the peaks without sucking the energy out of the performance.
By using these techniques, you can create a vocal sound that cuts through the mix and captures the listener's attention. Remember, the vocal is the most important element of the song, so it's worth taking the time to get it right. With practice and experimentation, you can find the right balance of EQ, de-essing, and compression to make the vocal shine.
Boost with EQ
After dealing with any problematic areas of the vocal, it's time to enhance the parts you like. I use an analog-modeled EQ plugin to add some color. The specific frequencies I boost vary depending on the song, but I usually reach for a warm Neve EQ to boost the lows or low mids, a punchy SSL channel strip to add midrange, and a bright API, Manley, or Maag EQ to add high-end.
Compression for Consistency
To add glue or punch to the vocal, I add another compressor. For glue, I use a slow and vibey compressor like a Teletronix LA-2A or Fairchild 670. For punch, I use one of the peak limiters listed above. I use slower attack and release times and more gain reduction to create a consistent vocal performance.
Set the Vocal Level
Now that the vocal has been cleaned up and enhanced, it's time to place it in the context of the mix. To determine if the vocal is too loud or too quiet, I use REFERENCE. I load up a favorite reference song and use the automatic level matching feature to make a comparison. I adjust the gain of the vocal to match the level of the vocal in the reference track. I also use LEVELS to listen to the mix in mono and adjust the gain accordingly.
Add Special Effects
The final step is adding some extra special effects to make the vocal stand out. I may use a tape machine emulator to add some grit and a lo-fi vibe or a stereo widening plugin like GROW to add some ear-candy. I might use a strange boutique plugin for unique sounds, but I am careful not to overdo it with distortion. Parallel effects are the perfect solution for this
Parallel Effects
For added depth and character, I usually create two parallel signal chains for my vocal tracks. These may not always be necessary in every mix, but they are great for blending in some extra colors with the original track. First, I create a new aux send with a fast, gritty, and colorful compressor such as a 1176 with the "all buttons in" setting, and use it to heavily compress the vocal, often with 20+ dB of compression and super-fast attack and release times. This gives the vocal an exciting, aggressive sound that blends well with the original take.
To add even more color and texture, I then add a second aux send with my favorite distortion generator, which could be a Thermionic Culture Vulture, an Ibanez Tube Screamer, IGNITE, or even a guitar amp simulator. This depends on the desired color and tone. I blend a small amount of the distorted signal with the original to add harmonics and help the vocal cut through a busy mix.
Send Effects
Once the vocal sounds great on its own, it's time to add additional layers to fill out the mix. Send effects such as reverb and delay can add depth and space to a vocal. I create new aux channels with my favorite reverb and delay plug-ins and experiment with different settings and timings to find what works best in the context of the song. I typically use a room reverb for up-tempo songs, a hall reverb for slower songs, and delays to add interesting effects throughout the mix.
Bus Compression
Finally, I route all the vocal tracks, parallel effects, and send effects to a signal vocal bus and use a favorite bus compressor such as an SSL G-Series or TubeTech CL-1B. Attack and release times may vary depending on the track, but a low ratio of around 2:1 is usually best to apply 1-2 dB of consistent gain reduction. This helps to glue all the individual tracks together without noticeably affecting the dynamics.
It's important to note that this is not the only approach to mixing vocals. There's no right or wrong way to make art. This is simply one approach that has worked well for me in the past, and I hope it works well for you too. Consider trying these steps on your next session to help your vocals stand out in the mix.
Plus, check out this video to learn about some more tricks to get you vocals sound right.
