Professional Analog Mastering.
Professional Analog Mastering.
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Sometimes, we feel pressured to buy the most expensive plugins or the latest release, but a free vocal chain can and often does sound just as good. Let’s cover the best plugins to use, how to route them, and then how to tailor them for your needs, as we take a deep dive into Making a Free Vocal Chain Sound Professional.
For this video, I’m going to use ZL Equalizer for both subtractive and additive eq, Neural Amp Modeling for preamp emulation, Melda Audio’s MCompressor for both downward and upward compression, a stock stereo delay plugin, Logic’s stock convolution plugin with some free impulse responses from the Bricasti M7 for reverb, and Spoton - a free vocal tuner by sixth sample.
Please use whichever free plugins you like - but I definitely recommend these. If you’re using a different DAW than Logic, most DAWs have stock convolution or IR loaders, as well as stock stereo delays. I’ll leave the link for the impulse responses in the description.
Let’s take a listen to the full before and after - I’ll use an unprocessed vocal, but know that there was a little parallel compression used when it was recorded.
Watch the video to learn more >
With the ZL Equalizer, I’ll first attenuate anything that I want less of - this could be unneeded lows, aggressive resonances, nasally tones, some sibilance, etc.
Each vocal is different, so you’ll need to tailor your bands to the performance, but there is definitely some commonality with almost all vocals.
First, attenuate the vocals with a HP filter right up to the fundamental. The fundamental is the lowest frequency in a performance - everything below it will be unrelated or unmusical, like plosives, rumble, electrical hum, and so on.
For a clearer sound, we could subtly attenuate the fundamental with a bell, or for a fuller sound, we could subtly amplify it.
Vowel articulation occurs around 500Hz. In most cases, we could subtly attenuate it, resulting in a more balanced sound.
A narrow bell filter between 800 and 1.3kHz. will help with nasally tones - or the resonance that gets picked up from the singer’s nasal cavity.
2-5kHz is the range associated with clarity, so we’ll typically want to leave this alone for now. Lastly, sibilance will occur between 5-10kHz, and varies a good amount from singer to singer.
Since this EQ allows for dynamic bands, we can use one here in lieu of inserting a de-esser later on. Be sure to set the threshold carefully, and use a faster attack with a moderate release time anywhere between 30-250ms.
Although the difference isn’t drastic, let’s check out how these filters balance the vocal.
Watch the video to learn more >
Neural Amplifier Modeling is relatively new. This NAM plugin and multiple NAM files can be downloaded for free. In short, engineers are using machine-learning software to capture the behavior of their equipment.
On tonehunt.org, I found many good options, including this model of Chandler Limited’s REDD47 mic preamp.
To use it, I’ll insert the plugin after the EQ, load in the nam file, and adjust as needed.
If you’re noticing too much distortion, reduce the input level while compensating with the output.
In some cases, the file amplifies the signal a fair amount, so reducing both the input and output is needed.
The gate, and EQ sections aren’t needed, so those can be disabled.
Without going into too much detail, these models impart how the unit introduces harmonics, varies the frequency response, alters dynamics, and adjusts the transient behavior, all in an incredibly realistic way.
Let’s listen to how this model affects our vocal, and notice how the vocal moves forward in the mix and has a generally more enjoyable sound.
Watch the video to learn more >
The majority of compressors control dynamics from the peak level down - what I like about this compressor is the custom shape function which allows for dynamic control from both the peaks down and from the quieter details up.
I’ll select the custom option, and draw in the compression to subtly reduce peaks, and to amplify low-level signals.
Be careful not to overdo this since it can add unwanted distortion. Additionally, it’s best not to amplify the noise floor, so ensure that any upward band is set above the lowest level.
For peak-down compression, a faster attack and moderate release, with a slightly softer knee and about a 4:1 ratio, will work well. Depending on the vocal and if you used the neural amp model from the last chapter, you may only need a couple of dB of attenuation. If not, anywhere from 4-8dB of attenuation followed by make-up gain will bring the vocal to the front of the mix.
Let’s listen to this compressor controlling dynamics from both directions and notice how the vocal’s dynamics become pleasantly controlled without sounding overly compressed.
Watch the video to learn more >
You might not need tuning, but if you do, this is a great point in the chain to add a tuner. If you place it before your compressors, the artifacts it introduces will be amplified with post-compression makeup gain.
This Spoton tuner is very simple, but its sound is significantly better than any other free tuner I’ve encountered.
Enable the notes that are part of the performance, and listen carefully as you adjust the amount and speed. Higher amounts result in the classic tuned vocal effect, with lower settings achieving a more natural sound.
Let’s listen to the vocal being tuned - I’ll use aggressive settings and then dial in the effect subtly until the tuning augments the performance without being noticeable.
Watch the video to learn more >
Stereo Delay is a great next step because it can thicken the vocal, making it more impressive.
I like to start with a 1/8th note and a dotted 1/8th note isolated to the mid frequencies. Then, I’ll blend in the amount until it suits the track.
If you’re looking for something less perceivable, try a tape slapback setting, which is about 165ms. Either way, be sure to isolate it to the mids to avoid creating multiples of the sibilance and other harsh consonants.
Before we listen to the vocal again, let’s add our Convolution Reverb.
Your DAW should have a convolution reverb or impulse response loader. If not, Melda Audio, the same developer of the compressor I used earlier, offers one for free, and it comes with many impulse responses already.
I’m a big fan of the Bricasti M7 and found some free impulse responses - again, I included the link below.
We need only load the wav file into the plugin by selecting it from the menu or dragging it in.
Then, we’ll adjust the wet/dry until it suits the vocal and the session.
I really enjoy the vocal plate options, as well as the vocal chamber, but I definitely try the various options out since reverb is a very subjective thing.
Additionally, you can use 2 reverbs, a studio room emulation, and then a longer, more stylized option.
Let’s listen to our stereo delay, and then with these impulse responses blended in, and notice how the vocal sounds more polished and professional. If you’re not a fan of the settings, keep in mind that you should absolutely tailor your settings to your vocals.
Watch the video to learn more >
The vocal is almost done, but let’s add some final control over its tone with one last EQ. This is super helpful for shaping the vocal around the instrumental, attenuating anything that’s not working, and amplifying whatever we want more of.
Additionally, if the plugin is M/S, which this ZL Equalizer is, we can control the reverb and delay.
I’m going to attenuate any unneeded added lows that the processors introduced. Then, I’ll dip a little of the fundamental on the mid image while boosting it on the side image.
I’ve found this is a great way to keep the mix from sounding muddy while still having an impressive low range in the vocals.
Boosting some of the mids on the side image is also a great way to create a more impressive vocal by expanding it. Adjust the center frequency and the Q to amplify everything about the reverb and delay, which adds a pleasant and full sound.
Then, I’ll boost a little of the vocal’s clarifying range with a mid-image bell before using a side-image shelf on the air frequencies.
The mid-image bell will center this important range, while the air shelf gives the vocal an ethereal quality.
If the vocal still lacks air, add this additional free plugin, Fresh Air, and subtly increase both bands to your preference.
Let’s listen to these processors being enabled and notice how this final EQ helps the vocal sit well in the mix while still being easy to perceive.