Professional Analog Mastering.
Professional Analog Mastering.
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The first insert we’ll use is subtractive EQ - but before we do, here’s how I’d like you to prepare the vocal for this chain.
The 3rd insert in the chain is a compressor - notice we achieve anywhere between 3 and 6dB of compression when using a 4:1 ratio with a softer knee and a -10.5dB threshold.
So copy the settings of the first 3 inserts in this chain, then click on the track and adjust its clip gain until it sounds balanced with the instrumental, and you’re achieving 3-6dB of compression.
Watch the video to learn more >
First up, we’ll insert a simple EQ. With a 12dB/octave HP filter, cut up to 100Hz. This will keep the vocal’s fundamental while cutting up unrelated low frequency noise, rumble, etc.
Then, we’ll attenuate 250Hz by 1dB. to de-mask the clarifying high-frequency range - this will help bring the vocal forward without creating a noticeable change in the lows.
Lastly, we’ll accentuate around 2.4kHz by 1.5dB to add some more clarity - the combination of these last 2 filters cleans and clarifies the vocal without the need to make aggressive changes.
Because we’re making subtle changes that still create the desired effect, these settings work with just about any vocal.
Watch the video to learn more >
Soothe 2 is one of the few paid-for plugins I recommend - it’s going to measure the incoming signal and dynamically attenuate resonances or frequencies that are too aggressive.
The emphasis bands include an HP around 175Hz., a bell at 500Hz, a narrow bell at 6.6kHz, and a broad bell at 8.5kHz. I won’t say every value, but please feel free to simply copy this over or download the chain in the description.
A depth of 1.6, a slightly higher sharpness, a mix of 65%, and ultra settings will make this processor suitable for any vocal. It’ll balance the lows, moderately adjust the mids, and provide de-essing within a broad range of frequencies.
Watch the video to learn more >
At this point, the frequency response is pretty balanced, and we should begin compressing. I brought this up in Chapter 1, but I’m using a 4:1 ratio with a softer knee and with the threshold set to -10.5 dB.
Additionally, use a quick attack, a 50ms release, and, importantly, 2ms of lookahead. These will capture the vocal quickly and smoothly, without unwanted distortion. Lastly, note that automatic makeup gain is enabled.
This ensures that quieter details of the vocal are brought to the forefront. If you don’t have this compressor, try Toneboosters Compressor 4 - it’s not free but very affordable and offers nearly identical settings.
Let’s listen to it enabled on our tracks and note that even with vocals that vary in their dynamic ranges, these settings control them well and start to create a more polished sound.
Watch the video to learn more >
Saturation will make the vocal sound full - but how can we do this without making it muddy or shrill?
First, we’ll separate the spectrum into 2 bands - below and above 3.2kHz.
Below 3.2kHz, we’ll use a clean tube setting - this will create even and odd harmonics but without an aggressive 2nd-order harmonic. This keeps the vocal warm and full without becoming overbearingly warm.
The drive is set to 14%, with an envelope follower with the default 1ms attack and 250ms release attached to the drive dial. We’ll use a positive value of 0.1. This keeps the distortion dynamic without over-distorting.
Above 3.2kHz, we’ll use a clean tape setting with no drive and an increased output of 0.5dB.
This will add mild harmonics to the high frequencies but will keep them from becoming shrill.
If you don’t have this saturator, try GSat+, a free alternative, and mix odd and even harmonics under the crisp algorithm until you find something similar.
Watch the video to learn more >
This step isn’t super-important, but helps shape the vocal around the mix. With the Gullfoss EQ, I'll sidechain the instrumental mix bus and enable the sidechain option in the lower left corner.
Then, I’ll isolate the processing between 150Hz. and 4kHz. while setting recover to 15% and tame to 25%.
These settings dynamically shape the mid frequencies of the vocal around the instrumental, ensuring that they work well together. To avoid adding aggressive lows or contributing to sibilance, the brighten function should be avoided, and again, the processing is isolated to the low to high mids.
Watch the video to learn more >
Reverb is pretty subjective to the genre, but short reverb will help thicken a vocal while keeping it sounding natural.
Personally, I love this Seventh Heaven plugin - I’m going to use the Studio D preset under the Rooms 1 tab and dial in the mix to -17dB.
Although you can always pick a different reverb, I spent a good amount of time combing through various ones until I found an option that works incredibly well with multiple vocalists and different genres.
Watch the video to learn more >
For this next insert, you can use a stock stereo delay plugin.
First, turn off any tempo sync function - then, set the left channel to 164ms and the right channel somewhere between 160 and 163ms to add some variation. Then, I’ll isolate the reflections between 300Hz and 3.5kHz.
If available, introduce mild feedback, some crosstalk, and introduce the effect very subtle, between 2 and 4%.
Some of you might be rolling your eyes, thinking this isn’t going to do anything, but with this after our room reverb, it adds a subtle slapback that further fills and blends the vocal.
Watch the video to learn more >
This next step is super simple: just add the free plugin Fresh Air by Slate Digital and set both functions to 4. This will boost the high mids and the air frequencies, creating a clear, hi-fi sound.
Now, quick side note before we get to the last step: you might be wondering how I can use the same settings for various processors on different vocals, and it still works - the main reason is Soothe 2 balances the vocal first and then all of the subsequent processing augments things people always want in their vocals.
Additionally, setting the gain to a level so that the signal interacts with the processors in the intended way is key. I mentioned the membership already briefly, but I have a lot more of these types of chains - ones that work in a lot of circumstances and can be copied while still having incredibly consistent results.
Watch the video to learn more >
In the downloadable template, this is going to be a separate file, since it has to go in a different folder.
So I’ll set up a send/bus, and set it to unity. On the auxiliary track, I’m going to use this Seventh Heaven plugin again.
This time, I’ll use the preset Sun Plate A under the Plates 1 tab. I’ll change the decay time to 1.8 seconds to help keep it from sounding too apparent.
Additionally, I’ll introduce an LP filter at 10kHz.
Again, you could use a different reverb plugin, but I did search for a bit to find a somewhat universal option for stylistic reverb, and this preset with these altered settings works really well, in my opinion.
After the reverb, I’ll insert a compressor that side-chains the dry signal. This way, attenuation occurs to the reverb during the transient, ducking the reverb and letting the vocal through.
A 3:1 ratio, moderate knee, -19dB threshold, with some lookahead, a quick attack, and 100ms release should achieve between 3 and 5dB of attenuation.
Just make sure the auto-make-up gain function is off this time. Lastly, blend in the reverb. You can use more or less if you want, but setting the aux to -21.5dB seemed to work great for all 3 tracks.