When equalizing instruments, we need to consider how they interact with one another - a good place to start is determining if multiple instruments have fundamentals that overlap. If so, it is likely a good idea to attenuate that fundamental on one or more instruments to create spectral balance.
Getting a vocal to sit in a mix has a lot to do with amplifying or attenuating 2-5kHz to make the vocal stick out or pull back respectively. Compression and a compressor’s attack and release times are also big components in having a vocal sit in the mix.
When making a wide mix, phase cancellation will need to be used in one way or another to push the signal into the 180-degree stereo field. Mid-side processing is a great way to widen a mix if your stereo track has varying left and right channel signals.
Start with RX De-ClickUse EQ for Low-Pass and BoostIntroducing Natural TuningThe Most Transparent De-esser2nd Harmonic SaturationBringing Vocals ForwardSoothe 2 to Reduce ResonanceSend 1 & 2: Long/Short DelaySend 3: Mix Glue ReverbLayering Lead Vocal MelodyVocal Bus Routing and EQ
When mixing for clarity be sure to find a good balance between low and high frequencies - often a mix that lacks clarity needs some additional high frequencies. Saturation, equalization, and transient expansion are all good ways to add high-frequency content and increase mix clarity.
When chaining vocal effects, consider how the signal will be affected as it transfers from one processor to the other. For example, I could place an EQ before a compressor and amplify a band - this will cause the compressor to work harder on those frequencies.
When mastering in Logic Pro X, I like to separate the signal into 3 frequency ranges by using auxiliary sends and linear phase EQs. Then I’ll process each band individually using equalization, compression, and saturation, before processing all of the signals collectivist via the stereo output.
If you want your vocals to be thick, use saturation, upward compression, and/or downward compression to bring quieter details up and to add harmonics. Additionally, introduce time and frequency modulation via reverb, delay, and chorusing, and then amplify the side image to make a thick vocal.
When mixing harmonics, you can use differing harmonic formations to separate similar or competing signals. Additionally, harmonics can be used to add high-frequency clarity when the harmonics are higher in order, or low-frequency fullness and warmth when the harmonics are 2nd and 3rd order.
When using vocal effects, start with EQ and adjust the lows, mids, and highs, using the vocal’s fundamental as a guide. Then control the dynamics and timbre with different types of compression, a few dB of de-essing, and saturation before adding temporal effects like delay and reverb.
When mastering with free plugins start with subtractive M/S EQ to attenuate the side’s lows and a little of the side around 2kHz with a bell. Then saturate the mid and side separately, expand the stereo image, clip, and end the chain with a limiter.
To pitch correct your vocals, first consider which key the vocal is in - then you can use an EQ or a tuner to correct the pitch. Using an EQ will have a more natural sound, whereas a standard vocal tuner will have an artificial sound.
When mixing with headphones, the most important thing to understand is how headphones are affecting the frequency response, stereo image, and perceived distortion. Plugins let you mimic the effects of these changes and even reverse them to monitor the signal from a more neutral perspective.
When leveling vocals, use automation to change the vocal’s level, then send the vocal to a bus for processing. Alternatively, use clip gain to alter the gain of the vocal and then introduce processing; compression and saturation will both work well at further leveling the vocal.
When you mix delay, combine equalization and delay to help tailor the processing to the instrument or signal you’re affecting. Additionally, delay can cause stereo expansion when used on a stereo signal, so keep that in mind as a possible method to affect your mix’s image.
