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.
When mixing vocal reverb, you can time the reverb to your BPM, insert an EQ after parallel reverb to get expert control over your reflections, and even distort your reverb for a creative effect. Parallel processing opens up a lot of possibilities when mixing vocal reverb.
Understanding M/S BasicsSeparate any Signal into M/SMid Side EQ on Drum BusCreate Full and Wide Guitars or SynthsTransient Expansion on Side ImageCompressing Mid Image for ExpansionMid Side EQ on Vocal BusMid Side EQ on Mix BusUpward Compression on Side ImageCreative Mid Side Automation
When balancing a vocal and a beat, you can increase 3.5kHz on the vocal to make it stick out, or attenuate this range to blend the vocal in with the instrumental. Additionally, if you’re trying to balance your vocal and a beat, try side-chained compression.
