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.
FabFilter Pro-L2Voxengo ElephantNewfangled Audio ElevateSonnox Oxford LimiterWeiss MM-1PSP Audio BrickwallTC Electronic Brickwall HDToneboosters Barricade V4Flux Elixer Limiter V3DMG Audio Limitless
Starting With Subtractive EQDe-ess with MB CompressorSaturn 2 for Saturation and TransientsSaturn 2 for Upward CompressionSaturn 2 for Stereo ImagingMB Upward Compression with Pro-MBOptional: Subtle Compression with Pro-C 2Additive EQ with Pro-Q 3Stage 1 Limiting with Pro-L 2Stage 2 Limiting and LUFS Measurement
When you saturate vocals it’s a good idea to first identify important frequency ranges, like your vocal’s fundamentals, and the mid frequencies that will receive the majority of harmonics. You can observe the harmonics that form by running a low-frequency sine wave through your saturator of choice.
When making a powerful mix, start with the low frequencies and ensure they don’t overlap excessively - typically it's best to attenuate overlapping lows on the bass track. Mid frequencies are also important when making a powerful mix, on which I’ll typically use parallel processing and upward compression.
When working with a harsh vocal, you can typically tame it by attenuating frequencies above 2kHz and below 12kHz using a subtle bell filter via an EQ. Attenuating 3-5kHz will help significantly, as will using a de-esser on 5kHz to 12kHz to reduce harsh-sounding sibilance.
When mixing with free plugins, starts by balancing your low frequencies using EQ and compression on kicks, 808s, and low synths - then, move on to your vocal by using equalization, compression, and saturation. Saturation will likely be used on your other instruments to bring forward more detail and control dynamics.
When doubling vocals, you’ll need to either record them, or emulate them by modulating the amplitude, timing, and pitch of the lead vocal performance. When doubling by recording, first ensure you have a suitable lead to stack vocals on, then record, then edit to realign the timing, and lastly process.
MVibrato - Melda AudioISOL8 - TBProAudioChowPhaser - ChowDSPKrush - TriTikBPB Dirty Filter - Bedroom Producers BlogBertom Curve Analyzer - Bertom AudioRoom 041 - Analog ObsessionBoogex - VoxengoMLoudnessAnalyzer - Melda AudioMangleVerb - Audio DamageVocal Doubler - IzotopeLimiterOne - CIS DSP Factory
When making space in a mix, a big point of interest is frequency overlap between instruments and removing that overlap. Attenuating 200 - 300Hz with a bell filter on various instruments is a good start, but saturation types, compression and how it’s introduced, and stereo imaging all play an important role.
To make deep vocals use a formant shifter plugin and reduce the formant of the vocal. This will retain the same pitch but will reduce the perceived depth of the vocal - some good plugins for this are Vocal Bender, Little Alterboy, and Harmony Engine Evo.
Ensure You Have HeadroomUse Precise Subtractive EQAffect Transients and Harmonics with SaturationUtilize Parallel Low-Level ProcessingFurther Process Parallel TrackFor Loud Genres, Use ClipperBroadband Additive EQLimiting without TruePeak DetectionReview and Automate Plugin FunctionsFor Complex Mastering Try DDMF
When stacking vocals start with a good lead vocal comp, then add unison vocals, harmonies, and full high and low octave unison vocals to fill out the frequency spectrum. Then manually edit their positions to align the performances, and use de-essing, compression, tuning, and reverb.
