When making a crisp mix, you need to find ways to both amplify and slightly distort or compress the high frequencies. Having a present high-frequency range can often be achieved with a shelf filter, followed by compression or distortion, and utilized until the mix sounds “crisp.”
When mixing vocals in Ableton, start with EQ and then compress with a quick attack and makeup gain to bring the vocal forward. With the dynamics controlled, introduce temporal processing like a chorus effect, various reverbs, and delays, before finishing the chain with slight compression and EQ.
The Split - The ZheBertom Phantom Center - Bertom AudioTUBA - Analog ObsessionYouLean Loudness Meter - YouLeanDiablo Lite - CymaticsATK Stereo Limiter - Mattieu BrucherEQ Curve Analyzer - Bertom AudioNova-67P or TDR Nova - Vladisolv GoncharovStereo - Yuri SemenovLimiter One - CIS DSP FactoryClipMax - Rob Chokehold DesignsChow Tape Model - Chow DSP
When mastering in FL Studio, and using stock plugins, start with a parametric EQ to attenuate troublesome frequencies. Then introduce some subtle saturation to fill out the sound, upward compression to increase detail, transient expansion to improve transients, additive EQ to rebalance the signal, and some compression and limiting.
Waveform - TractionBandlab Online - BandlabStudio One 5 Prime - PreSonusGarageband - AppleMPC Beats - AkaiSerato Studio - Serato
Optional: Start with Gullfoss EQOptional: Use Soothe to Reduce ResonancesUse Subtractive EQDe-ess or Compress SibilanceAdditive EQ into SaturationOptional: Modulated Saturation for TransientsUpward Compression or InflationShort Delay, and Short ReverbOptional: Longer, Stylized ReverbLarge Bandwidth Mastering EQAutomating Plugin Settings
Don’t Use Delay-Based Stereo ExpandersUsing Left-Right EQUsing Mid-Side EQNatural Sounding Stereo PlacementUsing Mid-Side SaturationModulated Mid-Side SaturationDynamic Mid-Side or Left-Right EQMid-Side Compression or LimitingMono or Stereo Low Frequencies?Creating Wide TransientsSeparating Mid and Side for Processing
When balancing vocals, we're trying to find the right level of the vocal when compared to other instruments or the instrumental in full. This can be done by changing its volume; however, it's best to affect the frequencies, dynamics, and spatial characteristics of a vocal when balancing it.
Automation can be used for both pragmatic and entirely creative purposes when mixing music - for example, automated saturation during the chorus can make it sound fuller, or automated delay can be very stylistic. Mixing with automation gives you the chance to control more parameters, resulting in more complex mixes.
When mixing vocals in FL Studio, you approach the vocals similar to how you would in other DAWs - start with EQ, compress if needed, try upward compression or maximization, and then use temporal processing. FL Studio makes parallel processing easy with wet/dry insert dials, so try these as well.
Starting with General Important FrequenciesNatural or Accurate High-Pass FilterAmplify Fundamental and Second-Order HarmonicFind In-Key Vowel FrequencyFinding In-Key PresenceUnique Nature of Nasal FrequenciesLinear Phase Smooth VocalsHigh Q Air ShelfVocal-Friendly EQ on InstrumentalUsing 2nd Order Harmonic as EQ
When mixing kick and bass, separating the 2 instruments while keeping their respective timbres is a great way to find balance in the low end. EQ is the easiest way to separate their frequencies, but you can also use different types of saturation, creating harmonics on each that don’t overlap.
When you use dynamic EQ, how it’s operated will depend on the EQ itself, but the TDR NOVA, Pro Q-3, and Weiss EQ1 operate somewhat similarly. They all include creating a band, making it dynamic, and then altering the threshold and ratio to set the compression or expansion.
When mixing frequencies, it helps to understand how various processors, from EQs to saturators, and even compressors, will affect the frequency response of the signal. It’s also helpful to know the important frequencies of various instruments and instrument groups - such as drums and lead vocals.
When trying to make your vocals smooth sounding, it’s all about balancing high frequencies with low-mids. Attenuate your sibilance with a de-esser, equalizer, or with an analog emulation that dampens highs, then subtly increase low-mids to mask higher frequencies and add a warm, smooth quality.
