When mixing background vocals, start with optical compression with a longer release, a high-pass filter, and sibilance dip, and then tune with high settings. When mixing background vocals, keep in mind that they should blend in with the lead, meaning they can be processed heavily without issue.
If you’re mastering and want it to sound better, try aligning the phase, expanding the transients on the side image, and upward compressing the mids using a parallel send. You can also do some experimental steps like normalizing a parallel track instead of using parallel compression.
When making lo-fi vocals, using processing that attenuates the low and high-frequency range, introduces analog and digital distortion, and emulates the sound of classic recording devices. A quick and easy way to make loft vocals is to isolate the mid frequencies with an EQ, then heavily saturate the signal.
When stacking compression, we’re creating a series in which multiple compressors are performing distinct jobs. For example, we can stack multiple forms of peak compression, or combine downward and upward compressors - additionally, we combine distinct sounds like the 1176 or LA2A optical compressor to create something entirely unique.
When mixing female vocals the main thing you need to keep in mind is how the pitch has shifted upward, and what this means for important frequencies. For example, the ranges for vocal clarity and sibilance have likely shifted higher, meaning you’ll need to equalize the vocal differently.
When equalizing a full mix, be sure to only make subtle changes to the frequency response - also, utilize mid-side equalization for subtle stereo expansion. You can also use other creative forms of equalization like dynamic eq or intelligent eq to subtly reshape your mix’s response.
Comparing Multiple Air ShelvesBoost 3kHz HarmonicIncrease Reverb PreDelaySeparate Sibilance, then Boost HighsEmulator Specific ExciterSoothe2 then SaturationTrackSpacer on VocalParallel Highs Base
When using delay, it is useful to know how to time your delay with your BPM, how to make the delay taps sound like one source, and how to introduce stereo imaging with delay. Additionally, it’s best to know some common delay functions like crosstalk, feedback, and modulation.
If you’re looking for a more advanced way to mix your vocals, start with some important editing, like clip gaining your entire vocal track section by section, and isolating sibilance to a new track. Then tune, add some upward compression, and try some creative processing like modulated saturation.
When tuning a vocal, start by knowing which notes you need tuned, and select those notes in the tuner - from there you can achieve a natural sound, and aggressive sound, or one best suited for BGVs. After you’ve finished tuning, use some subtle reverb and saturation to blend the effect in.
When making your mix sound warm, try transformer or tube saturation to create a strong second-order harmonic - then amplify the lows with some upward compression and a low shelf. Optical compression may make the mix sound warmer as well, but be sure not to compress too heavily.
Regardless of the processing that you add to your mixbus, always ensure that the effects are subtle - otherwise, you may ruin a perfectly good mix. Equalization, saturation, compression, and other typical effects are useful; however, delay-based stereo imaging should be avoided more often than not.
Soothe 2, then Weiss De-essDynamic Subtractive EQSaturn 2, FET AccentizeOpto Peak Down CompressionSlapback ReverbStylized Reverb & Crosstalk EmulationWeiss De-essSubtle Gullfoss
Zebralette - U-heLabs - Spitfire AudioAmore Grand Piano - Precision SoundThe Orchestra - The Alpine ProjectSmashed Analog Kit - Noiiz
If you’ve been mixing for a while and you want to learn how to do it better, some small but important tips may improve your productions. Knowing where clipping is occurring, some good free plugins to expedite workflow, and how you can utilize saturation to void high CPU.
