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Old 08-23-2011, 03:46 PM   #27
blak.'s Avatar
Join Date: Aug 2011
Location: NYC
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I agree with pretty much everything Bronze Feet said dealing with mixing. Mixing as a whole is an art in itself & to say (dealing with compressor parameters)ya I want a 2.1 ratio with a 20 ms attack & a 200 ms release just doesn't really fly as a like a set list of parameters. The best audio engineers in the world will say the same shit to you. It's all by ear but knowing what each of those parameters means helps you distinguish the problems alot faster making you job easier. I start with a an EQ & put a lo cut from anywhere from 40-80 Hz using 40 as a starting point to eliminate & unwanted noise like low rumble in the room & this helps to clear vocals up. Then I'll just go through the frequency range & notch out any unwanted frequncies that tend to be annoying to hear. To do this just tighten the Q (bandwidth) on one of the bands & bring the volume up all the way, then just literally sweep through the frequency ranges slowly (keyword slowly) till you hear something you don't like. So say you hear something at 500-750 hZ...just bring the band down (usually like 1-6 dB depending on how unnecessary this may be) nd widen the Q. I never boost any frequencies really. It's all about subtractive EQ work but BE CAREFUL. You can fuck a whole mix up just by overdoing it with the EQ. So do this wisely.

Next I usually compress the vocals to help bring the dynamic of the vocal to an average level so they are not to harsh. I can't even tell you a list of parameters cuz everyone's voice is different (same goes with on a different microphone, room,'s ALWAYS different)

Next of the vocals seem dry & unreasonable I will use another EQ & boost some frequencies. Yet again don't overdo it. Just use the EQ with class for textural purposes.*

De-Essing = Bitch. Bastard.
I usually automate level changes for parts where those S's & sibilance really are audible. Another method to help, is to do the "notching" technique I explained above. This will help see where the sibilance is in your voice. Sweep through, & subtract. This you can drop to a point as long as you don't start to hear a slurrrr in your vox. Hence why I am straying away from using a e-Esser because they aren't fully reliable & tend to take away from the vocals & make them unintelligible. Don't De-Ess if you don't need to!!

Reverb. Always use sends to send to any time based effect. Send it PRE-fader to if you can. This helps to send a copy of the signal making it seem more full than shallow. For the most part (as Bronze Feet said), people tend to overdo the whole reverb nonsense but with Hip-Hop, the vocalist is going at a faster rate compared to a rock/r&b singer where there are wider margins for a fuller sound to be necessary. I would say use a reverb very very very minimally.

Delays. Use your sends to use a delay on your vox. I would say delays in especially hip hop sound better on vox rather than reverbs. Not like an outstanding delay where it muddys up you vocals but give this delay time on your vox a shot.*
180-220 ms....don't sync the delay with the beat. Just use the BASIC delay manually so you can be precise in this scenario.*

Those are just the basics but I said & I would say it a million times, there is NO SET STANDARD! Everyone mixes different. This was just a basis so you can try to work out what works best for you. Digg?

But as far as for the other things (mic, room, etc), it doesn't matter haha. I've used an SM57 in a basement & did the best I could with it & made it sound decent. You don't need fancy ass shit with technology these days. *Im not saying make a shitty recording, then fix it in the mix, but just do the best you can with any given scenario. The only thing I will say is preamps on vocals sound awesome (ISA-One is my personal preference).*

But ya that's just a quick basis on something that may or may not help you. I hope it did haha, but besides that if you have any more questions that I can answer I'd be more than happy to. Peace* is offline   Reply With Quote