British summertime… doesn’t it make you proud? August 2008 and I am battling down the street with my winter jacket zipped up and my umbrella struggling to stay intact - rather than sporting a summery little outfit, I more resemble an Eskimo trying to launch into the first ever umbrella-aided flight.
However, all the rain has meant more time indoors to play around in my studio, and inspired me to pay some special attention to the washed out and watery sound of reverbs. After some long listening sessions, I was actually surprised to learn how many of my favourite tracks had quite a large reverb on the main vocals. This then lead me to think about vocal processing in general.
These days it is rare to hear a vocal that hasn’t been heavily processed and our modern ears have become accustomed to almost synthesised sounding main vocals, especially in modern pop, dance and R&B records.
This month, I am going to talk about some of the tricks producers and engineers use to get this very processed vocal sound.
One essential piece of kit if you are working with vocals, is what I call the ‘talent editor’ also known as pitch correction. My favourite piece of software to do this with is Melodyne. This tool basically allows you to draw or play in the melody that you want, it can automatically correct any notes that are a few tones out and it is very easy to drag notes around to create variations and harmonies. You can use this to snap your lead vocal into the correct pitch and also create some nicely layered thick backing vocals for the chorus.
The correct harmonies for a song will always vary but as a starting point try using thirds and fifths above or below from the root note.
Once you have your perfectly pitched lead and newly created BV’s, it is time for some compression.
When Madonna’s pop-dance ‘Ray of Light’ album came out, many were surprised at how heavily compressed her vocals were on the album, to the point where the vocal was so upfront she almost had her head on your lap (a figure of speech gentlemen). It is little wonder then that since this, nearly every dance and pop record released features a vocal sitting on top of the mix - with its dynamics squeezed as tight as Sigue Sigue Sputnik’s favorite PVC pants.
If you like the ‘pumping’ sound of the compressor on some dance tracks you can re-create this by setting your compressor to a relatively high ratio with a fast attack and a fast release. Move the threshold down until you are getting a significant amount of signal being compressed and then use your make up gain to level match your compressed vocal with the original. The process of the compressor being activated to such an extreme level will create the pumping effect as it kicks in and out quickly and to an extreme setting. For a smoother compressed vocal, change your release to be a bit slower and try using a soft knee.
Now you have your perfectly pitched, dynamically monophonic vocal, it is time for some frequency manipulation!
An exciter is a great tool for this. Although I am not a fan of using them on entire mixes, running individual instruments through one can be advantageous, especially with vocals. The best place to use them in my mind is on the backing vocals, go for a really ‘airy’ sound to give BV’s a spacey sound and help separate them from the lead vocal. If you use an exciter on the main vocal too, have something a little less obvious or use less of the processed sound in the mix.
As an exciter is basically an EQ that boosts several frequencies, so if you have already used a channel EQ it may be worth going back and checking if anything needs adjusting, alternatively, you may need to insert an EQ after the exciter in the chain to allow you to cut any problematic frequencies that the exciter has boosted.
Another popular tool in dance and R&B is a vocoder. Whether you use a software or hardware based vocoder, you need to play in the melody that you want to use to activate the effect. A lot of records have the vocal track doubled with one of them being manipulated in this way to create an artificial chorus effect and tuneful / rhythmic drone.
To finish off your vocal it is time to choose a reverb. This is very important and you should play around with a few settings until you are happy with what you hear. Always listen with the vocal soloed and in the mix, as what works on its own might sound awful when everything is playing at the same time.
Something I like to do is use 2 reverbs on my lead vocal. Firstly I will use a warm plate reverb with a relatively short reverberation time, just to add some depth; then for my second reverb I will use a larger hall style reverb with a little pre delay and a longer trail. The combination of these two tends to add depth and space and it is easy to control the mix using the effects / aux returns. If your vocal sounds too washy or you are loosing intelligibility, try decreasing the reverb time, or send less signal to the unit or keep the return lower in the mix.
If you combine all these methods together you will soon have a polished to perfection vocal that would make even Rodney Jerkins proud.
So when the weather is washing out your BBQ plans, stay in and be awash with effects processors instead, and satisfy your audio appetite.
Monday, 1 September 2008
Friday, 1 August 2008
EQUALITY AND EQUALISATION
This month I am writing this article whilst stranded in a small airport in Indiana; it’s a definite anticlimax to an inspiring trip to visit a pro audio retailer out here who is on the forefront of integrated modern technology.
This trip has elevated to me the significance of organisation. A seamless operation can only be so if all the cogs are turning the right way, at the right time. Although my current cog (the airport) is definitely not turning anywhere right now, the operation I witnessed today at the retailers premises was worthy of an award for innovation.
Each department runs as smoothly and efficiently as possible, but its success relies entirely on the other departments also playing their part and working effectively.
I feel this concept of every part playing an integral role is something that can also be reflected in audio production and mixing. I think we all can sometimes be guilty of over estimating a single part or instruments importance, but severely under estimate each individual parts significance.
A great sounding mix is like ‘Amnesty International’ for audio, making sure each part is heard and has a fair share of the frequency spectrum. Poor sounding mixes end up being like the first 3 rows at the Glastonbury main stage where everyone is fighting for space and you end up quite literally with a big muddy mess.
Using this principal you should endeavour to sculpt a place for each instrument within the sound canvas of your work.
To do this, firstly you need to understand the frequency range and the significance of each frequency band.
The general frequency range that you are used to having access to on equipment runs from around 20Hz – 20kHz, the ear however is most sensitive to frequencies between 40Hz and around 12-14kHz, although with age your ability to hear high frequencies will diminish - try playing some pure tones at 7kHz, 10kHz, 12kHz, 14kHz and 15kHz and see how sensitive your ears are, if you discover that you do not hear anything over 12kHz for example, you should be careful that your mixes are not too ‘toppy’ where you have been trying to overcompensate.
A well-balanced mix will contain a presence from across the frequency spectrum, however too much energy from a particular band can have a major effect on the overall perception of the mix.
For instance, if there is too much low frequency content (below around 300Hz), the mix can sound ‘boomy’ or ‘muddy’. Too little of these frequencies however and the mix can sound ‘thin’ and lack ‘power’ or ‘energy’.
Too much energy in the low mids (around 300Hz – 2kHz) can cause a really ‘middy’ sound which lacks drive and excitement. When there is a lack of low mids, the mix will sound ‘thin’ and a little ‘empty’.
Finally the high mids and high frequencies are generally adding sparkle and a sense of space to your mix. A lack of content from as low as 2kHz can cause a mix to sound dull, whereas too much tops and your mix can sound overly ‘bright’ and ‘scratchy’.
One of the most important frequencies is 1kHz, if there is no 1kHz content, your mix will sound unnervingly empty or ‘missing something’. However this frequency can also cause a number of problems, as in most mixes all lead components like vocal, guitar, piano and strings will normally have high 1kHz content.
A little trick is to cut a space for each instrument – let them all be heard. Firstly, decide which element is the most significant (perhaps you want to draw attention to the very talented vocalist, or you want to transfix people onto the melodic guitar hook), once you have decided, boost that part by around 6dB at 1kHz using a relatively high Q setting (maybe around 6 or 7) and then cut the 1kHz frequency from the other instruments using a tighter Q of maybe 8 or 9 at around less 3dB.
To get the best from the other lead instruments boost the mid frequency to +12dB and sweep round the frequencies until you find the most desirable point / sweet spot. You will then use this frequency in the same way you used the 1kHz frequency for your lead (boost it and then cut same frequency on the other instruments).
Whilst you are doing this exercise equally feel free to cut any unwanted frequencies that you hear whilst doing the sweeps. I find that cutting frequencies can often be much more beneficial than boosting them.
By using this principal of equality in audio your mixes will soon be embracing their newfound freedom! Although you’re unlikely to receive a nomination for the Nobel Peace Prize, there’s always the Grammy’s…
So my saying for the week is “too many over estimate importance, yet underestimate significance”.
Think about it and happy mixing! Peace!
This trip has elevated to me the significance of organisation. A seamless operation can only be so if all the cogs are turning the right way, at the right time. Although my current cog (the airport) is definitely not turning anywhere right now, the operation I witnessed today at the retailers premises was worthy of an award for innovation.
Each department runs as smoothly and efficiently as possible, but its success relies entirely on the other departments also playing their part and working effectively.
I feel this concept of every part playing an integral role is something that can also be reflected in audio production and mixing. I think we all can sometimes be guilty of over estimating a single part or instruments importance, but severely under estimate each individual parts significance.
A great sounding mix is like ‘Amnesty International’ for audio, making sure each part is heard and has a fair share of the frequency spectrum. Poor sounding mixes end up being like the first 3 rows at the Glastonbury main stage where everyone is fighting for space and you end up quite literally with a big muddy mess.
Using this principal you should endeavour to sculpt a place for each instrument within the sound canvas of your work.
To do this, firstly you need to understand the frequency range and the significance of each frequency band.
The general frequency range that you are used to having access to on equipment runs from around 20Hz – 20kHz, the ear however is most sensitive to frequencies between 40Hz and around 12-14kHz, although with age your ability to hear high frequencies will diminish - try playing some pure tones at 7kHz, 10kHz, 12kHz, 14kHz and 15kHz and see how sensitive your ears are, if you discover that you do not hear anything over 12kHz for example, you should be careful that your mixes are not too ‘toppy’ where you have been trying to overcompensate.
A well-balanced mix will contain a presence from across the frequency spectrum, however too much energy from a particular band can have a major effect on the overall perception of the mix.
For instance, if there is too much low frequency content (below around 300Hz), the mix can sound ‘boomy’ or ‘muddy’. Too little of these frequencies however and the mix can sound ‘thin’ and lack ‘power’ or ‘energy’.
Too much energy in the low mids (around 300Hz – 2kHz) can cause a really ‘middy’ sound which lacks drive and excitement. When there is a lack of low mids, the mix will sound ‘thin’ and a little ‘empty’.
Finally the high mids and high frequencies are generally adding sparkle and a sense of space to your mix. A lack of content from as low as 2kHz can cause a mix to sound dull, whereas too much tops and your mix can sound overly ‘bright’ and ‘scratchy’.
One of the most important frequencies is 1kHz, if there is no 1kHz content, your mix will sound unnervingly empty or ‘missing something’. However this frequency can also cause a number of problems, as in most mixes all lead components like vocal, guitar, piano and strings will normally have high 1kHz content.
A little trick is to cut a space for each instrument – let them all be heard. Firstly, decide which element is the most significant (perhaps you want to draw attention to the very talented vocalist, or you want to transfix people onto the melodic guitar hook), once you have decided, boost that part by around 6dB at 1kHz using a relatively high Q setting (maybe around 6 or 7) and then cut the 1kHz frequency from the other instruments using a tighter Q of maybe 8 or 9 at around less 3dB.
To get the best from the other lead instruments boost the mid frequency to +12dB and sweep round the frequencies until you find the most desirable point / sweet spot. You will then use this frequency in the same way you used the 1kHz frequency for your lead (boost it and then cut same frequency on the other instruments).
Whilst you are doing this exercise equally feel free to cut any unwanted frequencies that you hear whilst doing the sweeps. I find that cutting frequencies can often be much more beneficial than boosting them.
By using this principal of equality in audio your mixes will soon be embracing their newfound freedom! Although you’re unlikely to receive a nomination for the Nobel Peace Prize, there’s always the Grammy’s…
So my saying for the week is “too many over estimate importance, yet underestimate significance”.
Think about it and happy mixing! Peace!
Tuesday, 1 July 2008
UP TOP
This month its all about what you have up top… not in terms of your new seventies fling back hair do (or not new in some cases), but your front end.
It is common sense that in order to get the best sounding mix, you need to have the best sounding recordings to begin with. If you can get a quality signal onto “tape” in the first place, it prevents the need for this endless quest that some people undergo to ‘save’ the mix.
One of the first things I was taught, was the age old industry slogan that “you cant polish a terd” and this is very true (although some vocalists we’ve all come across really try to push the boundaries on that making you salvage more than you want to and they themselves hoping ‘autotune’ or ‘melodyne’ will turn them into the next Aretha… hmmm…).
EQing a poorly recorded signal can only get rid of some of the unwanted frequencies, and can only cut and boost what is already there so if your signal lacks low end and warmth, an EQ plug in will not be a quick fix solution.
If you are recording a vocal in a home studio you have further considerations. The first one being the actual recording space you are using. If your studio room does not have a nice sound and is not acoustically treated, using a very sensitive condenser microphone with a hypercardiod, figure 8 or omni pick up pattern may pick up unwanted and undesirable room noise. Instead opt for a cardiod pattern and try and position the vocalist in a suitable area of the room where the reflections are likely to be less. If you have a problem with a condenser mic picking up too much background noise, especially when you boost the gain to try and get a better signal to “tape”, perhaps try using a dynamic microphone instead.
When using a close mic technique with a cardiod pattern Dynamic mic, it tends to be very directional and should pick up more of the direct sound source (in this case a vocal) and less of the room noise. You can also benefit from the proximity effect taking place on weaker vocals, which is where bass tones sound more prominent as the mic is closer to the sound source. This effect is good for female vocals and also male vocalists that have a sweet spot in the lower fundamental frequencies.
If you find that even with your favourite condenser mic, you do not have much sensitivity, or the quality / tone of your recorded signal is lacking an apparent ‘space’ or ‘depth’, it is probably the preamp that needs looking at.
With most soundcards, the preamps built in are not of a very high standard in most people’s opinions. If you consider that on a £300RRP soundcard how much is spent on the A/D and D/A converters for one, then the casing, the manufacturing, etc, then per mic pre, it is probably around 50p!
It is definitely worth investing in a good quality mic pre to add to your set up, whether you have a budget soundcard or a more high end interface, a dedicated preamp can offer a good alternative and allows you to have greater flexibility over the quality, tone and depth of your recordings. For people on a tighter budget, channel strips tend to be the best value purchase as you get several functions included on one unit, making it good value for money and more flexible in use.
Going back to my cooking analogy last week, I feel recording and mixing in analogue as opposed to in digital is the difference between cooking in the oven and in the microwave. The microwave might have some fancy touch screen controls and be quicker and easier, but it just doesn’t ‘taste’ the same as when cooked in the oven.
These days, as with cooking, a combination of microwave oven and conventional oven recording and mixing seems to be the answer. Time efficient without sacrificing ‘taste’.
You need to know when to take advantage of different technologies, something that I intend to help with over the months.
Having a nice analogue front end can make a huge difference to your finished sound.
So put some thought into what you have up top and turn your studio heat up to ‘number 11’ (gas mark that is).
It is common sense that in order to get the best sounding mix, you need to have the best sounding recordings to begin with. If you can get a quality signal onto “tape” in the first place, it prevents the need for this endless quest that some people undergo to ‘save’ the mix.
One of the first things I was taught, was the age old industry slogan that “you cant polish a terd” and this is very true (although some vocalists we’ve all come across really try to push the boundaries on that making you salvage more than you want to and they themselves hoping ‘autotune’ or ‘melodyne’ will turn them into the next Aretha… hmmm…).
EQing a poorly recorded signal can only get rid of some of the unwanted frequencies, and can only cut and boost what is already there so if your signal lacks low end and warmth, an EQ plug in will not be a quick fix solution.
If you are recording a vocal in a home studio you have further considerations. The first one being the actual recording space you are using. If your studio room does not have a nice sound and is not acoustically treated, using a very sensitive condenser microphone with a hypercardiod, figure 8 or omni pick up pattern may pick up unwanted and undesirable room noise. Instead opt for a cardiod pattern and try and position the vocalist in a suitable area of the room where the reflections are likely to be less. If you have a problem with a condenser mic picking up too much background noise, especially when you boost the gain to try and get a better signal to “tape”, perhaps try using a dynamic microphone instead.
When using a close mic technique with a cardiod pattern Dynamic mic, it tends to be very directional and should pick up more of the direct sound source (in this case a vocal) and less of the room noise. You can also benefit from the proximity effect taking place on weaker vocals, which is where bass tones sound more prominent as the mic is closer to the sound source. This effect is good for female vocals and also male vocalists that have a sweet spot in the lower fundamental frequencies.
If you find that even with your favourite condenser mic, you do not have much sensitivity, or the quality / tone of your recorded signal is lacking an apparent ‘space’ or ‘depth’, it is probably the preamp that needs looking at.
With most soundcards, the preamps built in are not of a very high standard in most people’s opinions. If you consider that on a £300RRP soundcard how much is spent on the A/D and D/A converters for one, then the casing, the manufacturing, etc, then per mic pre, it is probably around 50p!
It is definitely worth investing in a good quality mic pre to add to your set up, whether you have a budget soundcard or a more high end interface, a dedicated preamp can offer a good alternative and allows you to have greater flexibility over the quality, tone and depth of your recordings. For people on a tighter budget, channel strips tend to be the best value purchase as you get several functions included on one unit, making it good value for money and more flexible in use.
Going back to my cooking analogy last week, I feel recording and mixing in analogue as opposed to in digital is the difference between cooking in the oven and in the microwave. The microwave might have some fancy touch screen controls and be quicker and easier, but it just doesn’t ‘taste’ the same as when cooked in the oven.
These days, as with cooking, a combination of microwave oven and conventional oven recording and mixing seems to be the answer. Time efficient without sacrificing ‘taste’.
You need to know when to take advantage of different technologies, something that I intend to help with over the months.
Having a nice analogue front end can make a huge difference to your finished sound.
So put some thought into what you have up top and turn your studio heat up to ‘number 11’ (gas mark that is).
Sunday, 1 June 2008
COOKING IT UP
Welcome one and all! Each week I will be giving you some insight into the world of sound recording and mixing with some hot tips for you to try out and some general rambles regarding my thoughts on the wonderful world of sound.
So what should you know about me? I’m a big analogue freak, but also a techno-geek so each week I’ll be giving some nerdy advice on using outboard gear and ‘real’ consoles, but also integrating software and hardware set ups to the best effect and some interesting ideas for you to try out.
To really understand me, you should know that for me, mixing is like cooking. Maybe because my two loves in life are food and music (although I would like to stress I do not have a belly reminiscent of a 2nd trimester pregnancy, or wear white socks under my sandals!).
In terms of my concept, the different ingredients in you ‘audio dish’ are of course the instruments, but more importantly the tones and timbres of your sounds which make up your track. You can have all the main ingredients, but it can ‘taste’ bland unless you add the seasoning and maybe a little spice to really bring the dish to life. Also your method of cooking up your audio treat can affect its texture and overall quality. These methods and spices are your effects, panning, and automation. Over the coming months I will also give some advice on the importance of EQ, including practical tips.
By using your panning to add a sense of space to your mix you create a base that slots and molds the sounds into the stereo image. Although basslines and lead vocals should be kept central as general rule, you can play around with the other instruments – don’t be afraid of using some sounds purely to use for panning affects or to add ‘flavor’ to your left or right side soundscape. ‘Autopan’ effects can be fun, but be warned – getting carried away with such could leave your listener feeling a little queasy!
The use of reverb is also very important in your mixing recipe, think of it as the ‘salt’ of the audio world (it makes any bland excuse for a vocalist sound better).
Reverb enables you to blend instruments together and make them sound more life like. Although the ear can adjust to sounds quickly, you will find it infinitely more pleasant to listen to a sound with a little reverb as the ear perceives it as being more natural and is therefore in some way easier to process. Do not over swamp a song with reverb though – especially if it is very polyphonic or at a fast tempo as it can slur the beat structure or main hook.
If you experience difficulty fitting a vocal onto a previously recorded backing track, the use of reverb can really help slot it together, especially if your vocal is heavily compressed.
So just as Great Aunty Mabel had her own special recipe for Bread and Butter Pudding, you too should develop your own special recipe for mixing.
Get in your studio kitchen and play around with your sound flavors, find the best order for you to unleash your creativity in and have a clear goal and end result in mind. Save sounds that you create or favorite and cool effects, also make notes on the best EQ sound for your favorite kick sample or a regular vocalist you work with.
This in time actually gives you a great structure and starting point for all your mixes, as well as your own ‘brand’ sound.
A brand image these days is very important and may just be the defining element that gets you the work and not Bob ‘Audio Knob’ Smith (even though he has a long track record and beard to match).
Try looking at your sounds as flavors. Combining senses like sound and taste can be really useful if you get the hang of it… if that sounds a little too leftfield, then maybe try imaging the sounds as colors on a canvass instead?
So get your aprons on and cook up a feast!
So what should you know about me? I’m a big analogue freak, but also a techno-geek so each week I’ll be giving some nerdy advice on using outboard gear and ‘real’ consoles, but also integrating software and hardware set ups to the best effect and some interesting ideas for you to try out.
To really understand me, you should know that for me, mixing is like cooking. Maybe because my two loves in life are food and music (although I would like to stress I do not have a belly reminiscent of a 2nd trimester pregnancy, or wear white socks under my sandals!).
In terms of my concept, the different ingredients in you ‘audio dish’ are of course the instruments, but more importantly the tones and timbres of your sounds which make up your track. You can have all the main ingredients, but it can ‘taste’ bland unless you add the seasoning and maybe a little spice to really bring the dish to life. Also your method of cooking up your audio treat can affect its texture and overall quality. These methods and spices are your effects, panning, and automation. Over the coming months I will also give some advice on the importance of EQ, including practical tips.
By using your panning to add a sense of space to your mix you create a base that slots and molds the sounds into the stereo image. Although basslines and lead vocals should be kept central as general rule, you can play around with the other instruments – don’t be afraid of using some sounds purely to use for panning affects or to add ‘flavor’ to your left or right side soundscape. ‘Autopan’ effects can be fun, but be warned – getting carried away with such could leave your listener feeling a little queasy!
The use of reverb is also very important in your mixing recipe, think of it as the ‘salt’ of the audio world (it makes any bland excuse for a vocalist sound better).
Reverb enables you to blend instruments together and make them sound more life like. Although the ear can adjust to sounds quickly, you will find it infinitely more pleasant to listen to a sound with a little reverb as the ear perceives it as being more natural and is therefore in some way easier to process. Do not over swamp a song with reverb though – especially if it is very polyphonic or at a fast tempo as it can slur the beat structure or main hook.
If you experience difficulty fitting a vocal onto a previously recorded backing track, the use of reverb can really help slot it together, especially if your vocal is heavily compressed.
So just as Great Aunty Mabel had her own special recipe for Bread and Butter Pudding, you too should develop your own special recipe for mixing.
Get in your studio kitchen and play around with your sound flavors, find the best order for you to unleash your creativity in and have a clear goal and end result in mind. Save sounds that you create or favorite and cool effects, also make notes on the best EQ sound for your favorite kick sample or a regular vocalist you work with.
This in time actually gives you a great structure and starting point for all your mixes, as well as your own ‘brand’ sound.
A brand image these days is very important and may just be the defining element that gets you the work and not Bob ‘Audio Knob’ Smith (even though he has a long track record and beard to match).
Try looking at your sounds as flavors. Combining senses like sound and taste can be really useful if you get the hang of it… if that sounds a little too leftfield, then maybe try imaging the sounds as colors on a canvass instead?
So get your aprons on and cook up a feast!
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