Welcome to Sage Audio. Today let’s cover How to Make Balanced Vocals. But first,
If you have a mix that you need mastered,
send it to us to receive a free mastered sample of it with the link in the description.
Dynamic EQ Attenuation
One of the best ways to balance a vocal is with dynamic EQ since it lets us control both the
dynamics and the frequency response. On this vocal, I’ll attenuate some of the
sibilance in the higher frequencies with a sharper Q value, as well as the fundamental.
Lastly, I’ll find any mid frequencies that make the vocal sound boxy and attenuate those.
Let’s take a listen.
Combine Compression and Dynamic EQ
For even more control over your vocal try regular downward compression, and follow it
with a dynamic EQ. For the compressor I’ll use quick settings to capture the vocal quickly,
then use auto-make-up gain; for the EQ I’ll use the same settings as the last chapter.
Let’s take a listen.
If you’re enjoying the video, hit the like button and subscribe if you haven’t already;
it’s free and helps us bring you more videos.
Combine Upward, and Downward Compression
Upward compression captures quieter details from the vocal and amplifies them to a level where they
can be heard - downward compression will attenuate the signal from the peaks down. When combined
we squeeze the vocal’s signal into the middle so to speak, which gives up a very dense sound.
Be careful not to overdo this though,
since it’ll make the vocal sound unbalanced. Let’s take a listen.
When in Doubt, Use Soothe 2
If your vocal is sounding unbalanced and you can’t
figure out what the issue is exactly, try using soothe 2 or a similar intelligent EQ.
This will create program-dependent dynamic bands to attenuate any unwanted resonances, in turn
balancing the vocal in a way not possible with traditional effects.
Let’s take a listen, and note how achieving something like
this with a regular EQ would be difficult to do.
How to Balance the Fundamental
The fundamental of a vocal is often the most powerful frequency - that said, it can make the
vocal sound unbalanced if it isn’t controlled. With an EQ, we can observe the frequency
response of this range and attenuate the 4 or so frequencies that the fundamental will occupy.
Let’s listen and notice how this cleans up the vocal's low-frequency range
and makes it more balanced.
MB Compression over Fundamental
If the last chapter seemed too time-consuming, use a multi-band compressor instead,
and create a downward compression band over the vocal’s fundamental. When doing this just
be sure to avoid super short attack and release times, since this will distort the vocal’s lows.
Let’s take a listen.
Introduce Automated Parallel Compression
Parallel compression is a great way to control the dynamics of a vocal, but what’s even better
is using volume automation on the parallel compression auxiliary track to augment
certain song sections. For example, if the chorus needs to cut through I could increase the level.
Let’s take a listen to this parallel signal
being slowly introduced and notice how it makes the vocal more dynamically balanced.
If you're enjoying the channel, use the search box to watch more of our videos.
Create Presence on Chorus
Similar to the last chapter, we can use automation to help with particular song
sections. So say the vocal is getting buried during a chorus, we can use automation on an
EQ band to amplify 2-5kHz to help the vocal sound balanced amongst the surrounding instrumentation.
Let’s listen and notice how the vocal becomes easier to hear.
Create Varying Timbres for Song Sections
Last up for automation tips, let’s try something
unique and switch between compression algorithms to get unique vocal timbres.
I’ll use a plugin with an A-B function and set up different compression settings for each,
but with the same amount of gain reduction to keep the dynamics balanced.
Then I can automate between my A and B settings when needed. Let’s listen to how this creates
a subtle but unique timbre for the vocal, all while keeping it dynamically balanced.
Try a Vocal Rider at Chain’s Start
If you’re interested in having super dynamically consistent vocals, a vocal rider is a great
option. I’ll use this one by Waves to keep my vocal’s amplitude within a certain range,
in turn altering the dynamics of the vocal with the need for compression.
I’d recommend using this at the start of your vocal chain - this way you
have balanced dynamics prior to any processing.
Let’s take a listen.
Use Hz. Specific Saturation
Last up let’s look at how saturation can act like a dynamic EQ - in short, by saturating specific
frequencies we both reduce their dynamic range and amplify them. If I want my vocal presence
frequencies to be more controlled and amplified, I could isolate my saturation to 2-5kHz.
Or I could do this to the fundamental if I find it isn’t powerful enough. Let’s take a listen
and keep in mind how you could use this to balance both your vocal’s dynamics and frequency response.
If you have a mix that you need mastered, send it to us to receive a free mastered sample of it
with the link in the description. Thank you so much for watching.