Welcome to Sage Audio. Today we’re covering how to
Make Airy 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.
What are the Air Frequencies?
Air Frequencies are typically located above 12kHz - they’re difficult for us to hear
but have a very pleasant effect when they’re audible. The easiest way to create an airy vocal
is by using a parametric EQ, creating a shelf filter with a high Q to amplify 12kHz and above.
Let’s take a listen and notice how amplifying this range is the foundation of creating an airy vocal.
Airy Vocals with Reverb
If our reverb lets us equalize the reflections then we can isolate the reflections to above
12kHz, meaning we’ll amplify the air of the vocal and extend it depending on the reverb
length. Use a short pre-delay, and if available, emphasize the high frequencies of the reflections.
These settings are a good start, with which you can really begin to dial in
the timbre of the reverb and air with other parameters. Let’s take
a listen and notice how this adds air and gives the vocal a unique quality.
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Parallel Crisp and Airy Vocals
Crisp and airy vocals are a popular combination in hip-hop and pop - to create it, use a send,
and on that bus started with a linear phase EQ that isolates the highs.
Then heavily compress the signal and use the channel fader to blend in the effect.
For a crispier sound, include more than 8 to 10kHz and increase the amount of compression,
for an airier sound, isolate 12kHz and above and use a little less compression.
Let’s listen to it.
Using Dedicated Air EQs
Some EQs include dedicated air bands - for example, the Maag EQ4 has an airband that extends
to 40kHz - odds are your vocal doesn’t occupy these frequencies through. Keep in mind that a
filter set this high will only really affect 20kHz and below, just to varying degrees.
Typically speaking, if you want the effect to be subtler,
set the center frequency higher. Let’s listen and notice how less of our highs are amplified
the higher we set the air band’s center frequency.
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Airy Vocals and Oversampling
If you’re running a 44.1kHz session, then the highest supported frequency is 22,050Hz - since
some bands go above this mark, it may be a good idea to use oversampling. Granted,
most EQs can’t create harmonics that go above this cutoff frequency,
but the effect could exacerbate aliasing distortion.
If we’re running this EQ into a heavy saturator, I could definitely see this being an issue,
so let’s try this and use no oversampling and then oversampling on the saturator.
Upward Compression Air
Similar to our crisp and airy trick in chapter 3, we’re going to set up a send and on its bus
use a linear phase EQ, with which we’ll isolate the highest frequencies. I’ll then use an upward
compressor, like the MV2, to capture, compress, and amplify these frequencies.
I’ll do this pretty heavily and then blend the effect in with the original signal via the bus’s
channel fader. Let’s listen and consider how this method offers a unique timbre.
Dynamic Airy Vocals
Using the same setup as the last chapter, Let’s isolate the highs with a linear phase EQ.
Then, we’ll insert a gate to attenuate this range
whenever it falls below a set threshold - after this, you could add compression,
reverb, or whatever you want to dynamically affect this range.
I like this effect with reverb since it creates a really unique effect in which
reverb is only added at specific points. Let’s take a listen with reverb added after the gate.
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De-essing and Airy Vocals
If your processing is going to amplify 5kHz to 12kHz, you’ll want to add a de-esser prior to
amplifying your air. Since some air bands don’t let you isolate the amplification to above 12kHz,
you may also unintentionally amplify harsh ess sounds.
So let’s listen as we amplify the air frequencies aggressively and in a way that also affects
sibilance, then enable a de-esser inserted prior to the EQ and observe the difference.
Best BGV Type for an Airy Sound
This is slightly random and more geared towards producers, but I’ve noticed that certain BGVs take
really well to creating an airy sound - mainly a falsetto Ooh or Aah is going to help significantly
if you want an overall airy vocal sound. If processed, the effect is even stronger.
So let’s perform some of the processing we’ve covered so far, but to falsetto BGVs
and notice the overall increase in air. Avoiding MB Saturation for an Airy Sound
Although you could use a multi-band saturator to create an airy sound by
saturating high frequencies, you’ll likely cause aliasing distortion by
generating harmonics that go above the highest supported frequency. That said
it’s best to avoid it, but if you do use it, enable oversampling.
Let’s listen to saturation of the highs and notice how it amplifies the high range,
but has a timbre that doesn’t always create an airy sound.
Avoiding MB Compression for an Airy Sound
MB compression can be used to amplify air frequencies via attenuation
then using makeup gain, but it has the potential to cause issues.
Compression with a quick attack and quick release will cause harmonic distortion that,
like high-frequency saturation, can result in aliasing distortion and a harsh sound.
If you do choose to use it for this purpose, set the attack above 5ms,
and the release above that as well. Let’s listen to the effect with too quick of settings and
then the settings I recommended, and keep in mind the difference will likely be subtle.
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with the link in the description. Thank you so much for watching.