Welcome to Sage Audio. Today we’re covering How to Mix Vocals Better. To get the most
from your music, watch the entirety of each chapter for a complete understanding of the
topic. Also, 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.
Multiband Upward Compression
For this video, none of the chapters are in any particular order, but they can be combined
when mixing vocals. Also, so of these are more on the creative and experimental side,
so use your ears and try these out for yourself.
At the moment, there aren’t any multi-band upward compressors other than the free OTT
plugin, so what I’m going to do is send my vocal to 3 different busses. On these busses,
I’ll place linear phase EQs and then isolate the lows, mids, and highs respectively.
Now I can insert low-level compressors on each frequency range, upward compress heavily,
and then blend these signals in with the original vocal.
Let’s listen and notice how this makes the vocal sound really full, and provides an opportunity
to equalize the vocal with these 3 bands.
Use Series De-essers
We often use series compressors, but we rarely carry this concept over to de-essers; so let’s
try a couple of de-essers out on a vocal. Since they both have unique algorithms, they’ll
capture the sibilance in slightly different ways, letting us more accurately capture high
frequencies.
Let’s listen to these 2 de-essers on a vocal, and notice how they work together to capture
sibilance.
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Transfer Parametric Settings to Vintage EQ
When equalizing, we often use a parametric EQ because it gives us a better idea of what
we’re affecting - but we miss the subtle timbre that a vintage equalizer could provide.
So let’s start equalizing our vocal with parametric, but then transfer so decisions
over to a vintage EQ.
We can use the free plugin Bertom Frequency analyzer, to see the curves of a vintage emulation,
and better match its curve to the parametric EQs.
Let’s listen to a vocal equalized with a parametric eq, then one with a vintage emulation
that’s been matched to the parametric settings, and notice the minute differences between
the two.
Parallel Delayed Reverb
If we’re not careful, this trick can make our vocal sound cacophonous, but with the
right settings, following a short reverb with a very clean delay has a really unique and
unnatural effect. We’ll use a parallel track, then set up a short reverb, typically under
1 second.
Then, we’ll follow it with a delay with medium feedback, and very distinct delay taps.
I find triplet 8th notes or dotted 16th notes work well. Lastly, we’ll blend in the parallel
signal. Let’s listen to the effect and notice how it doesn’t sound exactly like either
reverb or delay.
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Multiband Saturation
Use a multi-band saturator to achieve different timbres and harmonics from different frequencies
of your vocal. Depending on the vocal l I’ll create 3 to 4 bands, and pick distinct forms
of distortion for each - for example, warm tube is great on the lows and will emphasize
transients.
Clean tube on the highs helps bright up the vocal while warm tape will help to soften
highs.
Let’s listen to multi-band saturation and notice how it can be tailored to emphasize
very specific aspects of the vocal.
Dynamically Drive Hz. Into Delay
Most delay plugins have some form of an EQ section, but if we set up a send, and use
an advanced parametric EQ before delay, we can get creative with what the delay receives.
Using the Pro Q 3 I’ll cut out lows while making my mids dynamic.
This way certain frequencies are emphasized in a program-dependent way. Let’s take a
listen and pay attention to how the delay sounds a little more distinct.
Tuning without a Tuner
If we know the key of our song, we can emphasize it with an EQ or a dynamic EQ - this way the
fundamental frequency becomes easier to hear and the vocal sounds more in tune. Next, we
can add a saturator to create harmonics of the fundamental, which strengthens the effect.
The more we emphasize in-key frequencies, the more in tune the vocal will sound. Let’s
listen and see if the vocal subtly sounds more in tune.
Quick LoFi Chain
So far in the previous chapters, we’ve discussed ways to make a vocal sound better, but if
you want to create a lo-fi sound, here’s what you do. Start with an EQ, attenuate above
8kHz and below 200Hz., and boost 2.5kHz - then introduce broken analog equipment emulation.
Since we’re heavily distorting we won’t need compression, nor will we need to de-ess
since those frequencies were attenuated by the EQ. Let’s take a listen and notice that
only 2 plugins are needed to create a lofi vocal.
Quick 90s Pop Sound
If you like the sound of 90s pop vocals, try this at the start of your chain - use an additive
EQ and boost 2.5kHz, and 12kHz and up by a few dB. Then heavily de-ess, making the de-esser
work a little harder than normal, and achieving a compressed sound.
Let’s listen to it and see if it’s reminiscent of that era of pop vocals.
Simultaneously Gate and Expand
Using a multi-band dynamics processor, we can both subtly gate and expand our vocals.
With the Pro-MB I’ll create my bands, then use expansion with a negative range to gate
some low mids, and expansion with a positive range to expand high mids.
This creates a more dynamic sound than simple equalization, while still letting you shape
the vocal’s frequency response. Let’s listen to the effects, and pay attention to
changes in the 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.