Had a question, how do you identify the problem areas to sweep and isolate the actual issue, is this a scientific thing based on the frequency of specific keys/octaves/notes, is it specific to the richness/thickness/thinness of the vocal, I have a decent ear but know nothing if the science of frequencies as it pertains to music, which is the hardest part of trying to make music
I find a full sweep can still be beneficial as long as you can tell the difference between a frequency being loud (i.e. when you raise it during the sweep) versus it being harsh. A good sweep just accentuates frequencies' "character".
Awesome. Thank you for this video, my engineers can't hear the harshness that is driving me crazy. You've empowered me to fix this myself and send the vox back to them.
If you guys don't have the money for Soothe2 ($277 USD/$289 CAD), Baby Audio as a super dope and powerful alternative called Smooth Operator. It's $69 USD (~$88 CAD) and legit does the same thing. All that said, Soothe2 is incredible and definitely the superior plugin, but it's the parent of the two. And before you become a parent, you gotta be a kid. Remember that.
@@vincemurrain9617 yes because when the track is mastered everything will get louder but you are correct in that focusing on the frequencies that are disturbing at only +4db first will yield more accurate results before touching ones that are like +12db
@Help Me Devvon Can you go through your vocal chain ( eq , compression , etc. ) within the context of the beat instead of showing the differences in solo ?? Your videos are mad helpful on everything 💯
Devvon always come thru with exactly what i'm looking for, just pops up on my recommended . Been supporting since the futuristic days. You've been helping me along the way in multiple ways. Thank you.
After Multiband compression, basic eq(3 moves) serial compression(3 compressors)and volume automation, the best thing for me is the fader, just pushing and pulling until I find a sweet spot, and personally I just automate the louder parts post compression, gives a more natural sound and also helps me not to overthink, especially considering eq and compression are literally just very specific volume faders
At this point, it's no longer the software. I've become proficient with all the tools at my dispose. My question is do you have advice on breathing/vocal chord care or bettering? I've got post nasal drip and a mild lisp, my mixes can be a nightmare.
Honestly, this advice is so bad. You could go on with those notch filters to cut out any frequency that gets too dominant at any one point in the record and end up destroying the sound and make it sound increadibly uneven and unnatural, as harmonics and formants shift across the notch filters. You can you sweeping to find problem areas, but it doesn't work that way. It's a tool to direct your attention to frequency areas in the ORIGINAL audio, NOT to tell you which frequencies need to be reduced. Every frequency sounds nasty when it's too loud, so with your approach you always just end up reducing the loudest peaks, which, quess what, are important for the unique character of every voice.
Bro a dirty recorded vocal with a cellphone, How would u improve that I got vocals From a friend in Nigeria he recorded with his earphones using an iPhone... Recording has some paper dirty sound... Dont know how to fix it...
Honestly your befores always sound better than my afters. Its not like im ass at mixing more than the next bedroom producer, but your videos r always "how to fix a (Insert problem here) vocal) and then the vocal never actually has that problem. Its just a dry vocal. Maybe i am ass or its just my processing but my drys sound about like yours, maybe with more room boxiness and i have a ghetto ass setup. And afterwards my shit sounds like garbage and my car cant even take the highs its all crunchy and embarrassing
for me you are more than a school broh grace of your video i become a pro in mixing so keep going like that you are a blessing for many im haitian im not affraid of any bad vocal i feel more confident now i need a videoo about the limiter broh may God bless you
either or works really :) it depends on the voice/mic/room, if the vocal is very harsh gong in I might treat it before processing it, and if my processing adds some harshness I can clean it up with soothe at the end
Hello devvon, a big fan here since you started with the tutorials. I learned a lot from you, thank you! In fact, I always find my vocals harsh and I am very dissatisfied with the F‘s and S-sounds ... despite a De-Esser & Eq. The longer you work and try to fix the problem, the more you lose track of things. Could you maybe take a look at my last cover video and tell me what you think about the vocal production? And how is it from the Harsh level? Would appreciate it very much!
Using a deesser is good idea if harshness is at that freq. Good stuff. Mulitband compression can also be used and isn't limited to silibant range. Nice video!
@@ProdbyTrehnt I use my own setting. I let it work hard in the 100-400hZ and 4K-8K area. I keep the action on the smooth side. You have to A/B a lot while you adjust the sensitivity after that I work with the wet/ dry mix until I find a good balance. Assuming you're setting it up for vocals.
I always knew there was a pain frequency in some of my songs. I had a feelin of where to look at but didn’t know how to handle it. I really appreciate this vid and I would feel like this will really help.
Holy shit dude . Thank you so much. I’ve been practicing the things you’ve been preaching, and trying to implement the rules you’ve been teaching, and I’ve been able to get my LUFS up to -7 db w/o distortion. You explain things really well as if we are students. All that stuff about clearing up the gritty ness, and controlling the low end for your final mix has left me w so much more room to boost the final product. I’ve come across a siq EQ that fortunately came w my universal audio interface called pultec EQ. And based off all the knowledge you’ve dropped, I’ve been able to apply controlling the low end through the pultec, as well as boost/ attenuate the other frequencies to my liking
Great help. My voice does the same. Today a A/B'd two reference tracks "Holla -by MAX " and "Disaster - by Conan Grey" the Max song felt to harsh to me. The Conan song had possibly my favorite vocal clarity and warmth. This will help me get to the Conan vocal sound.
Devon Im about to buy your previous headphone akg k371 ... and because you had it before can you please tell me you reccomend me those haedphones??? I be so thankful if you reply me , thanks!
Thanks for this tip bro! Question; Recently I've been struggling with reducing that nasal/scratchy 1k-2k frequency range. Sometimes I find myself spending way too long trying to find it. I think it's because the parts that have that harshness are so quick (Like a particular consonant like the letter M, N and a soft S sound" that I can't tell where it is. Do you have any tips on approaching this nasally sound?
@VinoBeatz I did actually! It takes patience to learn but I came up with a strategy to battle those. Im happy to discuss with you but it's a tedious process. You got Instagram?
@@dcsbeats739 Take your good mixes then make plugin presets and create a template. Using these as a starting point could help with your consistency. All the best 😎
These vids are just Gems. When I blow up and they ask who helped u engineer yo music. I mm def mentioning you. And finna stress to watch yo vids cuz yo vids fr gems 🔥
Works great doesn’t it 😁 i have a rode NT1 and my channel strip is PRO! like literally I just Eq out the bad frequencies and high pass up to 120hz and then I use 2 compressors, slow attack fast release and then I use a multi presser just on the really sharp region like -2 db. I raise the highs around 5k by 7 DB and get that sharp clear autotune sound without the harshness 😁
That's easy. When Pre Fx is selected, any of the effects chains and plugins don't affect the Fx channel (reverb, delay, etc.). So the signal gets routed completely dry. The Fx channel also becomes independent, when you bring down the volume fader on the original track it won't affect the Fx channel. Going Pre can be great for things like sidechaining or parallel compression/saturation. But most of the time you will find yourself using Post over Pre so that the signal you're sending to your Fx channel is well controlled by your processing (eq, compression, saturation, etc.). Always experiment and do what works best for the music. Hope that helps 😎
@@audiospectra thank you brother imma still little bit confuse but I appreciate your explaination. maybe Imma experiment how it works towards to your answer.
