I appreciate your page ! Question.. In this example you used a whole lot of compression on the vocal to the point that it sounded over compressed to my ear, what methods do you use to get a dynamically smooth vocal where the compression is transparent ?
I know i'm late to the party, but bruh, you the truth. Nearly cried myself sleep last night due to a bad session. You've just alleviated that pain. Thank you!
Dude - I just recorded a single vocal take, and you looked up 3 different RU-vid guides on mixing vocals with stock Logic Pro plug-ins. Yours came out leaps and bounds ahead of the other 2, not even close!
Step 1: Boost Upper Range Above 5 or 6K ( Shelf Boost) Step 2: Boost 2K to 3K Step 3: Filter Out Low End cut up to 100K for men vocals. Step 4: Sweep 1 to 5K and reduce whistle sounds Step 5: If input signal is lower than output signal, reduce gain.
I watched your other video where you mix vocals using third-party plugins, and 30 seconds in I stopped watching when I saw $1000 worth of plugins. This one nails it for me, and for many other amateur producers. Thank you :)
Hey- this is hands down one of the best mixing in logic videos I've seen. You kept things simple, clear, and you explained your thought process on each plug-in. Thank you so much! Question- If you were to use Logic's Pitch Correction plug-in (or some other auto-tune plug-in), where would you have put that in the vocal chain? Before or after the compressors? I am working on mixing some RnB projects that rely more heavily on autotune and distortion. Thanks!
Wishing you a Happy New Year and all the best for 2020. I want to thank you for your continued straight forward, no gimmick approach to your lessons. I have found them very informative and helpful, particularly in relation to Logic Pro X. It is much appreciated.
🦋 In recent years I’ve come to witness first hand that the vast majority of listeners simply cannot detect subtle differences in engineering. So I no longer bother with most tiny adjustments as it can be very time intensive that can be better spent on other engineering techniques. However those tiny adjustments on vocals can make a big difference and thus that is a very different matter. Great insights by the way. Thanks. 👍🏼
I believe your subscribers are more than primed for methods and solutions, “Of greater complexity”, within Logic, such as this. Perhaps a 102 course. Comparisons between stock and 3rd party vintage plugins is crucial, as well. Very well done, Carney.
Funny. I like the breaths in a vocal performance. Not the Essex if they are severe. I realize this is a tutorial so demonstrating the plugins is part of the point. Thanks!
Wow... Another useful & skillful tips! Appreciate again! I not a big fan of Noise Gate, most of the time I'll go for Expander or the expander in Multipressor. Erm, it did the work (quite well) 😆 humble 2 cents
Awesome video! I found that the vintage EQs add too much grain to deeper male vocals especially if they sing with a not 100% closed vocal folds. (Usually higher or when they sing closely, intimately.) If the vocal is recorded or processed (as hardware insert) through a tube compressor like LA2A or WA2A, I would avoid using Logic's vintage EQs. That's just my experience. (If the vocal is coming through a clean interface then it might be great.) To add, I have also found the same kind of problems with Logic's built in LA style compressors. They give too much coloration considering the same situation. Loved to hear your experience :-) Have a great Holiday!!!!
I agree for the most part. If my mic is tube, my preamp is tube, my compressor is tube or tube-modeled, then I have an EQ that is also tube modeled, that's too much tube drive. I like the sound of tubes and tube mics, but I typically take two approaches, depending on the genre of the music and what mic fits the singer best. (1) I'll use a solid state mic, solid state/clean preamp, but then add the tube modeling with compressors, EQs and other plugins in the box. I find this works really well for pop music. (2) I'll use a tube mic, a solid state/clean preamp, and then use clean EQs and maybe an LA2A style compression in the box. If there are four stages where a tube sound can be added (mic, pre, EQ, comp), I try to only make 2 of the 4 stages tube, otherwise, you get a bit too much mid range saturation, and especially vocals start to hurt my ears.
@@MusicTechHelpGuy Appreciate your answer! I loved the 2 approaches. I have never thought about it to be honest :-) At least not having both with the same singer at the same time! Makes perfect sense! May I ask which microphones u use?
Another great tutorial; Thank you very much for this, Josh! Question: Would you do things differently if you were mixing vocals on a recording from a live performance? How would you approach compression and reverb/delay on a vocal track if you could hear other instruments bleeding into the mic channel?
You would approach it all very differently. First of all, you would have to use time-based effects with a different state of mind and I wouldn't use a noise gate either as it's just gonna sound choppy. EQ and compression will be similar but the compression ratio will be different as you don't want to crush the vocals to the level of the background noise. I hope that helped a bit. I'm not a pro at mixing or anything so take what I said with a pinch of salt but that's how I would imagine you would go about this scenario.
That's a tricky question. It's really personal taste. I usually mix from 'the ground up' -- I start with drums, then bass, then guitars, then synths and vocals last, but every mix and genre is different. If the vocal is really involved and the instrumental is minimal, sometimes I'll mix the vocal first, then mix in the instrumental. Regardless, at the end, I'm mixing everything together.
This is a great tutorial, but when you're showing the effects of the plug-ins, why aren't the instrumental showed as well? Is this just purely a tutorial on the mixing chain? Or a vocal mixing tutorial?
this is so so so essential! thank you for this tutorial! what i'm curious to learn more about, which wasn't mentioned much, is how the dry vox went all the way up -1.5db, almost to the point of clipping, but after mixing it was at a healthy -8.0db, but sounded MUCH cleaner and louder! this is by far the most difficult part of mixing for me.
