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16. Pro vo­cal pro­cess­ing us­ing mul­ti­ple sends

Computer Music - - Make Music Now | 2018 Studio Workout -

1 By set­ting up a se­lec­tion of pro­cess­ing plu­g­ins on aux re­turns, we can make a great sound­ing, cus­tom par­al­lel vo­cal mix bal­ance that can be used as a start­ing point for any other vo­cal mix­ing. First, im­port the files be­gin­ning “House…” into a blank 128bpm project. We’ll need a se­lec­tion of aux sends, so cre­ate four empty sends to use later on.

2 Adding dis­tor­tion be­hind our vo­cal will give it high-fre­quency bite. Load Sound toys De­cap­i­ta­tor on the first aux send, then set the send amount from the Vo­cal chan­nel to -30dB. Open De­cap­i­ta­tor, then en­able Pun­ish mode with the Drive at 10 to crunch our in­put sig­nal up. De­cap­i­ta­tor’s Low Cut and Tone di­als let us re­move un­wanted bass from the sig­nal.

3 Af­ter turn­ing down the dis­tor­tion send to blend it in, we’ll add a slap­back de­lay into the mix. In­sert any mono de­lay onto the sec­ond aux send with the Wet/Dry set to 100%. Af­ter cre­at­ing an -18dB send to the aux, set the De­lay time to around 80ms with 10% Feed­back to slightly de­lay the sig­nal, giv­ing it a thicker-sound­ing tim­bre.

4 Next, we’ll add some tasty plate re­verb. Call up Liq­uid-Son­ics’ Re­ver­ber­ate CM onto the third aux send, then load the Long Plate pre­set. Af­ter set­ting the Wet/Dry to 100% wet, cre­ate a new send from the vo­cal to the re­verb aux. We’ve set our send level to -14dB for a sub­tle re­verb ef­fect, but feel free to ex­per­i­ment in your own track, of course.

5 To even out the vo­cal dy­nam­ics with­out squash­ing the dry sig­nal, we’ll use the fourth send for some par­al­lel com­pres­sion. Af­ter in­sert­ing Sun Ruys CM onto the aux, set up a 0dB send from the Vo­cal chan­nel. Set up com­pres­sion with a Ra­tio of 4:1 ra­tio, a fast At­tack and a Re­lease of around 40%, with the Thresh­old set to give 10dB of re­duc­tion.

6 Af­ter turn­ing the com­pres­sion aux send down to around -20dB, you’ll hear that the hy­per-com­pressed sig­nal de­creases the dy­namic range of the dry vo­cal, giv­ing a fuller over­all sound and in­creased dy­namic con­sis­tency. To fin­ish, se­lect all of the aux sends we’ve cre­ated and save them to a handy pre­set which can be used again for fu­ture projects.

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