![]() ![]() I’m always careful around this area, however, as I find it is where the character of most vocals are found. ![]() Further up there can be some boxiness and honkiness that’s worth reining in 500Hz to 1.5kHz can be a honky area that I’ll usually attenuate with a medium-tight Q. Conversely, if there’s a lot of belting you’ll want to retain more of the low mids. Attenuating 200Hz to 400Hz with a moderate Q (around 1.0 to 3.0) reduces cloudiness and improves intelligibility, particularly if the singing is in a lower octave. Too little and things sound anemic, too much and they sound dull and unclear. Low mids are the most delicate area to get right. This could be as low as 80Hz or as high as 300Hz. I’ll do this by sweeping it up to around 400Hz, and then bringing it back down until the integrity of the vocal is regained. I’ll apply a high-pass filter to remove any rumble and other excessive non-musical energy. I find it to be typically one of three things:Ī good rule of thumb is “the lower the frequency the broader the Q, and the higher the frequency the narrower the Q.” With the vocal up, evaluate what state it’s in and what areas need attention first. The trick to having a vocal sound clear and present is less about cranking high end, and more about better management of low end and mid frequencies. It’s not uncommon to see anywhere between 5dB to 10dB of gain reduction going on in each instance, but use your ears and aim to have them tonally sitting in alignment with the rest of the vocal passage. Ideally we want these working independent of each other, so that each is catching things the other isn’t. I use two in split-band mode, each focusing on different areas of the vocal the first targets higher sounds like ‘T’ and ‘S’, the second targets lower sounds like ‘Ch’, ‘Ka’ and ‘Sh’.įor male vocals I’ll typically set De-Esser #1 somewhere between 6kHz and 20kHz, and De-Esser #2 to somewhere between 2kHz and 5kHz.įor female vocals I’ll typically set De-Esser #1 to somewhere between 6kHz and 20kHz (same as male vocals), and De-Esser #2 to somewhere between 3kHz and 6kHz. This allows us to control sibilant events and dial in top end afterwards without the vocal sounding harsh. The best place for a de-esser is at the top of the chain. For example, I may engage Compressor/Limiter #1 while getting a balance going, then some EQ, maybe some de-essing, then back to Compressor/Limiter #1, etc. I start with everything in bypass and, while the order rarely changes, I will engage whatever I feel needs attention first. Sometimes I’ll use all of this, sometimes I’ll use none. My vocal processing chain is almost always the same: Avoid batch processing as it can affect diction (although I’m less cautious about that with doubles and BVs, as discussed later). For both modules I duplicate the main playlist, process the entire audio in AudioSuite and fly up the processed region as a click appears. ![]()
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