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This will change the frequency bands that are being filtered, so that when layered with the main vocal, the same bands will not be missing all across the board. One trick for easing off comb filtering is if there are doubles of the vocal, pitch shift them up or down a slight amount. The other option is to mix the track in a way that makes the reverb appear deliberate.įor vocals tracked in closets or corners, the issue will be comb filtering.
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#How to make beats sound professional software#
For audio that came in too hot - i.e., is clipping - distortion removal software such as iZotope’s Rx De-Clipper is ideal.Īlso, that distortion will create frequency center resonances, which can be eased off with an EQ.įor vocals tracked in a reverberant space, subtle gating, and careful EQ can suppress the room sound - or you can use software like SPL De-Verb. This is totally untrue, particularly in the age of 24-bit audio.Ĭleaning up is a little rough at times because the scope of what you can do is limited. Again, a myth has seemed to perpetuate that it’s a good idea to record the signal as loud as possibly.
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The other common issue is the vocals were recorded too hot.
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I know it sounds weird but the myth has gone around that recording in a closet or a bathroom is a good idea. One of the most common is the vocals were recorded in an unideal location, such as a closet (I get that one all the time) or a bathroom. Here you have super clear presence and treble in the vocals, the vocals are up in the mix, and there isn’t as much lower midrange as, say, “Loungin.” Let’s take a more modern track, say Nicki Minaj’s “Massive Attack.” The shape of the vocal is also different - the compression is much easier on Loungin, and again, very aggressive on 1nce Again (particularly Phife’s voice). Meanwhile in 1nce again, the vocals are just under the snare and have an extremely forward and aggressive mid-range, a grittier rolled off top end, and a steep hi-pass filter on the low end. Notice how in Loungin’ the vocals are up in the mix - level with the snare - and have a “shiny” and smooth top end, great clarity and a really open yet detailed upper midrange. I bring up this distinction because I hope you’ll compare the two. Loungin’ is a quintessential Bad Boy style sound, mixed by Rich Travali. You can hear the similarities between that and 112, Total, Mariah Carey and later Biggie tracks.ġnce Again is a prime example of a Bob Power mix - a sound which pretty much dominated early NY rap. Both are laid back smoother rap songs, but the mixing is totally different (compare below). The big problem most people have with mixing rap vocals is that they think of the word “vocals” without considering the word “rap.” Rap is supremely general - there are big differences between 1994 NY style rap vocals and 2010 LA style rap vocals.Įven within that you have A Tribe Called Quest – “1nce Again” vs. That idea can and probably will change along the way, but there has to be some direction or else why do anything at all. There has to be some kind of idea of where the vocal is going to go before you start getting it there. I say this time and time again, and it only gets more true as I say it: in order to mix anything, you need an end game. There can never be one formula to mix all vocals effectively, and there are many approaches to conceptualizing a vocal treatment. In truth, we know that all songs, vocals, captures, and performances are different. I have developed an approach - sort of a formula to create a formula. I mix a new rap vocal four or five times a week - much more if you count different rappers on the same song. If I had to pick the most frequent question I get asked on a regular basis it would have to be “how do I mix rap vocals?” Or some variation thereof.