Use the 1176 blackface compressor on vocals for tight, punchy sound
Problem: vocals lack punch or control
The 1176 blackface compressor is used on vocals with a fast attack and a release of 4, set to a 4:1 ratio. It's used to compress the vocal heavily, keeping it tight and controlled while preserving its natural character.…
Use the 'Delta' button in Dangan to hear the difference between the original and processed signal
Problem: uncertainty about the impact of processing
The 'Delta' button in Dangan allows you to toggle between the original and processed signal, making it easier to hear the exact changes being made. This is a useful feature for producers who want to ensure that their…
Use the 'Maximum Cuts' feature in Dangan to limit the depth of frequency cuts
Problem: over-processing or unnatural-sounding results
The 'Maximum Cuts' feature in Dangan allows you to set a limit on how deep the plugin can cut frequencies. This is useful when you want to avoid over-processing and maintain the natural character of the sound. It gives…
Use Dangan's 'Natural' mode for more human-sounding vocal resonance cuts
Problem: harsh or sibilant vocals
The 'Natural' mode in Dangan is designed to mimic how the human ear perceives sound, making it ideal for vocal processing. It avoids overly aggressive cuts and instead focuses on smoothing out harsh resonances in a way…
Use Dangan's 'Smart' mode to automatically detect and cut vocal resonances
Problem: inconsistent vocal resonance detection
The 'Smart' mode in Dangan automatically detects resonances in the vocal signal, regardless of the volume or dynamics. This is particularly useful when dealing with signals that have varying levels or volume automation,…
Use Dangan's 'Perceptual' mode to target the most irritating frequencies in the human hearing range
Problem: over-processing or under-processing of vocal resonances
The 'Perceptual' mode in Dangan is based on the Fletcher-Munson curve, which represents how human hearing sensitivity changes with frequency and volume. This mode focuses on cutting the frequencies that are most…
Use Dangan's 'Intense' mode for aggressive, surgical vocal resonance cuts
Problem: extremely harsh or sibilant vocals
The 'Intense' mode in Dangan is designed for extreme resonance cutting, making it ideal for situations where you need to drastically reduce harsh frequencies. This mode is best used for real-time processing, such as…
Use multi-band sidechain to open space for vocals
Problem: vocals masked by synths, lack of clarity
When vocals are masked by synths, using a multi-band sidechain allows the plugin to duck the main frequencies of the synths in response to the vocal. This creates space for the vocal to cut through without completely…
Use gentle sidechain settings for a more natural sound
Problem: overly aggressive sidechain causing unnatural sound
Instead of using a very aggressive or 'needle-like' sidechain setting, a slightly less focused approach can yield a more natural and musical result. This avoids the harshness that can come from overly aggressive ducking…
Use automation for lead vocals in pop to maintain a natural sound
Problem: over-compressing lead vocals
In pop or hit pop mixes, automation is often used to manage the dynamics of lead vocals for a more natural and transparent sound. This is different from rock, where heavy compression is expected. Automation allows for…
Use heavy compression for rock vocals to manage levels and achieve the expected sound
Problem: inconsistent vocal levels in rock
In rock mixes, heavy compression is often used on lead vocals to manage dynamics and achieve the expected punchy and consistent sound. This helps to keep the vocals sitting well in the mix and ensures they don't…
Use slow attack and slow release on vocals for atmospheric, laid-back tracks
Problem: vocals too aggressive or distracting in a laid-back track
For tracks with a relaxed or atmospheric vibe, using a slow attack and slow release on vocals helps maintain a natural, less aggressive feel. This approach avoids making the vocals too punchy or aggressive, which would…
Use lyrics as a guide for vocal compression settings
Problem: vocal compression not aligned with lyrical tone
The lyrics of a track can provide clues about the desired vocal character. For example, if the lyrics are introspective or laid-back, a slower attack and release may be more appropriate. This helps the vocals blend…
Blend ribbon and condenser mics for a fuller sound
Problem: thin or harsh vocal or bass recordings
The JZ Mic MU-1 allows you to blend the low-end richness of the ribbon mic with the high-end clarity of the condenser mic. This combination avoids phase issues and provides a more balanced and full-bodied sound. This…
Use ribbon mics to naturally tame sibilance in vocals
Problem: excessive sibilance in vocal recordings
Ribbon mics naturally roll off high frequencies, which can help reduce sibilance in vocal recordings without the need for EQ or de-essing plugins. This is a useful technique for vocalists with naturally sibilant voices,…
Mistake: Over-relying on EQ to fix sibilance instead of using the right mic
Problem: over-processing vocals with EQ
A common mistake is to rely heavily on EQ or de-essing plugins to fix sibilance in vocal recordings, rather than using a microphone that naturally tames sibilance. This can lead to an unnatural or overly processed sound.…
Use multi-band compression to target sibilance without losing vocal body
Problem: sibilance that cannot be easily removed with EQ
Multi-band compression can be used to target and reduce sibilance in the high-end of a vocal track without affecting the lower frequencies. This technique is especially effective when paired with a ribbon mic, which…
Use a second mic to fill in gaps during aggressive processing
Problem: loss of detail during aggressive processing
When applying aggressive processing like heavy multi-band compression or EQ, having a second mic (such as a ribbon) can help fill in any gaps or loss of detail that might occur. This technique ensures that the overall…
Use the ribbon mic as a backup for full-bodied sound during processing
Problem: loss of vocal body during aggressive processing
When processing a vocal track aggressively, the ribbon mic can act as a backup to maintain the full-bodied sound of the vocal. This is especially useful when using EQ or multi-band compression that might remove some of…
Introduce vocals in the second half of the drop for impact
Problem: lack of vocal impact, flat arrangement
Introducing vocals in the second half of the drop helps build tension and adds a new layer to the track. This is a common technique in bounce trance and other genres where the vocal is used as a key element to drive the…
Use a female singer for vocal chops to match the track's vibe
Problem: vocal chops not matching track's vibe
The producer prefers using a female singer for vocal chops because it aligns better with the track's overall mood and style. This choice helps maintain a cohesive and emotionally resonant atmosphere in the mix. The vocal…
Use Odemi to pitch vocals without losing quality
Problem: pitching vocals introduces artifacts
The producer uses Odemi to pitch vocals inside FL Studio, which helps maintain audio quality and avoids artifacts that can occur with other methods. This approach ensures the vocal stays in tune with the track's key…
Use vocal stacks for harmonic richness in the second part of the track
Problem: vocal section lacks harmonic depth
The producer introduces vocal stacks in the second part of the track to add harmonic depth and richness. Using a preset like 'Female Hyperpop stack' from Odemi allows for quick and effective layering of vocals, enhancing…
Use Stretch Pro for high-quality vocal time-stretching
Problem: vocal timing doesn't match track tempo
The producer emphasizes using FL Studio's Stretch Pro algorithm for time-stretching vocals, as it provides the best quality for maintaining vocal clarity and natural timing. This is especially important when fitting…
Chop vocals for rhythmic progression and percussive effect
Problem: vocal section lacks rhythmic interest
The producer suggests chopping vocal phrases to create rhythmic progression and a percussive feel. This technique adds energy and groove to the track, especially in the breakdown or build-up sections. It's a common…
Use pitch correction to fix drifting vocals
Problem: vocals drift out of tune
The producer uses a pitch corrector to fix drifting vocals, ensuring they stay in tune with the track's key. This is especially important when using vocal chops or samples that may not be perfectly in tune. Holding the…
Root multiple backing vocals into the same channel for cohesive processing
Problem: inconsistent vocal processing across multiple tracks
By grouping all backing vocals into a single channel, you can apply consistent processing like EQ, compression, or reverb across all vocals at once. This ensures a unified sound and simplifies workflow, especially when…
Use a single vocal patch across multiple vocal tracks for consistency
Problem: inconsistent vocal tone across tracks
Creating a vocal patch and applying it to multiple vocal tracks ensures a uniform tone and processing across all vocals. This is especially useful in trance and bounce trance where vocal presence and clarity are crucial.…
Use automation to shape the delay of vocal tracks
Problem: static vocal delay that lacks movement
Automating the delay of vocal tracks allows for dynamic control over the timing and spatial placement of the vocals. This can help create a sense of movement and depth in the mix, especially in trance and bounce trance…
Add fade-ins to vocal chops for smoother transitions
Problem: harsh vocal chops that disrupt the flow
Applying fade-ins to vocal chops helps them blend more naturally into the track, reducing harshness and improving the flow of the mix. This is especially useful in bounce trance where vocal chops are often used for…
Separate guitars from vocals using a filter and automation
Problem: guitars and vocals competing in the same frequency range
Using a filter to reduce the frequency range of guitars when vocals are present helps prevent frequency masking and ensures both elements can coexist in the mix. This is particularly useful in bounce trance where guitars…
Use a multi-band sidechain to separate clashing frequencies between vocals and guitars
Problem: vocals and guitars competing in the same frequency range
Routing the vocal track to a multi-band sidechain on the guitar track allows the guitar to duck in the frequency ranges where the vocals are present. This ensures that the vocals remain clear and prominent in the mix…
Copy and reuse vocal processing across multiple tracks for consistency
Problem: inconsistent vocal processing across tracks
Copying a vocal processing setup to other vocal tracks ensures a consistent sound across all vocals. This is especially useful in bounce trance where vocal layers are often used to create a rich and cohesive vocal…
Consolidate vocal sections for delay effects
Problem: delay applied to entire vocal, lack of control
Consolidating vocal sections allows for more precise application of delay effects, especially on the ending parts of the vocal. This technique ensures that the delay is applied only to the desired portion of the vocal,…
Use a pitch corrector to make the vocal more workable before manual tuning
Problem: vocal too out of tune to work with
A pitch corrector can be used to bring the vocal into a more acceptable range before manually tuning it. This makes the vocal easier to work with, as it reduces the amount of correction needed during the manual tuning…
Use a compressor to control vocal dynamics
Problem: vocal has inconsistent dynamics
A compressor can be used to even out the dynamic range of a vocal, making it more consistent in volume and presence. This is especially useful for vocals that have large variations in loudness, as it helps the vocal sit…
Brighten a dull vocal with EQ
Problem: dull vocal that doesn't cut through the mix
If a vocal sounds dull, it's often due to a lack of high-frequency presence. Boosting the upper mid-range (around 2-5kHz) and high frequencies (8-12kHz) can add clarity and brightness to the vocal. This helps the vocal…
Use a de-esser before EQ to avoid accentuating sibilance
Problem: harsh sibilance accentuated by EQ
Sibilance can be exaggerated by high-frequency EQ boosts, so it's important to address it first. By using a de-esser before applying EQ, you remove harsh sibilant frequencies (typically around 5-8kHz) and prevent them…
Split vocal into bands to control dynamics in different areas
Problem: inconsistent vocal dynamics and frequency movement
When a vocal is moving around a lot in frequency and dynamics, splitting it into bands allows for more precise control over each section. This approach prevents over-processing the entire vocal at once and lets you shape…
Use multi-band compression to control muddy mid-range and open up the top
Problem: muddy mid-range and lack of vocal presence
Multi-band compression allows for targeted control over specific frequency ranges of the vocal. In this case, the mid-range was muddy, so it was compressed to clean it up, while the top end was allowed to breathe. This…
Add presence to the vocal with a vintage console EQ
Problem: lack of vocal presence and character
After shaping the dynamics and frequency balance of the vocal, adding a vintage console EQ can enhance the presence and character of the vocal. This type of EQ often has a warm, musical response that can bring out the…
Add reverb to a dry vocal to enhance spatial depth
Problem: dry vocal lacking spatial depth
After the vocal has been processed for dynamics and frequency balance, adding reverb can help enhance the spatial depth and make the vocal sit better in the mix. Reverb can add a sense of space and dimension to a vocal…
Use a bus to apply reverb and delay to a vocal without over-processing
Problem: vocal overwhelmed by reverb and delay
Instead of applying reverb and delay directly to the vocal track, use a bus channel to route a portion of the vocal signal. This allows for more control and prevents the vocal from being overwhelmed by the effects. By…
Cut low and high frequencies on the vocal before sending to reverb bus
Problem: reverb sounds muddy or harsh
To prevent muddiness and harshness in the reverb, cut the low end (200Hz) and high end (5kHz) of the vocal signal before sending it to the reverb bus. This ensures that only the mid-range frequencies are affected by the…
Use a compressor on the reverb bus to duck the reverb when the vocal is present
Problem: vocal lost in reverb
To keep the vocal present and avoid it being lost in the reverb, use a compressor on the reverb bus that is sidechained to the vocal. When the vocal plays, the reverb is momentarily reduced, creating space for the vocal.…
Use a FET compressor with a fast attack and release for reverb ducking
Problem: reverb ducking not responsive
When using a compressor on the reverb bus, a FET compressor with a fast attack and release is ideal for ducking the reverb when the vocal is present. This ensures that the reverb is quickly reduced and then released,…
Use subtle EQ dips to thin out chunky vocal sections
Problem: vocal sounds chunky or overly dense
When a vocal starts to sound overly dense or 'chunky', a small EQ dip can help thin it out without drastically altering the tone. This approach allows for a more natural and brighter vocal sound, reducing the need for…
Apply small touches of brightness throughout the vocal track
Problem: vocal lacks clarity or presence
Adding subtle brightness across the vocal track helps maintain clarity and presence without over-processing. This technique avoids the need for heavy EQ boosts later on, keeping the vocal natural and dynamic. It's a…