just starts to be noticeably thin and then back the frequency down a little . The exact setting for the high-pass filter depends on the quality of the vocal sound . With certain singers , rolling the high-pass filter up to 300 Hz might be the best choice . Use your ears .
I ’ ve found that putting a 1- or 2-dB cut just above the high-pass filter cut-off point cleans up the vocal sound quite a bit .
If there ’ s a lack of clarity , try boosting slightly between 4 and 6 kHz . This range emphasizes clarity and understandability .
There are a wide variety of vocal types and sounds , so the sound operator needs to assess each vocal separately and adjust the EQ according to each specific vocal character and timbre .
See a video of this exact process : The Chad Hollister Band , “ Eyes ” from Telefunken ’ s Live from Lab Season 2 .
www . t-funk . com
SIMPLE DELAY A single slapback delay in time with the groove helps solidify the rhythmic feel . A slapback delay , panned center with the lead vocal , helps create a much more interesting sound without cluttering the mix . This technique has cycled in and out , depending on the decade and the genre . However , even if a subtle amount of delay is used , it can add a richness to the vocal sound without being perceived as an obvious slapback delay .
Try setting up two or three aux buses or effects sends to two or three different delays . This way , they ’ ll all be available at once , and you can pick and choose what to send to each delay and in what proportion . Restraint and musical taste are necessary to keep from overusing delay , but it ’ s convenient when multiple delays are available . When I set up a mix , I often set each delay to a different subdivision of the tempo ; I usually use quarter-note and eighth-note delays and sometimes a dotted eighth or triplet delay .
Delays , such as reverberation effects , are most efficiently used when an aux bus feeds the effect and the outputs of the effect return to dedicated effects returns or to two available mix channels . That way the reverb or delay is available for any appropriate channel of the mix .
A very good use for a simple delay involves turning the delay up during a long note . This works particularly well on slow songs or ballads . While the singer holds out a long note , simply turn the delay up underneath the vocal track . This causes a rich , almost chorus-like sound . Just turn the delay up enough to enhance the sound but don ’ t turn it up so much that the effect is obvious . This type of effect makes the singer sound better , but it ’ s never intended to get in the way and call attention to the effect . You should avoid giving the audience a reason to think , “ Wow , that sound operator is really going wild with the effects on this one !”
See a video of this exact process : The Chad Hollister Band , “ Eyes ” from Telefunken ’ s Live from Lab Season 2 .
www . t- funk . com
ADD BACKING VOCALS Background vocals often include the same kinds of effects as the lead vocal , but to a differing degree . Frequently , there ’ s more effect on the backing vocals than the lead vocal . If the lead vocal has less reverb and delay , it ’ ll sound closer and more intimate than the backing vocals , giving it a more prominent space in mix .
These choices are purely musical . For the performance to come across as authentic and believable , the sound operator must do some stylistic homework . To gain insights about the mix , listen to some highly regarded recordings in the same style as the music you ’ re mixing .
Backing vocals don ’ t usually need to be thick in the low end , so I ’ ll roll the lows off between 100 and 150 Hz or higher . They should support the lead vocal without covering it . If the parts are well written , background vocals should nearly mix themselves . Well-written parts fill the holes between the lead vocal lines without distracting from the emotion and message of the lyrics ; they also support the lead vocal on the key phrases of the verse or chorus while offering a musical and textural contrast . There ’ s an art to writing good backing vocal parts that are easy to sing , make musical sense , and aren ’ t trite .
COMPRESSING THE BGV GROUP If you are mixing a group of backing vocals , try routing all of the BGVs to a stereo aux and inserting a stereo compressor on the entire group . Develop a good blend of the backing vocals , pan them appropriately across the stereo panorama , and equalize each part for the best possible sound . When the group sounds good without compression , patch the stereo sub-mix of the vocals through a highquality stereo compressor .
A vocal group that is compressed together typically sounds much more blended and unified . Deciding whether to compress the vocal group is a creative decision that affects the musical feel . There are many applications in which the backing vocals should maintain a greater degree of transparency and individuality , so compression might not be appropriate . However , when you want to develop a backing vocal sound that is tight , consistent , blended , and supportive , compression is very effective .
Important note : Compressing the backing vocal mics could decrease the amount of gain before feedback , so be careful not to compress too heavily . A typical backing vocal compressor would be set in the following way :
• Set the ratio between 4:1 and 7:1 .
• Select a medium-fast attack and release .
• Adjust the threshold for a maximum gain