So here's my setup for vocals. tell me what to do to get good sounding vox:
I use this for a mic: MXL 909
This for a preamp: Presonus TubePRE
And this for a compressor: Behringer Composer PRO-XL
FAO: James or anyone else
Moderated By: mods
-
JamesSmann
- .
- Posts: 11873
- Joined: Thu Apr 20, 2006 10:15 pm
Are you recording to COMPUTER?
If so, just use a software compressor.
If you really want to use the outboard compressor, you can use it a little while tracking, but don't do anything too drastic. Sometimes its good to use as a limiter to keep your gear from overloading, but still get a really hot signal.
I always high-pass vocals to about 200 or 250 depending on if I need that much low end.
Usually there is "mud" to be found in the low-mids, sweep around and cut it out.
I'm usually doing live tracks so I have to heavily compress the vocals due to the singer moving around the mic a lot.
This works well for a standard modern "in ur face" sounding rock mix or whatever.
If your gonna use lots of compression, make sure you track those vocals with NOTHING ELSE, the more you comp, the more your gonna hear.
Also, you might want to slap a de-esser after heavy compression if you feel like it. May work good, may not.
Personally, I like to cut out silence between phrases if I'm doing a studio sounding mix, but if you do it live, sometimes this can fuck with the balance of the instruments due to bleed. Especially on the drummer's vocal mic that picks up every goddamned thing ever.
If so, just use a software compressor.
If you really want to use the outboard compressor, you can use it a little while tracking, but don't do anything too drastic. Sometimes its good to use as a limiter to keep your gear from overloading, but still get a really hot signal.
I always high-pass vocals to about 200 or 250 depending on if I need that much low end.
Usually there is "mud" to be found in the low-mids, sweep around and cut it out.
I'm usually doing live tracks so I have to heavily compress the vocals due to the singer moving around the mic a lot.
This works well for a standard modern "in ur face" sounding rock mix or whatever.
If your gonna use lots of compression, make sure you track those vocals with NOTHING ELSE, the more you comp, the more your gonna hear.
Also, you might want to slap a de-esser after heavy compression if you feel like it. May work good, may not.
Personally, I like to cut out silence between phrases if I'm doing a studio sounding mix, but if you do it live, sometimes this can fuck with the balance of the instruments due to bleed. Especially on the drummer's vocal mic that picks up every goddamned thing ever.
-
Ninja Mike 808
- .
- Posts: 1643
- Joined: Mon Jan 14, 2008 10:06 pm
- Location: DFW
- Contact:
I'm not gonna say you can't get a good sound out of it, I'm just gonna list my preference.
MXL is great for starting out, but always sounds limited.
Presonus is pretty awesome (usually).
I hate Behringer with a passion.
If you want, start by getting a better compressor. There's a couple that are widely seen as the best ever or the industry standard, yada yada.
LA-2A
1176
They're pricey, but they're engineer lovesexawesomeness.
You could also upgrade your mic. If I were you I wouldn't get a tube mic, since you have the tube pre, and too much tube action can get annoying...
You might try a mic shootout. Just try a bunch of dif. mics out on a subject (guitar cab, person, acoustic, drums) and then decide which you like better. There's no rules to what we do, only guidelines.
MXL is great for starting out, but always sounds limited.
Presonus is pretty awesome (usually).
I hate Behringer with a passion.
If you want, start by getting a better compressor. There's a couple that are widely seen as the best ever or the industry standard, yada yada.
LA-2A
1176
They're pricey, but they're engineer lovesexawesomeness.
You could also upgrade your mic. If I were you I wouldn't get a tube mic, since you have the tube pre, and too much tube action can get annoying...
You might try a mic shootout. Just try a bunch of dif. mics out on a subject (guitar cab, person, acoustic, drums) and then decide which you like better. There's no rules to what we do, only guidelines.
-
More Cowbell
- .
- Posts: 6206
- Joined: Thu Apr 20, 2006 3:31 am
- Location: Jefferson, GA
-
JamesSmann
- .
- Posts: 11873
- Joined: Thu Apr 20, 2006 10:15 pm
I haven't had a chance to put your suggestions into effect yet! but as soon as i do, i'll let you guys know. i appreciate all your input, cowbell, did my perspectives on your issue help at all? if i didn't have to work today, i'd be doing nothing but working on this issue. cowbell makes me hot with his science laden PMS.More Cowbell wrote:ST.JIMMAY GIVE UPDATE.
-
More Cowbell
- .
- Posts: 6206
- Joined: Thu Apr 20, 2006 3:31 am
- Location: Jefferson, GA
-
JamesSmann
- .
- Posts: 11873
- Joined: Thu Apr 20, 2006 10:15 pm
-
JamesSmann
- .
- Posts: 11873
- Joined: Thu Apr 20, 2006 10:15 pm
-
More Cowbell
- .
- Posts: 6206
- Joined: Thu Apr 20, 2006 3:31 am
- Location: Jefferson, GA
prolly the best advice. but I usually cut out 120hz, and sweep the low mids searching for shit and then drop it out a bit.Sloan wrote: I always high-pass vocals to about 200 or 250 depending on if I need that much low end.
Usually there is "mud" to be found in the low-mids, sweep around and cut it out.
-
Ninja Mike 808
- .
- Posts: 1643
- Joined: Mon Jan 14, 2008 10:06 pm
- Location: DFW
- Contact:
Cut mid mids and boost low treble. You could also cut hi mids, too. I personally cut the fuck out of all mids.St. Jimmy wrote:Cowy! You da man dood! I'm not 100% with it, because obviously your gear is different than mine, but the suggestions you gave me are a really great ballpark to play in. the vocals already sound a million times better.
Anyone have any tips for good eq'ing of vox?
I just mixed my record so frequencies are still fresh in my brain.
The best way is to know which frequencies affect what part of the voice.
Sibilence is going to be found at around 5K and up. (Ess sounds, Kuh sounds etc.)
2.5K is a good place to add a little bit of mid presence to the voice. it will cut through better in a rock mix.
150-300 is about the lowest part of a voice. There's not much from 20 - 150 that is audible in the mix.
Don't cut too much of the 150-300 area.
don't cut or add more than 3 or 4 DB's to the voice, if you have to to compensate for the rest of your mix being bright. your mix is too bright.
The best way is to know which frequencies affect what part of the voice.
Sibilence is going to be found at around 5K and up. (Ess sounds, Kuh sounds etc.)
2.5K is a good place to add a little bit of mid presence to the voice. it will cut through better in a rock mix.
150-300 is about the lowest part of a voice. There's not much from 20 - 150 that is audible in the mix.
Don't cut too much of the 150-300 area.
don't cut or add more than 3 or 4 DB's to the voice, if you have to to compensate for the rest of your mix being bright. your mix is too bright.