10/3/2023 0 Comments Big vocals in cubase tutorialThis way, instead of isolating the sound with crossover points like in the C6, you'll be implementing parametric EQ curves. The F6 Dynamic EQ has 6 floating EQ bands that you can set to engage as each of their thresholds are crossed. The results will be somewhat similar, but the means of getting there are a bit different. So if your vocal is nice and forward, but occasionally gets just a bit too edgy in those upper mids, grab your C6, isolate the offensive band, and set the compressor to trigger right on the sections where the tone hops out of the speakers.Īlternatively, you can try a dynamic EQ to smooth things out. Regular multiband is a broader, more flexible use of the concept. Split band DeEssing is just multiband that is focused on the treble range and designed to act very quickly. Of course, we use multiband compression all the time in the form of a split band DeEsser. But if the vocalist is changing proximity to the mic, at times there will be too much low end that’s when we should reach for multiband processing. If there’s too much 1.5 kHz hanging out in the sound, regular EQ is the way to go. 'Multiband compression' can sometimes be a scare word, but it’s actually pretty easy to use if you just imagine it as something that balances out tonal inconsistency. This is where we reach for our power sander: the C6 multiband compressor. To the end listener, the vocal is nice and full and upfront, but then it’s suddenly leaping out of the record and is disconnected. The vocalist is chugging along all happy and such, and then suddenly belts a note with too much tension in the neck, leans into the mic, or hits a particularly sibilant consonant. The trickier part to keeping your vocals full and upfront is when there is inconsistent tonal buildup over time. A little attenuation in the right places can go a long way in smoothing the buildups and getting the vocal to sit back into the track, even while it’s loud in level. But there can be a little too much anywhere in the frequency spectrum for one reason or another. The usual culprits are room tone in the lower mids, and mic proximity buildup in the low end. Usually these frequency buildups will be fairly obvious. The mic, preamp, room, and voice itself are likely to lead to a few frequency bands in a few places that stack up. Odds are there are a couple specific bands of tone that are too built up this is a natural effect of recording a human voice in a physical space. One of the easiest ways to get huge vocals is to simply turn that vox channel up until it starts to “sit above” the music bed. Now let’s say the vocal was well-recorded. If you don’t, we’ll be talking about mix techniques to help compensate in a moment.Ģ. This presumes you have control over the recording. If you don’t have a ninja-warrior home setup, it may be worth renting out a great studio even if just for the vocals alone. However: the one place I would not want to do this is vocals. It’s possible to get away with cutting corners along any stretch of a production. Starting with a very full capture makes this process infinitely easier. I know this is a bit of non-advice but I really cannot stress this enough. There isn’t one grand secret to doing it, but there are a number of techniques which can be used in the right set of circumstances to make it happen. A big vocal sound is not necessarily easy to get. Either your client wanted it, or you wanted it for yourself. If you’re used to working in pop, rock, hip hop, EDM, even jazz, you’ve probably wanted that coveted “in your face” vocal sound. Regardless of the genre, learn to make them sound huge! Do you want your vocals to sound larger than life? Learn how to get your vocals to sound big, present, and in-your-face: whether you're working with a great recording or not.
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