Vocal Edits - Tips * Trix

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Vocal Edits - Tips * Trix

Post by BLista » Tue Apr 25, 2006 11:09 am

Haven't seen a discussive thread in quite some time so I wondered if people wanted to share some tips on vocal editing.

Here's a one of my faves:

Get a section of vocal which is longer than a couple of seconds - maybe about 2 bars(8 beats) ideally.

Take it into your preferred wave edit software.

Reverse it.

Apply a Large hall/equivalent reverb(but cut all freqs in the reverb under 250hz) so that the tail is at least as long as the vocal. ( you can edit this down later)

Reverse it back, so that the verb tail is the start section and the vocal comes in after the swoosh of the reversed verby bit.

Dump it back in your sequencer. then:

Apply FX
When the reversed verb section is over and the actual voc section starts, apply a staggered gate(a nice freebie is the Novakill "killergate") for 4-6 beats of the clip (1/8ths works quite nicely, but whatever fits the mood of your tune), followed by a second instance of your gate plugin with a quicker gate setting(say, 16th) for the rest of the clip. THEN....

A nice simple ping-pong delay for the end section, kicking in on the very last beat

(automation required to sync all of these but it's a pretty quick process)

If you apply a phaser or similar to the start or end too, this works very nicely.

Alternate this in your tune with the phaser at the other end, and the fast gate switched with the slower gate.

For more fun, Automate a stereo widening plug to widen the overall clip as it progresses.

Hope that made sense.

Any more for any more?

I find Vocal editing really hard to come up with new ideas, so feel free to ramble!

8)
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Post by Walter Odington » Tue Apr 25, 2006 11:13 am

I just lather loads of mulit effects on ;)




How about creating four tracks and applying different effects to each. Then you can put different parts of the vocal on different effects in a really 'choppy' way.

Send all the tracks to a bus to apply something that unites them. ie have different distortions on the tracks, and then a group delay.
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Post by nectarios » Tue Apr 25, 2006 11:24 am

Find a shit hot singer, record a luch vocal, record more vocal lines to layer and spread over the stereo image, apply a touch of reverb with nice early reflections.
Job done.

I am sick and tired of chopped up/glitched out/drenched in effects vox. They've been done to death.
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Post by BLista » Tue Apr 25, 2006 11:34 am

nec wrote:Find a shit hot singer, record a luch vocal, record more vocal lines to layer and spread over the stereo image, apply a touch of reverb with nice early reflections.
Job done.

I am sick and tired of chopped up/glitched out/drenched in effects vox. They've been done to death.
I'm sick and tired of hearing vocals presented in the traditional way.

That has been done to death for many many more years, in every genre imaginable - hence my love of breaks.

However - if I could hear vocals such as the ones in Milke's "she said" every day, i'd never consider anything else again.

Both are winners, horses for courses etc etc.
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Post by Capo-wear-I » Tue Apr 25, 2006 11:48 am

We meet again Mr Lister!

Tips for semi-distorted vox :


Method one (quickest, least flexible):

Use an insert distortion plug in with a 'Wet-Dry' balance - turn the gain right up but use mainly the dry signal, with a bit of distortion for 'edge'. You may need a gate before the distortion to clean it up.

Method two (better, harder to set up):

If you haven't got a Wet/Dry distortion, use a standard plug in on a pre-fade Aux send - Ie use the disto as an auxilliary effect. This will sound shit and phasey unless your sequencer uses plugin delay compensation (I think most of 'em do now). turn the distortion upppp !
Mix a little big of the disto in with the original vocal signal by usin the disto's output contol. Use a pre-fade send so that the input to the disto does not change when you alter the original vocal level.

Method three (possibly best )

Make an exact copy of the vocal & stick it on a free track. this track will now be the 100 % distortion track. Edit out some of the silence or use a gate to avoid exessive noise between the words. Turn the gain uuppp. Mix a little bit in to taste. This method is cool because you can add a filter before the disto - sweep away for true maaaadness. You may need a touch of eq after the disto to tame the top (2k--->6k).

It's Great for half sung/ shouted punky funky stuff. It breaks all the rules about distortion (should be 100 % Wet) but sounds evil as F**K without making the voice sound like is coming from a transistor radio.

Not suitable for ballads.

Or Children.

Or possibly vocals.
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Post by afdafsf » Tue Apr 25, 2006 11:50 am

Cool ideas there, B-Lister.
Nice one, Ian.

Lately, I've been taking vocals and resynthesizing them using Chameleon - end up using that in a patch.... who knows what happens to it after that. I try to only do it with single words - and only when the word is at a single pitch.... otherwise, it gets too hard to make it in key with other sounds in the patch. Chameleon has 4 oscillators w/full on Vector synthesis, fyi. Haven't been able to fit any of this in a tune yet, so ?? if it's worth it in the long run - sure is fun though.

Out of all the production aspects, I feel I'm weakest when it comes to vocals - it still hasn't "hit me" yet.


cool thread - curious if anyone else will share some tips
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Post by BLista » Tue Apr 25, 2006 12:31 pm

nuskoolbreaks_head wrote:
Out of all the production aspects, I feel I'm weakest when it comes to vocals - it still hasn't "hit me" yet.
Ditto - and vocal work is the most instantly recognisable feature of many tunes, so is arguably up there amongst the most important.

I too hope we get lots of gems 8)
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Post by afdafsf » Tue Apr 25, 2006 12:44 pm

definitely, it can be the difference between someone remebering your tune or not


sucks but it's true

Obviously, some stuff doesn't need vocals, but imo - a well placed word, phrase, or theme can improve what was just another acid track or bass monster breaker, etc...

Something about deep prog/spacey breaks w/radio transmission vocals always gets me bigtime - sends me in a trance.... those guys don't do too much processing to those types of vocals usually.... most of the time, it's just verb or delay and filtering.

Sometimes, less is more.
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Post by scwiffy » Tue Apr 25, 2006 12:57 pm

Get a female vocalist shove your mic up her fence accident and turn on the phantom power.

Always works a treat.

And NSB_head is right,

"less is more" or is is "it sucks but its true"??

Either way, you'v always got your excite button on the de-esser
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Post by klarky » Tue Apr 25, 2006 12:59 pm

i thinks this needs to be edited into the faq as somepoint walt ;)

yeah ive used that reverse reverb thing a few times
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Post by hutson » Tue Apr 25, 2006 1:04 pm

With a good vocal...

Put your vocal on two tracks.

The first track will be uncompressed and muted.. it will serve as your reverb send.

The second track will contain the compressed/dynamically controlled version of your track.

The effect. as the compressor kicks in the vocal becomes compressed, but the reverb gets bigger..
in quiet parts the reverb gets smaller.

So what you get is... a big huge vocal in the rocking parts
and a very close and intimate vocal in the quieter parts.
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Post by BLista » Tue Apr 25, 2006 1:12 pm

hutson wrote:With a good vocal...

Put your vocal on two tracks.

The first track will be uncompressed and muted.. it will serve as your reverb send.

The second track will contain the compressed/dynamically controlled version of your track.

The effect. as the compressor kicks in the vocal becomes compressed, but the reverb gets bigger..
in quiet parts the reverb gets smaller.

So what you get is... a big huge vocal in the rocking parts
and a very close and intimate vocal in the quieter parts.
So the reverb will still work on a muted track? The principal makes sense but how do you get the untreated vox to activate the reverb plug, without the dry signal from the untreated vox coming through into your track?

I'm confused :?
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Post by scwiffy » Tue Apr 25, 2006 1:15 pm

^

Im confused to. Why not just stick with the old phantom power trick
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Post by TakeRecords » Tue Apr 25, 2006 1:27 pm

hutson wrote:With a good vocal...

Put your vocal on two tracks.

The first track will be uncompressed and muted.. it will serve as your reverb send.

The second track will contain the compressed/dynamically controlled version of your track.

The effect. as the compressor kicks in the vocal becomes compressed, but the reverb gets bigger..
in quiet parts the reverb gets smaller.

So what you get is... a big huge vocal in the rocking parts
and a very close and intimate vocal in the quieter parts.
another from www.mixingwithyourmind.com i believe...
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Post by TakeRecords » Tue Apr 25, 2006 1:32 pm

B-Lister wrote:
hutson wrote:With a good vocal...

Put your vocal on two tracks.

The first track will be uncompressed and muted.. it will serve as your reverb send.

The second track will contain the compressed/dynamically controlled version of your track.

The effect. as the compressor kicks in the vocal becomes compressed, but the reverb gets bigger..
in quiet parts the reverb gets smaller.

So what you get is... a big huge vocal in the rocking parts
and a very close and intimate vocal in the quieter parts.
So the reverb will still work on a muted track? The principal makes sense but how do you get the untreated vox to activate the reverb plug, without the dry signal from the untreated vox coming through into your track?

I'm confused :?
yeah as far as i am aware in all the amjor sequencers muting the track mutes the send too since the send is at the very end of the audio chain.

Hrrmmm thinking about it you could though set everything up the uncompressed track and send that to a group which is muted. Hold on though thinking about that i think muting the group will mute all the tracks going to the group.

hmmm maybe you just need to insert the reverb on the channel and set to 100% wet.
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Post by Splashmash » Tue Apr 25, 2006 1:51 pm

Just turn the vol down and set the sends to pre-fade.
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Post by Capo-wear-I » Tue Apr 25, 2006 2:01 pm

B-Lister wrote:
hutson wrote:With a good vocal...

Put your vocal on two tracks.

The first track will be uncompressed and muted.. it will serve as your reverb send.

The second track will contain the compressed/dynamically controlled version of your track.

The effect. as the compressor kicks in the vocal becomes compressed, but the reverb gets bigger..
in quiet parts the reverb gets smaller.

So what you get is... a big huge vocal in the rocking parts
and a very close and intimate vocal in the quieter parts.
So the reverb will still work on a muted track? The principal makes sense but how do you get the untreated vox to activate the reverb plug, without the dry signal from the untreated vox coming through into your track?

I'm confused :?

Use a PRE-fade Aux send to the reverb (most are usually set up to be POST fade) The reverb will still be sent despite the fader being on zero.

It's also useful to stick an a norrow hi cut eq eq on this track to remove some sibilance to the reverb (4k--6k) especially on female singers. This wont affect the main vocal track.
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Post by Capo-wear-I » Tue Apr 25, 2006 2:02 pm

^^^^^
Beat me to it Splashmash - I'll have to type faster
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Post by BLista » Tue Apr 25, 2006 2:06 pm

Ian-Capoeiratwin wrote:
B-Lister wrote:
hutson wrote:With a good vocal...

Put your vocal on two tracks.

The first track will be uncompressed and muted.. it will serve as your reverb send.

The second track will contain the compressed/dynamically controlled version of your track.

The effect. as the compressor kicks in the vocal becomes compressed, but the reverb gets bigger..
in quiet parts the reverb gets smaller.

So what you get is... a big huge vocal in the rocking parts
and a very close and intimate vocal in the quieter parts.
So the reverb will still work on a muted track? The principal makes sense but how do you get the untreated vox to activate the reverb plug, without the dry signal from the untreated vox coming through into your track?

I'm confused :?

Use a PRE-fade Aux send to the reverb (most are usually set up to be POST fade) The reverb will still be sent despite the fader being on zero.

It's also useful to stick an a norrow hi cut eq eq on this track to remove some sibilance to the reverb (4k--6k) especially on female singers. This wont affect the main vocal track.
cool - thanks fellas 8)

*edit
ooooh fuck!

This has given me some sterling ideas.....The possibilities are endless... I'm thinking vocal track with no vocals...subtle fx on pre fader verb for atmospherics.

Or replace the verb with a delay maybe...ooohh more arsing aorund this weekend!

That's the kind of shizzle i was after!!

Wicked
Last edited by BLista on Tue Apr 25, 2006 2:10 pm, edited 1 time in total.
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Post by scwiffy » Tue Apr 25, 2006 2:07 pm

Ian-Capoeiratwin wrote:
It's also useful to stick an a norrow hi cut eq eq on this track to remove some sibilance to the reverb (4k--6k) especially on female singers. This wont affect the main vocal track.
I use this on my VO tracks (a work). It really helps cut through the main body, allowing you to pump the volume on everything else and still have the segrigation that you need. - good tip.
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