Recording Vocals Part IV

Now that we have talked about some different techniques to record the vocal, from microphone selection to coaching the talent, I'd like to discuss some possible mixing techniques to bring out a vocal that may be buried in a mix.

Everyone has run into the problem before, I'm sure. You're going along with your mix and getting great sounding drums and guitars when you realize your vocal just isn't sitting in the mix where you want it. You can hear them, they just aren't the focal point that you want them to be.

There are a couple of things you can do to address this. One of them is to address the mix. It is sometimes hard, or even impossible, to bring up the level of a track that is not as present as you would like. In these situations remember that you can adjust the levels around the track you want affected. If the vocals aren't loud enough and you can't raise the level anymore than it is already, lower the surrounding instruments.

Now that you have a general mix that sounds good, you may need more work done on the vocals to help them stand out just a bit more. Next I would automate the vocal track and/or instrument tracks to raise or lower throughout the song to make sure that the focal point is where it needs to be. If there is a vocal break, for instance, you want the focal point to shift to one of the instrument tracks that takes over the melody.

Once I've effectively set levels and automate, an EQ on the vocal track often helps to give the track that extra push in presence. I start off with a High Pass Filter (HPF) that cuts out the low frequencies that are often not present in your vocal track and just introduce room noise to your recording. I then look for frequencies that are doing more harm than good. There is usually a small range of frequencies that give off a very nasally tone that is not desirable in your mix. I usually use a narrow bandwidth to address these problem frequencies. By cutting in these areas you can bring focus to your vocal track.


To then bring the track out in your mix, find the range that the vocal sits in and give it a slight boost. This range varies greatly from person to person, so use your ears and sweep the frequencies to find the right place to boost This will give the track more presence in your mix. Our ears are designed to pick up the frequency range of the voice and so any boost in this range allows the vocal to cut through the mix better.




The last thing I do is put a High Shelf EQ on the upper range of frequencies above the sibilance. This gives the track an airy quality that gives it brightness and a shimmering tone that I find pleasing.



I have included down below a sample recording showcasing these techniques to bring out the vocal in this track. By making these cuts and boosts and bringing down the levels of certain instrument tracks I was able to effectively bring out the vocal.


What are some techniques you use for EQing your vocal tracks? Do you like to primarily cut when you EQ or boost? Share some of your techniques and experiences in the comments below.

Recording Vocals Part III

So last week I talked to you about making the singer comfortable before you get started with the recording process. Here are some tips to make the recording go smoothly once you hit record.

Once you actually get rolling with the recording, be sure to talk to the singer. There is nothing more nerve-racking than being a vocalist by yourself in a quiet studio while the engineer and possibly the rest of the band are all in the control room. Even if you need a minute or two to set up a new track hold down the talk-back button and let them know, give them advice for the next take, let them know you're there.

If you are not getting the performance you are looking for, it is time to coach the talent. Do this in a constructive and productive manner. If you need to do another take don't just tell the singer: "Okay, we are just going to do another take of that verse". This gives the singer nothing to work with.. was the last take bad? Should they change something about the way they sang it? Were they out of tune in a section? These unanswered questions make the singer unsure of themselves and results in less than confident vocal performances.

Instead tell the singer things like: "You did a great job on the beginning of that verse, but it seemed like your energy was falling the further you went through. Try and keep that energy up all the way through, or we can try and break up the verse into two takes if that makes it easier." This gives the singer all the information, tells them how they can get a better performance, and gives them the option to control how they will perform the section.

Every singer is different and prefers different techniques. Some may want to get  in there and not mess around, while others want that personal touch to their experience. You can usually feel out what type of singer you've got in your initial conversation when they first arrive.

There will be one more part to the Recording Vocals series coming up where I will discuss techniques used during the mixing portion to bring vocals out in a mix that might be a little bit buried.

What are some experiences you have working with vocalists? Do you find vocals easier or harder to record than instrumentation, and why? Is there anything that I may have left out? Let me know in the comments below!

Recording Vocals Part II

So you have a singer in the studio, you've set up the microphones, tested them out to find out which one you are going to use for the recording, now what? Now you will focus on getting the best performance out of that singer. Hopefully, you will have an amazing and talented vocalist and your job will be easy. Often times this is not the case, however, and a little bit of coaching is needed.

This isn't to say that the vocalist is bad per say, they just maybe aren't used to being in a studio under pressure to perform at their best while the rest of the band and an engineer they possibly have never met before that day are all watching them. It can get stressful for just about anyone.

I have been in the studio on both sides, as the engineer and as the vocalist, so I will hopefully shed some light on ways to make your vocalist comfortable in their environment and ways to tactfully coach their performance.

First of all, make the singer feel comfortable from the onset of the session. Right when they get there talk to them, joke around, and let them know that it is a relaxed environment. If you are straight to business and talk about nothing but the recording then you are likely to make the singer feel more nervous about landing that perfect take.

Let them warm up their vocals in the room they are recording in. You may know that room like the back of your hand, but this is likely the first time the singer has been to your studio. Even though you may not think it has an effect, an unfamiliar environment can cause a singer to be uncomfortable and timid with their vocal performance.

Ask the singer how they prefer the room to be, whether that be standing, sitting, lights on, or lights dimmed. All of these things affect the comfort level of the singer and can bring out the best take possible from them. Ask them if they are comfortable with the entire band sitting in and listening while they record or if they would rather everyone except the engineer leave the control room.

Making sure your singer is comfortable is key to getting a good vocal performance. Take the time to get this right and you are likely to have a vocalist that chooses to record with you time and time again because you know how to make them feel comfortable during the recording process better than the other guy.

Next week I will be getting more into coaching the performance once the actual recording has begun. This requires it's own talent and finesse to accomplish.

What are some ways that you help make your artist feel comfortable? Have you been on the vocalist's side before? What are some things that helped you ease the nerves? Let me know in the comments.