Complete Vocal Processing Tutorial 2020

in this video i'm going to be giving you my complete vocal processing tutorial for 2020 [Music] hi folks i'm mike and i hope you will many people ask me all the time about vocal processing so in today's video i'm going to be giving you my complete vocal processing tutorial the way i'm doing things in 2020 now a couple of quick disclaimers before we get stuck in i'll be using cakewalk by bandlab but if you're using a different door it doesn't matter at all the principles are exactly the same even if a couple of the details are different stick around you're still going to get a lot out of this video next i'd like to mention that this is my personal method currently it has evolved over time and i expect it to evolve in the future now if you're a beginner you may like to almost copy what i'm doing and use it as a starting point but then adapt it to your own likes and needs now if you're already experienced in vocal processing you may just use this as some inspiration to try some new things out that you haven't tried before now before we get stuck in i'd like to have a chat about one of the most important considerations that affects what we do with our processing so let's talk about the source i reckon the combination of the room and the microphone you're using will have the biggest effect on how hard you have to work in processing your vocal the room is a really big thing if you've ever been in an empty house or an empty room and then move furniture in you'll know there's a big difference in sound so you can do a lot even if you can't afford professional room treatment to improve the sound of your room with things like soft furnishings or things like bookshelves experiment with those things you're not going to get an ideal situation but you can improve things you can even try taking your microphone into a closet with lots of clothes in there lots of people try that and they reckon they get good results experiment and see what you can do with what you've got if you can't afford the professional room treatment now the microphone a lot of you will have gone out and bought condenser microphones for recording something like this the wa87r2 i've been using this recently this is by no means a cheap microphone but it is really great quality what i find with good quality microphones is you have to work a lot less hard in the processing to get a good sound out of them now for many years i've used the rode nt1a this is a very popular microphone and i really like its crisp top end that works well for my voice but it doesn't work well for all voices so you may need to try different microphones as well to suit your voice for example this at2020 not particularly lucky model number anymore i must admit but this is a really great microphone for under a hundred dollars get great results from this on female vocals particularly this is something susie my partner uses all the time so don't discount some of the cheaper microphones experiment and see what works for you now with condenser microphones they're really sensitive so if you don't have great room treatment they can be affected more by that so you may choose to use something like a dynamic microphone now if you're a working musician you may well have something like this kicking around this is a short sm58 this has been around for years and years decades in fact and it can make a decent recording microphone a really good one in fact now what's going to happen with this is it's going to pick up a lot more of the vocal and a lot less of the room so if you've got lots of reflections this is going to pick them up less you're going to have to work less to get rid of those however i do find that you have to work a little bit harder with that vocal source to make it sound well nice and crisp the way a condenser microphone does so that's just consideration definitely worth trying also recently i've been using this the shaw mv7 a new one on the market very similar to their sm7b a lot cheaper in fact and i've been recording some songs with this i think it sounds great this is a dynamic microphone as well so definitely consider different microphones and mess around with your room and get some good results from the recording before you start processing so now that i've recorded the vocal this is the time i like to do some tidying up before i actually add any plugins at all now this may be simple things like getting rid of any unwanted sort of noises at the beginning in the ends of recordings especially so i generally like to top and tail my clip so i'll just drag the end in there at the beginning to get rid of any unwanted silence at the beginning there's usually in most cases a lot of unwanted silence at the end and typically people will be shuffling in their chairs at this point or starting to talk before we've hit the stop button so just make sure you get rid of things like that and of course if there's any unwanted noises in the middle of the performance you can get rid of those at this time as well now the next and probably the most important thing i do at this stage in my opinion is look at the waveform in terms of volume now especially in contemporary music we're looking to keep the lead vocal kind of on top of the mix or present if you like in the mix now a lot of people think we just do this with compression alone and we're definitely going to use compression later but i think there's multiple stages in making sure that our vocal remains present and this is the first one so i'm looking out for anything in the waveform here which looks extraordinarily quiet or is poking out is way too loud now this may be for example just this little section here that may be too quiet i may want to adjust that on a little further on this part may be too loud now i'm using my eyes at the moment but i don't just use my eyes before i really make any changes i'll tend to give it a listen so let's start from back here and we'll listen just to the this little phrase or whatever that sound is there to see is it too quiet in actual facts let's have a listen i'm trying to figure out how to fill your couple okay so in this case i wouldn't make any changes to that because that kind of little o is an expression in the song and it's meant to be a little bit quieter than everything else so i don't think i'll be messing with that because that's part of the dynamics let's have a listen to this little section here is this actually too loud i'll go back and have a listen [Music] fill your again that's what we do okay maybe that is just a little bit too loud this is up to your discretion i would probably do a little bit of adjustment to this section here now it's going to depend from door to door how you actually do this but look for things like clip gain adjustment all of that kind of stuff where you're actually changing the volume at the clip level by not using a fader or a plug-in or anything like that so here in cakewalk what i'll do is go over to the left-hand side here and hit where it says clips i'll just get this little pop drop down here and i'll go down to clip automation and i'll go to gain so that we're showing gain clip automation now in cape walk again i'm going to hold ctrl and press the arrow keys to zoom in so i can see what i'm doing i'm just going to start off by adding some nodes either side here and i'm going to be focusing on these parts here which are a little bit loud in my opinion potentially and i'll just put a node either side of that like so and then i'll go in and i'll select both of those so both of them are selected and i'll start to drag down like so actually i should have put another node there just to keep these ones intact okay so now those are definitely a lot more quiet if i zoom back out again you'll see that they're much more consistent with the rest of the performance i'll just give it a listen i'm trying to figure out how to fill your couple that's what we do okay that sounds really good at the moment now this may seem rather laborious to you it can typically take a good half an hour to go through a vocal track and get rid of anything which is really poking out um but i promise you it's worth it okay i know you know we're not looking for quick results here necessarily so much as a good result okay so spend a little bit of time on this and you'll save yourself having to do everything later on especially with compression which can be much more difficult with things like this now the last part of preparation i would do before i start adding plugins here is if i'm going to be doing any anything to the picture at all in other words if i'm going to be using something like melodyne to do pitch correction i would do it at this point now as it happens with this particular song i'm not going to be doing that and in any case melodyne is a whole tutorial in itself and i do have some tutorials about melodyne so check those out in the description but just to mention if you are doing pitch correction do it early before you start doing anything with plugins so as we work through this process we're going to want to make sure that we monitor and maintain a good healthy level of gain now this is called gain staging and i've made tutorials about this in the past i'll put some links for those in the description down below because i'm not going to be going into too much detail today i'm just going to be more focused on how we apply it to this particular vocal track now this is about gain rather than volume remember so the overall volume of the track that how loud it is in the end is controlled with the fader here okay but remember even if we have this fader all the way down there's still a signal up here further in the chain where the effects are inserted and those effects are receiving that signal okay and it's that level of signal that we're interested in because some plugins react much better if you have a more healthy signal level going through we'll talk about that a little bit later now the main plug-in which i'm going to be using here is this one it's called insight from izotope but you don't have to use this particular plug-in it's a metering plug-in and there are lots of metering plugins available outside of this one and because it doesn't make any actual difference to the sound it's more the convenience of metering um then it doesn't matter too much which one that you use now if you want a free alternative to this then i would suggest span from voxengo okay i also used to use this a lot in the past but i just happen to find the insight gives me what i want in a much more simple way much more quickly okay we'll get on to that in a moment now the important things to remember here is insert this metering plugin into your master bus you can see on the right hand side here i've got to insert into my master bus why have i got it inserted there rather than on my vocal channel over here well the reason is actually in reality i'm going to be doing gain staging on all of my tracks there's no point if i've got 60 tracks and putting 60 metering plugins when i'm only going to be listening to one track at a time for gain staging so instead what we do is we put this in the master bus and then when we want to gain stage attract we solo it so we make sure that that's the only thing that we can hear and it's the only thing going through to this metering plug-in okay now the other thing that you want to do if you do have this fader in a different position is make sure that we do have that fader up to zero okay i'll just double click on it there in cape walk to get it up to zero that's just to make sure that um we're not affecting the signal before it goes over to that master bus okay so we want to get nice accurate monitoring of our game so now that i've done that i'm actually going to play my track and i'm looking for two important metering things the first thing is the peak value i like to get a peak value of around about minus 12 db that would be down here but much more important than that is the average value this is for vocals not necessarily for other instruments what's important for vocals in my opinion is the average value the rms i like that to be around about minus 18. it's going to be around about here okay now those two things are not always or often even going to be right exactly the same time you may get it at minus 18 rms and it may be peaking at -6 or something that's fine in this case i would focus on the rms but if you do happen to be peaking right up at 0 or even above then you're going to have to sacrifice the rms and push down your gain a little bit now in order to in order to control the gain here in cake walk they make it easy at the top of the channel you've just got this gain control here now in other doors it may be called trim or you may have to insert a plug-in to do that i know we used to have to do that in studio one we used to have to put the mix tool in but we don't have to anymore so you just have to check with your particular door how you actually control the gain at the beginning of the chain so i'm going to play this song or or a part of this song and i'm just going to see what i'm getting at the moment you've taken my heart and you give it up i'm trying to figure out how to fill your couple so you can see it actually did peak at around about -12 there and if we play again you've taken my heart and you give it up i'm trying to figure out how to fill your couple okay the rms seems to be around about sort of minus 20 minus 22. so i could just push this up just a little bit okay maybe a couple of db and i'll try again you've taken my heart and you give it up i'm trying to figure out how to feel you that's fine we've got to remember with this the most important thing you don't have to be surgical don't take these values i'm giving you and be absolutely precise about them it's just a rough guide now as we go into some of these plugins especially analog style plugins which are based on old analog equipment that level is probably going to make them respond a lot better okay so that's all we need to do at this stage this is something that you should be monitoring throughout the process so although you may not see me do it in this video you want to check this from time to time probably after you add and set up each plugin so these days the first plugin i like to insert is a preamp plugin and i really love this pre-tried a from arturia i also sometimes use their pre-1973 which you can see on the screen now but around about 70 of the time i do prefer the pre-tried a i just love the sound of this plug-in now it's got two main purposes here firstly i use it as a simple eq to tidy up some things which i don't like the sound of and secondly because this is based on old analog gear it does add a little bit of analog color and character to the sound which i really love and it's the main reason why i use this particular plugin now some of you may feel a little bit intimidated by this kind of interface especially if you've never used an old console or old analog equipment the the basic way that you use it here is to select a frequency with the various knobs and then use the corresponding fader to increase or decrease that frequency range now if you haven't done a lot of recording or engineering you may not be familiar with the different frequency ranges and how they sound and you'd probably find it much easier to use a plug-in like this this is nova from tokyo dawn records this has a much more graphical interface you can move your frequencies around you can increase or decrease them it has a solo feature so that you can listen to that particular frequency um and identify you know what you're hearing and in this case finding out what you don't like and then decreasing it so the only problem with these types of or this style of uh eq sometimes is they don't add that character and as i say i particularly love the character that the pre tried a ads so what i'm suggesting as a bit of a hack if you're not used to using these kind of plugins is kind of use them together so use something like nova to identify the frequencies that you want to change just as a bit of a helper so in this case i've heard that around about 500 hertz i don't like the sound of what's going on there that was kind of a nasally sound um and then all you need to do is kind of roughly translate that over to something like pre-tried a find that frequency and then adjust it accordingly after a while you should get used to the different frequency ranges and you won't have to mess around with that anymore just make sure that you don't apply them both at the same time you want to switch between the two so apart from adjusting that little area there and decreasing it i've also done as you can see a high pass filter here now i always use a higher pass filter at the beginning of my chains to get rid of any kind of low frequencies that i really don't need sometimes they're there but you can't really hear them and they do affect the uh plug-ins further down the chain especially things like sort of dynamics plug-ins like compressors okay so i like to tidy that up and get rid of anything which is there which we don't really need so i found with this particular recording and it changed from one voice to another that around about a hundred hertz there i could cut it off without really changing the sound of the vocal at all so that's a nice tidy up there so i've applied that over here in pre-tri-day by just clicking in that hundred hertz switch there for the high pass filter by the way if you don't know sometimes these are called low cut filters rather than high pass it's the same thing with different naming now the last thing i want to say is this although i normally get away with just using this plug-in sometimes it may not be surgical enough meaning there may be some very specific things that you want to get rid of at this stage and remember we are just getting rid of things we're not enhancing anything we're finding frequencies which we don't like the sound of and then we're reducing them so you know i may found us my sometimes find a kind of a boxy sound up here i'll switch that on so maybe up here there may be a bit of a boxy sound in the vocals and i may want to reduce that and if i don't want to affect too much around it i may adjust the q like so to really get a narrow little notch out there okay so that's going to be something which you may not be able to do very easily using something like the pre-tried a so you can also use a combination of the two use the pre-tried a to add a little bit of character and then if you want to get surgical with things use something like this free nova eq here to get surgical and make small changes detailed changes to your vocal sound by the way are you finding this video useful if you are go ahead and hit the like button for me do it right away so that you don't forget also if you do like this kind of content make sure you subscribe and ring the bell on youtube so that you're notified about my other videos now back to this video so in this step i like to enhance frequencies that i do like the sound of now i especially and almost always find that i'm trying to add a little bit right in the high end perhaps a high shelf to add a little bit of sparkle or airiness to a vocal but instead of doing that with a traditional eq plug-in i like to use this t-rex tape machine 80 plug-in we're mimicking the real world a little bit here by starting off with the preamp as we did in the previous step and then it would go through a console and then through to a tape machine now when i say the real world i mean the real world 40 years ago and by doing that we're adding similar sort of characteristics to the sound now as i say this is going to just add a little bit of sparkle to the top end by me controlling this little control here which is the high frequency eq now i'm going to do a bit of a before and after for you so you'll see me switching it off and on over here on the right i'm just going to play a little bit of the track and then switch on you'll hear the difference you've taken my heart and you give it up you've taken my heart and you give it up you've taken my heart and you give it up you've taken my heart and you give it up now as i say because i'm using this tape machine plug-in it does enhance it a little bit in terms of a little bit of tape warmth now you could also enhance things using an eq and again i'm going to show you my favorite free eq which is this nova here so in this case if we wanted to add that high shelf and we didn't use a tape machine plug-in we might add it in in this kind of a way and you also may find frequencies as well somewhere else that you like the sound of or that make the vocal stand out a little bit more in the mix and i should say at this point i'm doing all of this with the vocal soloed but you should always check things in the context of the other instruments as well so at this stage i like to add my compressor now i love using this fat 76 from arturia which is of course modeled upon the most famous of compressors to be used on vocals and it does a great job now i'm using it here fairly sparingly and i'm just using it to control some of the transients meaning those things which are just momentarily a little bit louder than the rest of the audio i don't want to get rid of them because that's a part of a vocal and a part of the character of the human voice but i just want to control them so that they're not accentuated too much so i've got my ratio set down really low just set to four here so even when the compressor does kick in it's not doing too much to the signal i've got the attack up fairly fast so it does sort of grab those transients as soon as they happen and i've got my release set fairly fast as well so it doesn't release sort of too late and hang in there and sort of destroy the rest of the vocal now with this kind of compressor we actually use the input control as the threshold control so we determine um at which point the compressor is going to kick in by adjusting the input of course when we adjust the input on on something like this we're making it sound louder or making it sound quieter when we when we put it down and that's going to change the overall volume of our signal so we then need to adjust the output accordingly and as you can see here it's got this link feature on this particular plugin which i really love so it's doing that automatically for me so as i make things louder with the input it's compensating by adjusting the output so you don't really hear a difference in the volume level when you adjust this now but you will make a difference to where the compression happens now i've got it compressed around about here just above 32 there or sorry just below 32 i should say and when i play the track you're going to see that not much happens it's only occasionally that the compressor kicks in control some of those slightly louder parts which poke out above the rest of the vocal let's have a listen you've taken my heart and you give it up i'm trying to figure out how to fill your couple that's what we do so you'll see there with the needle that even when the compressor does kick in it's not doing much more than about 1 db of compression there so it's fairly gentle now a couple of important things here i'm using this compressor after i've done some eq remember i basically used this preamp and the tape machine as eqs even though they were adding a little bit of sort of analog character as well then i'm going into my compressor so i'd advise that if you're going to go eq and then compressor have your compressor there and switch on and basically set up while you're doing your eq and that's because sometimes a compressor will accentuate certain frequencies and you want to be able to hear that right away as you're adjusting your eq's further back down the chain now some people use the compressor first and then use eq afterwards that's absolutely fine if you want to do it that way around you just have to find out what works best for you now the last thing i want to say about compressors on the vocal chain here is you don't have to use a compressor let me say that again you don't have to use a compressor we talk about them a lot and a lot of music you do use them because you've got vocals existing with a lot of other instruments and you want to make sure they stay present however when you're using when you've got much more sparse tracks or different genres perhaps like acoustic genres maybe even jasmine like that you tend to use compressors a lot more sparingly or maybe not at all depending on the song so you just need to use your ears and if you hear something you think hey i need to compress that then use a compressor if you don't hear anything that you need to adjust don't use a compressor you don't have to so the next thing i like to add is a de-esser and i prefer to use this t-rex de-esser from ik multimedia love the controls love the way it works but you can use any dsm more or less they all do a similar job now the part that we're working on here has a couple of s sounds in it which really poke out and we want to control them let's just have a quick listen to it before we make any adjustments you never really see what you see in me those can get really irritating especially when you do become aware of them so we want to control them so i'll switch on my de-esser here now i've already made the changes here but i just want to talk through what i've done first of all i like to use the feature on this which is the listen mode so i just listen to the s sounds that we're getting rid of and i don't hear the rest of the vocal let's have a listen so we're just hearing those parts and we're just making sure that those are basically the only parts that we're capturing now a part of making sure that you're only capturing those is selecting the right frequency range now that can vary from one vocal to another by all means go ahead and use a preset like i did here female ds to get in the ballpark but you're going to need to listen and hear where that particular vocal has its sounds mostly okay now the other thing that i've adjusted here is how much i'm reducing it by i've actually got this control adjusting it quite a lot so it's really clamping down on those s's but i wouldn't but look at the controls so much as listing listen to the result which i'm getting and i'm pretty happy with where it is down there there's a few other controls not too important those are the main ones so then i'll switch it back to the normal mode and i'm going to start off by bypassing it let you have a listen and then i'll switch on and you can hear what effect it's having you never really say what you see in me with an on you never really say what you see in me so it hasn't got rid of the s's but it is controlling them that's what we're trying to achieve at this time so the next thing i do is some parallel compression and you can see here that again i've used the t-racks black 76 compressor but you could use just about any compressor you like here to get this effect now rather than insert it into my main effects chain here in my vocal channel i've actually created another bus and placed it there so i'll show you that other bus now we send the signal as a send from our main vocal here through to that bus we send it through so it's set to zero so it's sending the full signal through and i like to have this post or pre-switch switched over so that it isn't being affected by this fader at all so we're sending a pre-fader signal here okay now the switch can be different depending on the door but you almost always have this feature this means that i'll get this consistent signal going through no matter what level i have set here on this fader so i've got it going through to this compressor but the eagle light amongst you will notice that there's actually another plug-in just before the compressor here and that again is tokyo dawn's nova plug-in now what i'm doing with this is controlling what frequency range goes through to the compressor so i don't want anything in the low frequencies to go through there and be compressed and i don't want anything up in those airy high frequencies to go through just a middle range so i've set it here so i'm doing a high pass filter around about 140 hertz you don't have to be too precise just roughly in that range and at the top i'm doing a low pass filter around about eight or nine hertz there okay so i've only got the middle part of my vocal going through to my compressor now when we do go through to this compressor everything is set very extreme so let's start off with the ratio i've got it set to 20 here 20 to 1 so it's really clamping down and everything almost like a limiter really it's not letting anything through at all once it goes above the threshold i've got the attack set really really high and i've got the release set high as well so you'll see that when i play this vocal if you watch the needle whenever susie's singing pretty much it's compressing when she's not seeing it goes back to normal let's have a listen you never really say what you see in me but you say the right words for the things you need okay so even though i've got really extreme settings you're not hearing anything really extreme right and that's because the fader for this channel is set down really really low and i've just blended it in with the original vocal a little bit let's just have a listen for just for fun to see what's happening it sounds awful but i'll let you hear anyway so i'm going to turn the fader down for the main vocal and let's just have a listen to see what's happening with this compression you never really say what you see in me but you say the right words for the things you need so that sounds really awful it may sound great depending on the music but with this particular music you wouldn't want the vocal sounding like that but as i say the trick is that it's blended in just a little bit with the main vocals so what i do once i've set this up is i set the fader all the way down to the bottom then i play the song and i gradually push this fader up until i hear the difference and then i pull back a little from there so let's have a listen you never really say what you see in me but you say the right words for the things you need that's what you do now it's not unusual for more sort of up-tempo or louder songs for me to have that just a little bit above that but for this particular song i want to sound pretty natural this is just going to help to thicken up the vocal a bit and just to assist again in keeping that vocal present in the mix now the last little part of this parallel compression jigsaw is the routing because i've got another uh bus here which i didn't tell you about so i'll go and open that one so you can see it this is my main lead vocals master bus this is where i actually adjust the level of the vocal from i don't actually use this first fader i'll just leave that at zero when i'm doing my mixing here i'll actually be using this fader now the way i've got this routed is as we said earlier there's a send from that main vocal through to the compression the parallel compression okay but the actual sound of the main vocal at the bottom goes through to this bus here now remember as we say we've gone through to this compressor now once this compressor is sort of finished it also goes through to this bus here in other words they're blended or mixed together so when i then finally do my mix with my vocal and i'm adjusting it compared to the rest of the mix i'll be adjusting these two in balance with each other so i won't end up hearing too much of this parallel compression and too little of the main vocal for example so it's very important thinking about that kind of routing when you're doing this kind of thing so the next thing i like to do is add some space to the vocal with a combination of delay and reverb now for many years i only use reverb but there's a little bit of a problem with it in the sense that um it can make things sound further away and you really are often trying to keep that vocal present so too much reverb can make things sound further away but you do want to make the vocal sound like it's existing in some kind of space so what i do now is do a little bit of delay before the reverb so i'm just going to show you that now as you can see from that main bus that i created i do a send to a delay then to the re verb now which root site then to the delay so which delay am i using i like to use this uh delay intensity from arturia it's a stereo delay but you could use just any delay which you like to use now the important things are here that i'm using in stereo and i've got the left and the right channels set slightly different but they're both set to a fairly short time okay so it's a uh this one's 20 sorry 33 milliseconds and the one on the right here is set to 21 milliseconds and importantly the feedback down here is set all the way down to zero so there's just one repeat once in the left channel once in the right channel so we started off with the vocal sounding like this without the delay you never really say what you see in me but you say the right words for the things you need and then when we add that delay and it's subtle let's have a listen you never really say what you see in me but you say the right words for the things you need okay so that as i say is being sent from that main bus where we have our vocals going through this time i've got it set so it is affected by the fader that means that as we uh maybe move the volume of the vocal up and down in the mix the amount of signal being sent to the delay will be less and therefore the effect of that delay will be less now of course the next thing i do is go to a reverb so i'll switch that on now and we'll have a look at which one i'm using there so i'm actually using rev intensity from arturia again i'll zoom on this a little bit this is one of my favorite plugins ever i've got to say i use it a lot i've got this set up to a fairly large kind of room size actually at the moment and most importantly what i do with all of my reverbs is filter out the bottom end so i've got a high pass filter switch on here and i've got the frequency here set to around about 300 or so hertz so i'm getting rid of anything from the bottom end so i'm only sending those higher frequencies through to the reverb and it's going to sound like this once i've got this reverb switched on have a listen you never really say what you see in me but you say the right words for the things you need so although i've got that big kind of reverb going on which sounds really nice on the tail end of some of the uh phrases we're not really sort of destroying the main vocal and making it sound ever so wet it's still managing to stay present so that is kind of everything in terms of the main effects for the vocal let's just have a quick listen with everything applied you never really say what you see in me but you say the right words for the things you need that's what you do now before we finish and think we're done there's one last step that i want to mention even though i'm not going to show you exactly how to do it but the final step which is really important for vocal processing is automation now automation is really important for all kinds of parts of the mixing process but i think it's especially important for the main vocals to make sure they're keeping present throughout the song as things get louder in the background or as things get quieter in the background making sure that the main vocal is at an appropriate level now as i mentioned earlier i'm actually controlling the the main volume of my vocal with this bus here okay that's what i set up earlier so i've done my automation on that bus now here in cape walk in order to see the automation on a bus you need to click this little icon here which is going to show you sort of track lanes for the buses there and you can see my lead vox master bus there and i've got it switched so that we can see the automation in fact i haven't got a switch so we can see the automation so let's do that now there it is highlighted in green and you can see the automation moves i've done there in this particular song fairly gentle there's just a section in the middle here where i felt the vocal needs to go up and then back down some minor adjustments so i did that by setting it to right mode and then adjusting the fader as we listen to the song so hits hit the right mode there and adjusted the fader as i listen and then i need to make sure that i've got it in read mode so it read reads back that automation data as i say a very quick explanation of automation i do have some other tutorials about automation follow the links in the description for that but it's a very very important part and it's the very important final step it's a really great vocal sound wow that was a long video let me know in the comments down below if you made it all the way through and well done to you also ask any questions at all in the comments if you're confused about anything and if you've got a different way of doing things you'd like to tell me about also let me know about that in the comments i'm all ears for new ideas now make sure you check out the description for links to the microphones i mentioned at the beginning and also the plugins that i used in this video while you're there check out the link for patreon.com for as little as one dollar per month you can help me help you by making more videos like this thank you so much for joining me today and i'll see you in the next video [Music]

Channel: Creative Sauce

Views: 16,013

Rating: 4.9644971 out of 5

Keywords: Complete Vocal Processing Tutorial 2020, Complete Vocal Processing Tutorial, COMPLETE VOCAL TUTORIAL, Full Vocal Processing, How To Mix Vocals, music producer tips, music producer tutorial, jonas aden tutorial, vocal mixing, vocal mixing tutorial, vocal processing, how to mix vocals, how to record vocals, best vocal mics, mixing vocals, mixing pop vocals, mixing vocals in cakewalk, mixing vocals in cubase, mixing vocals in studio one, guide to mixing vocals, cakewalk, sonar

Id: 6LJtr2qngSM

Length: 38min 17sec (2297 seconds)

Published: Tue Dec 22 2020

Reddit Comments

[u/CreativeSauce2B]

Hi folks! There are many ways to process vocals, so I thought I'd give you a complete snapshot of my current method!