How To Mix Vocals | Logic Pro X | Stock Plugins ONLY!

that's hunter [Music] yo what's up with you guys it's your boy john hunter jr and check it out we are going to learn how to mix a vocal in logic pro x we're only going to be using stock so i hope that this video adds some value to you guys let's get right into this thing all right guys so we got a track loaded up here um with my lead vocal and uh let's listen to this and let's see what's [Music] my needed ain't got time to play watch him make a way it's a major play yeah yeah awesome so listening to this vocal um i recorded this on an audio technica 2020 and that mic has a lot of top end on it so we're going to be mindful of that as we're eq'ing and it has some low end too and it sounds good on the male voice and it sounds good on any voice it's a good cheap affordable mic so we're going to base this video around anyone using more of a cheaper microphone and ranging from about 75 to about 120 and if you have more of an expensive microphone you might need to be a little bit more aggressive um with your processing so let's dig right into this thing we have our lead vocal for sure i'm on my way ain't got time to play cool so i'm going to zero this out meaning i'm just going to put this at 0 db um just to start because i had a really good level on this so it'll do well right at zero so the first thing i like to do is start with a de-esser so you can grab your de-esser by going into your audio effects go to your dynamics and go to dsr2 i'm on logic pro x 10.6 so i'm sure that this de-esser will pop up in any other version as well so we got our de-esser i'm going to go ahead and start messing with this threshold right here and getting rid of the harsh sibilance and let's listen to this for sure i'm on my way ain't got time to play for sure i'm on my way so we're getting some good little deduction there reduction so for sure i'm on my way especially on um this last line it's a major it's a major player it's a major play yeah yeah let's listen to it before it's a major play yeah after it's a major play yeah yeah cool so we're gonna start there and leave it boom the second thing uh i like to do is start with the first round of compression and this compressor is going to give us some gain and a little bit of color but really um make this vocal sound more trap r b ish and rapish to really have that aggressive sound so i'm going to go to my dynamics go to compressor and select mono if you have a mono track hopefully you're working with the mono vocal and boom let's listen to this compressor without any without changing anything it's a major plate yeah yeah it's a major plate yeah yeah all right it's a major plate yeah yeah so this is definitely giving me some more low end which i do like especially on my voices i have a deeper voice so for sure i'm on my way let's start working with this compressor i typically like to work with a three to one ratio anywhere from there or three to two so we're gonna do three to two and i like to have this attack time right around this area too about 15 to 20 milliseconds so we can leave it somewhere in between so about 17 milliseconds nothing too crazy and then i'm going to mess with this threshold for sure i'm on my way ain't got time to play watch him make a way it's a major play yeah yeah so you can hear it starting to get aggressive so we got this threshold at uh negative 34.5 db that's a really good sweet spot for this vocal so let's check this out for sure i'm on my way ain't got time to play pretty sweet so i'm gonna leave that alone for now we might have to come back and do some tweaking when we add the track back in and it's always good to reference what you're doing with the track so here comes the fun part which is eq you could just hit the eq tab right here eq thumbnail boom and it just instantly loads up a good eq so you can see the frequency bands or the range as well as the information the waveform on the bottom check this out for sure i'm on my way so i can get a good idea ain't got time to play of what i'm working with so remember i was telling you about this mic it has a lot of low end and top ends so we're going to roll off some of this low end to fit the track but a lot of us go wrong when we start to roll stuff off because sometimes we might not roll off enough or we might do too much so i'm going to show you guys the sweet spot um to apply for your vocal so we're going to start off with this low cut as logic calls this which is basically like a high pass filter so uh we're going to go ahead and start to roll this off and get rid of the unnecessary stuff for sure i'm on my way so we start there because it's nothing my voice ain't that low all the way at 20 hertz nothing is there so we're going to start here then we're going to gently move up for sure i'm on my way ain't got time to play watch and make a way it's a major play yeah yeah so that's like a good sweet spot i still sound natural um it doesn't change the overall quality of the vocal the next thing i'm going to do is do subtractive eq so that's kind of what we're starting out with we're doing some subtractive eq so i'm gonna go ahead and roll that off as you can see uh we have this going all the way about to 224 hertz now you have to do this according to your voice that you're working with or the vocal track that you're working with my voice is lower so um i have to be careful but if you're working maybe with a female vocal that has more of a higher end then you might want to roll off a little bit more so can't express that enough um the next thing i'm going to do is i'm going to work with this mid this mid high range is 1k this mic particularly has a lot of that and on my voice it's really kind of harsh so i'm going to scoop some of the mud out of this mid-high range right now so here's my process for sure i'm on my way ain't got time to play watch him make a way so right in there and then i'm going to make this bell a little bit uh slimmer and you can do that by clicking on the bottom right here this bottom number boom and you can see the bell get wider and uh slimmer so i'm gonna do right about like here for sure i'm on my way yeah now i'm going to reduce it just a hair for sure i'm on my way yeah ain't got time to play now my voice is starting to sound like me like how i sound in person and that's how you want your vocals to sound you want them to sound natural unless you're going for some sort of special effect now here's a trouble area i handled this with care this is like the mid-range um mid-low range or something like that we're going to do the same thing but i'm going to slim this bell up and get rid of the low end of my voice that is too harsh not take it away but just reduce the harshness and i'm just gonna ever so slightly just bring it down for sure i'm on my way ain't got time to play so if you heard me talking in person this is what i would sound like just like that so we're going to stop there with the subtractive and then we're going to add a little bit of sizzling on the top but we're going to be careful because again this microphone is bright so can't express this enough you want to mix your vocals according to the vocal in the mic that's being used so i'm just trying to help you guys get the mind set down for sure i'm on my way ain't got time to play so that's a good place to stop right here for sure i'm on my way ain't got time to play sounding real natural um i like where that's sitting decent amount of compression so we're gonna add another compressor that's right we're going to add another compressor so we're going to do another mono compressor but we're going to use the studio vca and i'm going to tweak this one a little bit not as much as the first one but just a bit um and put this up to about a two to six ratio um and then we're going to um really mess with the threshold on this one because i really want this this vocal to sound aggressive for sure i'm on my way ain't got time to play yeah watch him make a way getting real aggressive it's a major play yeah yeah so now i have a very in front of your face vocal which i really like um so we're going to add another eq yep another eq so you go to your q and i'm going to go to the vintage collection and i really love the vintage tube eq on vocals and i like to use this for sizzle so i'm gonna bump this all the way up to 16 uh kilohertz um and then we're going to start messing with this high boost for sure i'm on my way ain't got time to play yeah watch him make a way and i'm basically adding air it's a major play yeah yeah you can hear that on that yeah yeah you hear that sizzle that air and artifacts it sounds like it's saturated to me actually so they i think logic did a really good job with the vintage eq so the last thing in the chain to get you guys started um you have to vary your compression on the song so this is again this is like a you know more of a trap r b type song so you want to make sure that you're processing accordingly for that particular genre we're gonna add one more de-esser and i add another de-esser on the back end because when we you know added all that air we have a lot of that high-end coming in so we want to make sure that we're not harsh so this de-esser gonna be a bit more aggressive on it for sure i'm on my way ain't got time to play watch him make a way it's a major play yeah yeah for sure i'm on my way it's a major play yeah yeah so we're getting a pretty significant amount of reduction and i'm just going to keep tweaking it just for a second so i can get it to sit right and i'm gonna specifically get this it's a major play just to make sure that we're really um locking in that control on that de-essing it's a major play it's a major it's a major play it's a major play it's a major play yeah it's a major play it's a major pl it's a major play yeah it's a major play yeah yeah there we go it's a major play it's a major play yeah yeah so now we have the the s's and the t's all in control but we still get the air we still get the high end crispiness of the vocal for sure i'm on my way ain't got time to play watch him make a way it's a major play yeah yeah sweet so i'm gonna just tweet this a little bit more for sure i'm on my way ain't got time to play watch him make a way it's a major play yeah yeah cool for sure it's a major play you have to you have to tweak it i promise you you have to tweak it it's a major play it's a major so we're going to stop at about right here it's a major play yeah yeah perfect this is a good excellent starting point so let's take a little time to recoup and let's talk for just a second then we're going to dive right back in now if this is a lot for you um you can purchase my r b vocal chains for logic pro x i'll link that in the description and i already have all kinds of sweet presets for you for your background vocals for your lead vocal i already include effects all kinds of crazy stuff so you can check that out and i'll also link the video tutorial in the description of this video so let's dive back in we're going to add some reverb and we're going to add a delay and let's have some fun with this come on let's get it we're almost done so let's listen to this with the track now let's bring the track in now we're going to start introducing some effects for sure i'm on my way ain't got time to play watching make a way it's a major play yeah yeah so you see how it's starting to lock with the track now for sure i'm on my way it sounds like it's one with the track so we're going to add some effects now and we're going to wrap this up so what i like to do is just go to your sends i'm right here boom hit bus one boom now right next to it aux one pops up now i'm gonna name this verb okay then the next thing we're gonna do is we're gonna make this a stereo track so you hit this icon right here channel mode hit this little circle boom now it makes it a stereo track you can see these faders um change for these the level meter you can see it changed from one meter to two meters combined that's how you know it's stereo so we're going to add a reverb we're going to add some reverb so i like to use space designer make sure it's stereo and let's listen to this how you can turn this up is you go ahead you hit this little knob right here click that it's just drag up and that's how you increase the send how much of the vocal do you want to go to that reverb right here so it's on a separate track for sure i'm on my way ain't got time to play watch him make a way now i'm going to give you guys some gems uh the gem for reverb is you have to do this from song the song of course you have to base this from song and song but for something like this the way to get your reverb to work for you for a hook like this you might want a little bit of a longer reverb and so i want the reverb to fill in the space now if you got background vocals that's one thing but let's just say you have one vocal just like this and you want to fill it up this is how you do it so you take the reverb tail and drag this up just you know a little hair and then you change the reverb size is that a hundred percent let's do about like 150 to sixty percent so let's do one sixty percent and now let's listen to the reverb for sure i'm on my way ain't got time to play watch him make a way you see how each line each cadence now has this long tail to fill in that space to connect it so that's one way to get your track to sound fuller is um using a reverb like this which is dope so we're almost done here the first thing we want to do after that or the second thing we want to do after that is um you see here on the output eq it's on volume this is the stock um screen that you'll see then you come over here to output eq and you see they kind of rolled off some of the top end i i'm actually gonna introduce a little bit more of the top end so i'm gonna stop about here at about like 13 uh kilohertz or so 13 hertz um sorry 13k um and kind of just let it sit right here so we got a little bit of a brighter reverb so you can do this directly in the reverb itself which is dope uh what i like to do on top of that as a fail safe is to actually apply eq on the reverb and i'm going to roll off some of the unnecessary stuff on the reverb for sure i'm on my way ain't got time to play watch em make a way and what it does is when i roll off that low end on that reverb it lets the read the i'm sorry it lets the lead vocal come to the front and the reverb sits in the back nice and you know nice and cute and i really like doing that because you know we all want to hear that vocal in your face so um the way to do that is to eq your reverb so that's good on this i like where that's sitting that's solid to me now let's add a delay we're going to do the same thing we're going to go to bus 2. make this a stereo track then we're going to add a delay and i'm going to use the stereo delay now this spits out a ping-pong delay and i'll let you guys hear this what i mean by ping pong for sure i'm on my way so ping pong is going left to right they have this set to uh a quarter note then they have the right delay set to an eighth note so it's offset what i'm going to do since we have a faster tempo song the bpm is 155 so we're going to make this a half note and then we're going to make this one a quarter note again you have to do this based on the song that you're working on um the bpm may change now if this was uh 80 bpm then i would leave it at a quarter note and eighth note so we're going to do a half note in the quarter note boom so let's listen to this for sure i'm on my way now i'm gonna filter the reverb i'm sorry i'm gonna filter the delay myself um they give you some good tools here but again i like to control it myself um and get a custom filter so i'm going to do a low cut as logic calls it and i'm going to do a high cut so i'm going to have both of these and we're gonna filter this delay where it sounds more in the back instead of uh in front of your face for sure i'm on my way ain't got time to play all right now we got a good wide sounding vocal let's listen to the finished product let's go for sure i'm on my way ain't got time to play watch him make a way it's a major play yeah yeah [Music] boom so i messed with the send a little bit towards the end to get the cadences to all be full um you have to mess around with it again according to your song and what you're working on so that's how you can effectively mix a vocal in logic pro x using stock plugins alright guys i hope this video added some value to you if you enjoyed this video give it a thumbs up subscribe to the youtube channel and make sure to turn on those bell notifications so you won't miss a video thank you so much for your time i sincerely value it like i always say we ain't nowhere near done peace [Music] you

Channel: Yaahn Hunter Jr

Views: 51,393

Rating: 4.9726138 out of 5

Keywords: how to mix vocals, how to mix vocals in logic pro x, logic pro x, logic pro, logic pro x stock plugins, yaahn hunter jr, logic pro x tutorial, logic pro tutorial, logic pro x eq, logic pro x compressor vocals, mixing vocals, logic pro x 10.6, logic pro x 10.5

Id: DY_MMDWMKOM

Length: 21min 17sec (1277 seconds)

Published: Fri Mar 19 2021