The Best Way To Get Your Vocals To Sit In The Beat

yo yo what's going on you guys robert devonta in raw form and welcome to another help me devon raw tutorial and today in this help me to volunteer i'll be showing you guys how to get your vocals and beat to sit properly in your mix now granted i have done a tutorial like this in the past but it's been time for some updating and i have some new tricks that i can show you guys basically to help you make better decisions now when it comes to getting your vocals and the beat to sit properly in a mix i'm going to show you one technique that i personally use to always accomplish this um let's get right to it okay so first things first i'm going to play you this song it's one of my own songs called honeymoon phase listen to the relationship of the mix just listen to the mix in its totality [Music] yeah but we both know this feeling cause it isn't the first time that you had somebody hit you with that good morning sex when i'm playing with you okay cool so you hear the mix you can hear the vocals you can hear the kicks you can hear the snares of course this is my own mix so i'm gonna say oh the mix sounds great but you can hear and if you're into how this mix sounds i can show you how to accomplish uh something in this place where the vocals feel like they sit really well with the music and have a great relationship and this goes for a knee genre do not get discouraged just because this is an r b record this is a universal idea that i'm going to give you now before we go any further i'm going to ask you guys to comment and subscribe excuse me subscribe and like this video to keep this channel going and keep up keep me for to uh uploading videos et cetera you can also make sure you visit helpmedivan.info to get some of our templates uh vocal chains presets etc all kinds of goodies for pretty much all daws now let's get right back to it so the thing that i always do when it comes to getting these vocals in the beat to sit together is this the first three elements of any song that i attack that i reach for first is the kick the snare or clap and the vocal lead vocal if i can get those three elements to sit properly in my mix everything is so much easier and i genuinely mean this when it comes to most modern genres the three probably most important things the kick the snare and the vocal that's really what all the feeling as far as the rhythm and the punchiness kind of live so i attack these three things first and i'm gonna show you exactly how to do that really simple and really fast okay so first things first that vocal is mixed right so let's do it like a real situation let's bring in a vocal same vocal but instead let's take that vocal and make it completely raw meaning no plug-ins on it or anything like that uh just basically no compression no eq just a vocal that uh basically sits up there and is raw so check out this is the raw vocal uh as far as the recording is concerned this situation is so brand new yeah i wanna tell everyone about you i can't get enough of you yeah but we both know this feeling cause it isn't the first time that you had somebody so you hear that vocal basically the vocal is dynamic like most of you when you record uh into your daws that vocal that has loud parts and quiet parts and loud parts and quiet parts this is why you struggle to get your vocals to sit properly in your mix because the first thing i like to attack is i like to reach for that vocal and get it more concise get those peaks under control so that when i bring up the kick and the snare it's not like the vocal was just hovering either way above or way under this is the issue this is one of the biggest issues try to go to your vocal and attack some of the problems first not a full-on mix of your vocal but just level it just get it to sound more concise control some of those piece give me a little bit of eq to clean up the bottom end and give me a little compression to control those peaks first and foremost stay with me watch this so i got this vocal and now let me find one of the parts of it that are pretty loud which looks like right around here this is the dynamic spot where it looks like it gets really quiet but it also is pretty loud at the same time right here so listen to this right quick let's take a listen but we both know this feeling cause it isn't the first time that you had somebody hit you with that good morning sex when i'm laying with you when i tell you cool so that is a loud part followed by somewhat of a quiet part so we're going to use some eq to clean up the muddiness and we're going to use some compression to actually level out the vocal so let's do that right now so first and foremost let's open up one of our eqs and what i'm going to do is i'm going to do some very standard things i'm going to get some more clarity out of vocal by reducing some of the low end and then i'm going to use some compression in order for me to control the peak so i have a more level vocal okay so this is what we'll do first so take this let's roll up some bottom in but we both know this feeling cause it isn't the first time that you had somebody hit you with that good morning sex when i'm laying with you when i tell you it's more than sex do we mean everything we say is this the real thing or just a face but we both know this feeling cause it isn't the first that good morning time when i'm laying with you when i tell you it's more than sex do we mean everything we say is this the real thing or just a face okay real quick eq in nothing crazy took out some of that 3k frequency uh which is basically the pain frequency and rolled off some of that bottom end to get more clarity listen to what it sounds like back and forth check this out but we both know this feeling cause it isn't the first time that you had somebody hit you with that good morning sex when i'm laying with you when i tell you it's more than sex so we have a little bit more clarity out of the vocal nothing crazy there rolled off some of that low end and went to the top end at that 3k frequency to pull out some of that stuff as well that was bothering me pain frequency next thing i'm going to do is i'm going to roll on over to a de-esser now when it comes to attacking vocals my biggest thing is i always like to attack problems first that's what i always like to do attack the problems first so i'm getting rid of some problems that i'm hearing and these are pretty much typical issues that i usually hear within my vocals that i like to get rid of so let's go on over to one of my favorite de-essers which is the ardessa and then let's go to one of my famous or my favorite excuse me presets so basically what i'm gonna do is i'm gonna get a de-esser and i'm going to be attacking not the high end but rather that three kilohertz pain frequency that annoys me i'm gonna try to limit that frequency before i do anything else it'll help me get a more level concise vocal check this out but we both know this feeling cause it isn't the first time that you had somebody hit you with that good morning sex when i'm laying with you when i tell you it's more than sex do we mean everything we say is this the real thing or just a face great so it's holding that really 3k harsh frequency a lot check this out bypassing it back and forth but we both know this feeling cause it isn't the first time that you had somebody hit you with that good morning sex when i'm laying with you when i tell you it's more than sex do we mean everything we say is this the real thing or just a face so you see when i have it engaged it actually just helps to combat that and brings it down a little bit and controls that three kilohertz frequency giving us a more level vocal the peaks are not hitting out as much next thing i'm going to do is i'm going to add compression and really what i'm doing with this compressor right here is i'm doing this to get level i'm really getting this to get it louder and to not really say contr or yes control the piece but i'm also doing it to actually bring it up in level to so that it can be matched with the kick and the snare and that and things of that level so what i'm going to do is because i want to really make sure that with this first compressor i keep my transient um information in my vocal so that i can make decisions later on to control those things a little bit more so basically i'm just trying to get a little bit of control over my peaks but at the same time still letting enough transient information through so that um it still sounds strong with the vocal okay so now let's find it i'm going to try to get it like negative 10 db of gain reduction on this so i can bring that stuff up listen close but we both know this feeling cause it isn't the first time that you had somebody hit you with that good morning sex when i'm laying with you when i tell you it's more than sex do we mean everything we say is this the real thing or just a face okay cool so what i did was i put an extremely slow attack and an extremely fast attack now i know some people in the comments before have said hey your attack is all the way to the left yes or the 1176 from waze it is uh the one is the slowest uh uh is the slowest setting and i know that's very confusing but just know for your dew the slowest attack and the fastest release that's what i like to set it as for my first compressor just so i can get some level out of that vocal so listen close but we both know this feeling cause it isn't the first time that you had somebody hit you with that good morning sex when i'm laying with you when okay so it's much louder the peaks are somewhat a little bit more controlled and now i have a vocal that i feel like i can put into the mix and actually match with levels now so now that i've done and fixed a little bit of those problems now i feel better about trying to get this to blend into my mix and the first thing i'm going to do is i'm going to go over to my kick my snare and my vocal those are the three things i'm going to do why did i just attack the vocal first i know that my kick is probably pretty compressed already from splice or wherever the producer got it from so i know that that kick is probably pretty consistent as far as level is concerned compressed eq'd my snare same thing i'm sure that it's probably compressed eq'd so i'm taking that into account and i say to myself well why don't i take my vocals and compress eq just a little bit so that i can have a more concise uh leveling of all three other signals as opposed to having a vocal that really doesn't have any eq or compression and you'll never get that to fit into your mix because it's not uh controlled uh there's frequencies that are overbearing so check this out and then i'll give you an idea of what i mean exactly stay with me okay cool so first things first what i'm going to do is i'm going to bring down all the faders so all the faders down boom let's even bring down the duplicate vocal as far as that raw vocal is concerned so now what i'm going to do is i'm going to start to raise my kick then i'm going to start to raise my snare and then you're going to see me raise the vocal i'm trying to find the level balance between those three so let's check this out but we both know this feeling cause it isn't the first time that you had somebody hit you with that good morning sex when i'm laying with you when i tell you it's more than sex do we mean everything we say is this the real thing or just a face okay now we have a mix with a kick snare and a vocal that i feel hey this is a great start the kick and the snare and the vocal are sitting in a nice place now what i like to typically do is i like for my snare and vocal this is a rule of thumb for me my snare and my vocal to be around the same place as far as how they feel as far as volume is concerned so listen to my kicking my snare and my vocals and check this out but we both know this feeling cause it isn't the first time that you had somebody hit you with that good morning sex when i'm laying with you when i tell you it's more than sex do we mean everything we say it's just cool now i feel like my snare and my vocal are hitting around the same place now i'm very happy i'm gonna show you guys now now that i've done kick snare vocal and i've got those level i'm gonna show you how easy it makes everything else in your mix you're about to watch me do a fader mix right now off this right click so watch this closely but we both know this feeling cause it isn't the first time that you had somebody hit you with that good morning sex when i'm laying with you when i tell you it's more than sex do we mean everything we say is this [Music] but we both know this feeling cause it isn't the first time that you had somebody hit you with that good morning sex when i'm laying with you when i tell you it's mortal sex [Music] but we both know this feeling cause it isn't the first time that you had somebody hit you with that good morning sex when i'm laying with you when i tell you it's more than sex do we mean everything we say is this the real thing or just a face but we both know this feeling cause it isn't the first time that you had somebody hit you with that good morning sex when i'm lying with you when i tell you it's more than sex do we mean everything we say is this the real thing or just a fact but we both know this feeling cause it isn't the first time that you had somebody hit you with that good morning text when i'm laying with you when i tell you it's more than sex do we mean everything we say [Music] is [Music] guys and in a nutshell now we have a more level mix and that is exactly how i like to get my vocals and the beat to sit properly in a mix once you attack that kick that snare and that vocal the foundational elements of that music everything else just falls into place so much easier by bringing up the faders now that you have this level mix as far as its image and stuff like that on the faders now you can do your tweaks now you can say oh i want a little bit more of this bite out of the piano you can say oh now i want more brightness out of the vocal oh i need now i need some more reverb out of this now you can make better decisions now that you have a fader mix now granted i would move around a little bit and listen to certain moments in the song that i need to match because they didn't show up when i had certain moments there so for instance i see big mike guitar here i'll come over here and i'll press this up [Music] and now i hear i can turn up the vocal just a little bit more i can get a little bit more out of the vocal now listen this situation is so brand new i wanna tell everyone about you i can't get enough of you yeah but we both know this feeling cause it isn't the first time [Music] now it's it's feeling better and now i know what you're probably thinking okay well how can you make this sit even better now that's where mixing comes in but this is a general understanding of how to start that process and how to get it to sit so what i would do is i would add things like this afterwards i would put more compression more eq widen things up even put um reverbs and delays onto the lead vocal like check this out [Music] all of these little tricks will start to come into play to help you blend this in with the vocals so to review remember when it comes to this or the technique that i just showed you as far as how i do it is i like to go to the kick the snare and the vocal once those three elements are sitting correctly as far as how i feel in my mix everything else comes up and it's much easier to make the decision of that's too loud that's too much because i know pretty much in my music that my vocal my kick and snare probably the most transient and loudest things in my mix so i know that everything else should kind of feel like a bed underneath those three elements so go to your vocal first and foremost make sure it's level sometimes it's recorded very well with the compressor on it in the whole nine and basically you could take that vocal and you could just start to bring up those faders as far as kicking the snare but if you have a vocal you listen to it and you notice then this is extremely dynamic in the sense of it's quiet parts and there's loud parts i need to get control of those things before i start to try to even begin to bring up any faders that's important sometimes it's already done for you there's already compressors and stuff like that there so you would skip that step and basically just start to move up your your vocals your excuse me your kick your snare and then the vocals and then everything go up underneath there so that technique i hope is very helpful make sure you comment like and subscribe on this video you can also visit helpmedivan.info at any time uh to download our presets uh vocal chains uh and a bunch of other great goodies that we have on the site helpman.info make sure you follow us at helpmedivan on the instagram and make sure you join our discord community with a lot of aspiring engineers musicians and artists just like yourself looking for information answering questions and just talking and networking every single day i'll leave that description to bio so i hope you enjoyed the tutorial and um until next time guys you

Channel: Help Me Devvon

Views: 148,089

Rating: 4.977325 out of 5

Keywords: mastering, how to mix rap vocals, how to mix vocals with beat, rap, audio, pro tools, how to sit vocals on beat, how to make vocals fit on the beat, mixing rap vocals, how to mix vocals in fl studio, mixing tutorial, logic pro x, tutorial, recording, home studio, how to make vocals sit in a mix fl studio, how to fit beat, servida music, simon servida, vocal mixing tutorial, how to mix focals in fl studio, vocal mixing guide, guide to mixing vocals, mixing vocals in fl studio

Id: SozsGyzyZZs

Length: 18min 32sec (1112 seconds)

Published: Tue Dec 08 2020