12-03-2019, 05:27 PM
Vocals:
Lead Vocal: a bit of eq to clean it up and tame the low mids a bit, exciter to open up clarity, multi-band comp to correct 'unstable' mic distance and pull the dynamics more together in a more transparent way, relatively fast compressor doing about 5 dB GR tops (vocal track volume has been manually corrected to some extent prior to processing), de-esser, smooth-vintage type VCA compression for color and level and a different smooth vari-mu type compressor mainly for color.
LD Vocal has a LD density aux parallel blended in a lower volume featuring some heavy compression, limiting and de-essing. This is so the vocal is fitting perfectly in the mix and every word is heard while not giving the feeling of over-compression in total.
Backing vocals 1+2 are used to give a nice stereo image, layered a bit underneath the LD vocal has an eq filtering the lows and very-highs and giving more high-mids, compression to control the dynamics and tone.
Bk vocals have some sends to hall, 1/16 slap-back and 1/4 delay
Backing vocals 3+4 have some eq to filter out mainly some lows and compression individually and on their group: loads of smooth LA3A compression for level and color and then a bit more tonal correction to fit them better in the mix.
As sends, they have a stereo-maker, non-lin reverb mainly for early-reflections and 1/4 delay.
Whistle tracks have a lot of filtering cleaning up the lows mainly and compression doing about 3 dB each .. as for sends they go to: spring, hall, 1/16 slap and 1/4 delay
All vocals go to a Vocals bus which had a bit of eq and dyn-eq to control the tone and fit it better in the mix and two types of compression; one for a tighter control and the other of overall level and color.
Vocals bus sends: warm chorus, "vibrant" ensemble chorus, plate, 1/32 slap, 1/16 slap.
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Now it's time to talk about 2bus processing and mastering
Before going to the 2bus, I have an "ALL DENSITY" parallel track where all groups/buses are going to which has harder yet still good sounding compression and limiting... basically, I blend this in until I hear the mix gluing together and sounding more "like-a-record" being careful not to over-do it of course.
This all density track is sending a bit to a "Master reverb" which is very short, more for a diffused stereo image... very subtle move but noticeable.
On the master 2bus:
I have M/S eq and dyn-eq to control the overall sound a tiny bit (mostly 1-2 dB) and HP LP 'brackets'
SSL G-Bus comp to control the overall dynamic in a smooth yet precise way doing 2 dB GR tops (this was added after my initial levels and filters were set, so let's say it was added at the 20-30% mix done mark, I always like to mix into a bus compressor) , A bit of multi-band comp, tape for color and saturation-glue, Pultec EQP1 for color and a touch of tone to open up after all this compression .. and finally, a very transparent limiter doing 0.9 dB clipping and about 1-2 dB GR tops
Lead Vocal: a bit of eq to clean it up and tame the low mids a bit, exciter to open up clarity, multi-band comp to correct 'unstable' mic distance and pull the dynamics more together in a more transparent way, relatively fast compressor doing about 5 dB GR tops (vocal track volume has been manually corrected to some extent prior to processing), de-esser, smooth-vintage type VCA compression for color and level and a different smooth vari-mu type compressor mainly for color.
LD Vocal has a LD density aux parallel blended in a lower volume featuring some heavy compression, limiting and de-essing. This is so the vocal is fitting perfectly in the mix and every word is heard while not giving the feeling of over-compression in total.
Backing vocals 1+2 are used to give a nice stereo image, layered a bit underneath the LD vocal has an eq filtering the lows and very-highs and giving more high-mids, compression to control the dynamics and tone.
Bk vocals have some sends to hall, 1/16 slap-back and 1/4 delay
Backing vocals 3+4 have some eq to filter out mainly some lows and compression individually and on their group: loads of smooth LA3A compression for level and color and then a bit more tonal correction to fit them better in the mix.
As sends, they have a stereo-maker, non-lin reverb mainly for early-reflections and 1/4 delay.
Whistle tracks have a lot of filtering cleaning up the lows mainly and compression doing about 3 dB each .. as for sends they go to: spring, hall, 1/16 slap and 1/4 delay
All vocals go to a Vocals bus which had a bit of eq and dyn-eq to control the tone and fit it better in the mix and two types of compression; one for a tighter control and the other of overall level and color.
Vocals bus sends: warm chorus, "vibrant" ensemble chorus, plate, 1/32 slap, 1/16 slap.
---------
Now it's time to talk about 2bus processing and mastering
Before going to the 2bus, I have an "ALL DENSITY" parallel track where all groups/buses are going to which has harder yet still good sounding compression and limiting... basically, I blend this in until I hear the mix gluing together and sounding more "like-a-record" being careful not to over-do it of course.
This all density track is sending a bit to a "Master reverb" which is very short, more for a diffused stereo image... very subtle move but noticeable.
On the master 2bus:
I have M/S eq and dyn-eq to control the overall sound a tiny bit (mostly 1-2 dB) and HP LP 'brackets'
SSL G-Bus comp to control the overall dynamic in a smooth yet precise way doing 2 dB GR tops (this was added after my initial levels and filters were set, so let's say it was added at the 20-30% mix done mark, I always like to mix into a bus compressor) , A bit of multi-band comp, tape for color and saturation-glue, Pultec EQP1 for color and a touch of tone to open up after all this compression .. and finally, a very transparent limiter doing 0.9 dB clipping and about 1-2 dB GR tops