22-11-2019, 06:00 PM
Hi,
I am going to revisit this mix too, and have a try at adding some more obvious vocal effects. I know my vocal effects are lacking, so I've been reading up on guys like Josh Gudwin and the guy that I think produced the Dua Lipa Last Hurrah track, among others.
I don't really like mixes where the vocals sound like they were recorded in some huge cave, or the drums sound like they were played in some metal container lorry or something! My first mixes on here probably sound exactly like that, due to over enthusiastic use of the wrong reverb....
The Pop guys seem to be able to have the reverb, delays and vocal doubles really up front and present, but they also don't hit you in the face. Really cool when you listen out for them, and as you say they really compliment the vocal and the track, and glues everything together. They seem to be really part of the vocal track, wrapped around the vocal, rather than a bolted on effect, if that makes any sense? I figure it's not going to be an easy thing to do.
Regarding vocal automation, I too thought it daunting, but it isn't actually that bad, and I found it quite easy to get the hang of. You just have to get stuck in and go for it! The first track I tried this with on here was 'Lyndsey Ollard - Catching Up', because it seemed to me that it would really benefit the vocals.
That session is also interesting as not only was it recorded at Abbey Road, there are 4 or 5 vocal takes included in the session, so you can also practice making your own vocal comp. It was a lot of fun working out how best to do it in the DAW. Oh, there's also a write up of the session in sound on sound magazine too. I felt I learned a lot from it anyway.
Yeah your mix reminded me that you can get a long way with a good balance. I find automation can also help you get better blends in each song section too - well, I give it a try anyway.
I am going to revisit this mix too, and have a try at adding some more obvious vocal effects. I know my vocal effects are lacking, so I've been reading up on guys like Josh Gudwin and the guy that I think produced the Dua Lipa Last Hurrah track, among others.
I don't really like mixes where the vocals sound like they were recorded in some huge cave, or the drums sound like they were played in some metal container lorry or something! My first mixes on here probably sound exactly like that, due to over enthusiastic use of the wrong reverb....
The Pop guys seem to be able to have the reverb, delays and vocal doubles really up front and present, but they also don't hit you in the face. Really cool when you listen out for them, and as you say they really compliment the vocal and the track, and glues everything together. They seem to be really part of the vocal track, wrapped around the vocal, rather than a bolted on effect, if that makes any sense? I figure it's not going to be an easy thing to do.
Regarding vocal automation, I too thought it daunting, but it isn't actually that bad, and I found it quite easy to get the hang of. You just have to get stuck in and go for it! The first track I tried this with on here was 'Lyndsey Ollard - Catching Up', because it seemed to me that it would really benefit the vocals.
That session is also interesting as not only was it recorded at Abbey Road, there are 4 or 5 vocal takes included in the session, so you can also practice making your own vocal comp. It was a lot of fun working out how best to do it in the DAW. Oh, there's also a write up of the session in sound on sound magazine too. I felt I learned a lot from it anyway.
Yeah your mix reminded me that you can get a long way with a good balance. I find automation can also help you get better blends in each song section too - well, I give it a try anyway.
Just uploaded a mix/master? Waiting for comments? Why not give back and critique a mix/master, or two!