In my last post I wrote about how to excite vocals for hip hop using the Waves Aphex Vintage Aural Exciter Plugin. But for those of you who may not have access to this plug-in, I thought I'd go ahead and show you how to excite hip hop vocals without the use of any third party plug-ins. The DAW that will be used in this guide is reason 9.5. While the program used for this demonstration might not be the same as yours. The techniques and principles can be applied to any DAW of your choice using stock plugins.
While simple yet very effective this technique can be used in other genres of music. For this process you'll need to create a copy of your vocals, while canceling out the low and some mid range frequencies of the duplicate track. This will require you to use additional processing like eq compression or a limiter and any other stock plugin of your choice, in the event you need to push or clean the signal of the duplicate track.
Step 1- Create a duplicate track of your vocals. As seen in the illustration below:
Step2- Remember to label your tracks. Depending on the number of tracks your working with it can easily get confusing if your not organized. As seen in the illustration below:
Step 3- Apply an EQ on the copied track and adjust the frequency value anywhere between 5 to 6 KHZ while Bring the high frequency decibel setting to its highest. As seen in the illustration below:
Step4- Adjust the High Pass filter and sweeping out the low end and midrange frequencies. As seen in the illustration below:
Step5- (optional) You can now add some compression or distortion (or both) to the duplicate signal. As seen in the illustration below:
Step6- Play the original track and slowing bring in the levels in from the excited duplicate track and slowly bring it in until you've reached a level you're satisfied with. As seenin the illustration below:
This technique will allow you to have just as much control if not more over frequencies that you wish to excite. It also leaves room for you to add other saturation effects to help you achieve the sound you want. And if the signal is too harsh just add a DEesser or eq , to tame those unwanted frequencies.
In my last post I wrote about the top ten effects recording artist need to know. And one of those effects mentioned where exciter. This effect is used to add presence to vocals or an entire mix. There are a variety of saturation types (presets)that will allow you to affect specific frequency areas of your vocals or overall mix. Some of the most common saturation settings will usually refer to frequencies by their characteristics. For example you're looking to excite the mid range frequencies you'd see settings like “warmth” or tube. Depending on the plug-ins or you're using of course but the reference and terminology behind the idea remains the same.
The plug-in used for this how to article is the Waves Aphex Vintage Aural Exciter Plugin. This plug-in emulates the original mid 1970's Aphex model 402 Aural Exciter.
Control features: As you'll notice on the lower left side of this plug-in, you'll see two knobs marked as Mode and meter. The first option will be in bold letters “BP” stands for bypass mode. This feature is modeled after the original hardware unit allowing you to get subtle coloring on the signal path. “Mix1” allows you to place the exciter on an insert in case you want to affect a signal sound source (ex. Instrument, drum snare ect.). “Mix2 is slightly different as it allows you to add a not so subtle effect to your sound you'll also notice this for the aux mode as well. The ax mix knob will be movable only when mix1 and mix2 are selected. Ax mode will be best used on a send return track to an auxiliary track that your sending audio to.
How to apply the exciter to your vocals
Step 1- Select and apply the Aural Exciter plug-in to your vocal insert shown in the illustration below:
Step 2- Adjust the settings of the plug-in by selecting mix 1 with the knob located on the lower left (Mode). Choosing “AX” for the meter located just above the meter option. As seen in the illustration below:
Step 3-You'll also need to adjust the input knob as well as the Ax mix. Move the input knob to a level you're comfortable with. Usually going a little past 6 is the sweet spot but that may vary for upon users. keeping the Ax mix knob anywhere between 5 and 8. But this may differ from the vocals you're using it on. As seen in the illustration below:
You'll now notice the vocals will have a certain brightness to them that compliments your mix.However if you're hearing any harshness at all in the signal you can tame it with eg.
Any engineer will tell you that its the quality of instruments you choose as well as the recording that will contribute to a good mix. Early on in the recording process there quite a few techniques artist can use to get the studio quality sound in their recordings. But in order to achieve the sound you want, you'll need to know the basic fundamentals of the recording process. And knowing when to apply certain effects to your vocals. In this article I will be going over the top ten audio effects every recording artist should know.
1-Compression- Keeping the low parts loud and the loud parts low of your vocals can be achieved with compression. Another alternative would be to use automation on the volume control of your vocals. But if you're looking to use compression to alter the tone of your vocals, or tighten them up in the mix. You can do so by adjusting the threshold below the average level of the vocals. This way the compressor will be most active during the louder parts of the performance like singing. The audio will sound overly compressed at first but using a longer attack setting will fix this. However if your looking for a more up front aggressive presence for your vocal mix. The desired compression settings are threshold -2db, ratio 4:-1-6:1 ,attack 1rms, release to about 40rms and adjusting the gain output so that it matches the input level. At this output you'll need to add a considerable amount of of gain to compensate.
2- Equalization (Eq)- Boosting ,reducing and sometimes attenuating a signal this will allow you to clean up vocals by removing unwanted frequencies. Eq is one of the most important tools you'll use. Knowing where to cut and boost is vital part to achieving good sounding vocals. When applying Eq to your vocals its best to start by removing unwanted frequencies. When cutting from the low end its anywhere from 75HZ to 100Hz. Removing “boominess” and small room resonance ranges from 100 Hz to 150Hz. This will depend on the vocals your working on as the frequencies range can sometimes be used to add warmth and fullness by boosting in 100Hz to 150Hz. For lyric clarity you can either boost or reduce in the 800Hz-1k range. For open presence boosting in the 3k-6k range. For brightness 9k-11k range. For air you can boost or reduce in the range of 12k.
3-Reverb- Used to add space and depth in the mix. The idea behind using this effect is to create a natural sounding environment and space for each of the sounds in the mix. Think of live music performances and how the instruments along with the vocalist are positioned on stage. Lead vocals will be in front of the band along with any accompanying lead instruments. Every instrument being played needs its space. When applying reverb keep in mind that subtlety is the best approach. Bring the input level of reverb effect to where you want it and bring it back down to about 2db-4b lower then you initially intended it to be.
4-Delay-Like reverb this effect is used to add space and soft instruments and vocals in the mix. Delay can be used with or without reverb to add a bit of depth to your vocals. As reverb tails can cause clutter issues in the mix if applied excessively. Whereas delays and echoes can dissipate quickly, giving you a cleaner sound.
5-De-esser- Think of it as a frequency compressor allowing you to keep harsh noises at bay. Preferably used on vocals and sometimes lead instruments. Great for removing sibilance from vocals. An extremely useful tool when mixing your vocal and keeping them clear of unwanted noise caused from speech.
6-Limiter- After applying compression for tone and compression once again for dynamics. At this point the vocal volume should be consistent. But for a more commercial sounding feel you can take the extra step and add a limiter to grab any peaks that may have gone noticed during the compression stages. Subtly is key when adding a limiter to your vocals.
7-Exciter-The idea behind this effect is to add controlled distortion also referred to as saturation, to vocals, instruments and an over all mix. There are many types of saturation that can be applied varies frequency areas of your mix. For example if you wanted to add some saturation to the highs or mid frequencies of your vocals. This effect can be achieved in one of two ways the first would be to create a copied track of your lead vocals. Using a hi-pass filter to isolate the highs while removing the low and mid frequencies of the copied vocal track. At this point the sound will be extremely thin and low so to compensate for this you may need to add a limiter or compressor to add some presence to the copied track. You'll then need to bring the level of the copied track into the mix once you've applied the effects. The next approach would be to create a bus track or an additional fx track from your main fx track. This is done because the saturation signal coming from the exciter plug-in can be extremely harsh so with that being said you'll want make that you're adding too much of it. Remember subtlety is key.
8-Pitch Correction- Primarily used for correcting notes that are sung by vocalist. Most DAWS may have some form of pitch correction but for those that don't. Can look into plug-ins like “Celemony's Melodyne”,”Izotope's Nectar 2” And “Antares Auto Tune”. The idea behind this effect is to correct notes that were sung out of key by moving them in the right key.
9-Chorus-While having the longest delay out of all modulation effects. The chorus effect is commonly used to create vocal doubling.
10- Auto tune- I'm sure by now you've heard of this effect and what it does to your vocals. But for those that don't, it's an audio processor that alters pitch in vocal, instrument recordings and performances.
The Reverse Reverb effect has been used in many songs and genres of music. From Nicki Minaj to Chris Cornell you name em, have all used this popular technique in their songs. What so special about this technique is that it can be applied as a transitional effect on vocals and instruments, with subtle or extreme presence in the mix. While this may be a cool and exciting effect to have on your vocals it's not a necessity and should be used sparingly as it may not always fit your song. Applying it to a song with an empty space right before the next line of your vocals come in may work when you're trying to add a slight build in your songs cadence. As the sound of this effect may appear to creep up on its listener with a subtle low ghostly echo, sweep that hints to the first word of the verse or chorus. To achieve this effect you'll need two things your vocals and some reverb.
Step1- This usually occurs at the beginning of a verse or where there is a slight break in your vocal verses leading up to the next phrase. You'll be selecting (or highlighting) the first word of your verse. Make sure there are no dead space when your selecting your parts as it will bring unwanted artifacts in that will sound unappealing. See illustration below:
Step 2- Once you've chosen your part you'll need to cut and copy to a new track. Now that it's cropped and clean with the exact parts you want to affect. You can now move on to the next step. See illustration below:
Step3- You'll want to apply a large amount of reverb preferably the hall setting or anything in that range. You won't need to spend too much time tweaking the setting, because the idea is to add enough to where its very noticeable. See illustration below:
Step 4- Bounce or record it into the vocal sequence. This is necessary for the next step ahead because you'll need to bounce out the a audio file for this to work. See illustration below:
Step 5- Once you have bounced or recorded the audio file into your DAW, you now have to reverse it. See illustration below:
Step6-Trim back the audio just before it begins to form the first letter of the word. For example if we were to reverse the word “Hello”. Hearing the audio being played back to us would sound exactly how its spelled backwards “olleH”. Right before the pronunciation of the H, we would then crop (trim back) the audio clip so that it doesn't complete the word. See illustration below:
Step 7- Align the audio clip so it's positioned for a smooth transition. You can do this by creating another track which would be easier to manage or simply keeping it on the same track and moving closer. If necessary apply a crossfade to the beginning of either audio clips. See illustration below:
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Licensing options: Here is a complete list of what to expect when you're buying beats from Fredkrush.com. 1.Standard- With the standard purchasing option you'll receive an untagged mp3 file (link) that will be sent to you instantly via email with instructions on how to download your order. Contents of this option are: untagged high quality mp3, distribution limit of 5,000 digital and physical copies sold, No ownership under this license Fred krush will remain the sole copyright owner.
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Adding effects to your vocals can help emphasize your point while giving your song a unique edge of its own. This can be done in many ways, from subtle to extreme and with moderation. Knowing when to use these effect will come with experience and preference. The overall benefit to applying effects to your vocals is that it gives your song(s) edge, uniqueness and helps you as an artist stand out. Whether you decide to take the subtle or extreme approach, in this article I'll be explaining how you can apply effects to your vocals to give your songs more edge.
1-Distortion-Believe it or not this is one of those most wildly used effects engineers use in their mixes. Often referred to as saturation because it adds warmth to the audio. But in this case we are looking to have the effect stand out with some harshness, that can be soften with some reverb and a D-esser (if necessary). This can be achieved by copying the lead vocals, bringing the level of the copied track down so the overall volume isn’t too loud while adding a separate bus track that has the distortion plug in off your choice. A combination of controlling the distortion signal being applied to the copied track and the volume of the copied track will based on preference. But if you want a clean sounding signal mixed with the audio then you'll want to apply as much distortion as possible. See illustration below:
2-Filter effects-Now we've all heard songs where the vocals sound thin as if their being re played from a radio or tiny speaker. Well this effect can be applied to your back up vocals or adlibs of your song as well. This can be achieved with a hi pass filter Eq, you basically want to remove as much of the low and mid frequencies as possible. The target frequency mark for the hi pass filter will be around 1.86 KHz. This effect can be applied on small parts of your song to emphasize cadence. See illustration below:
3-sidechaining reverb and delay- This is a technique used to add clarity on instruments mainly synthesizers and vocals that have reverb and delay applied to them. The issue that occurs with reverb is it can often overpower individual instruments as well as the entire mix. The remedy for this would be to side chain your reverb and delay. You do this by adding a compressor at the end of your FX bus track of your lead vocal mix shown in the illustration below:
You can mute the previous effects temporarily until you've reached your desired compression settings(optional). Once you've reached your comfortable with, enable the previous effects and adjust the threshold and release to your liking. You should be able to hear the effects being controlled and slightly pushed under the vocals. Remember to bypass and enable to compare the difference from before and after.