effects added

[poolmaniac747]

hi,
i am recording vocals through a condensor and want to know what settings you use to make the vocals sound good.....i.e. chorus, reverb or whatever.

Also what special effects do you add to your drums?

Thanks,

[Johnisfaster]

hi,
i am recording vocals through a condensor and want to know what settings you use to make the vocals sound good.....i.e. chorus, reverb or whatever.

Also what special effects do you add to your drums?

Thanks,

for vocals you're going to get 10,000 answers. there are no 1 answer that'll help there other than fiddle with it and figure out works. the problem is that it's very subjective to the person and circumstantial to the song.

although altiverb usually is nice on vocals. but not always and not for every song.

[leedsquietman]

Reverb and a very light modulation effect such as chorus/flange/phase are typical but as mentioned, there is no standard formula. Saturators, compression and EQ are also used a lot, especially compression and EQ. Delays are often used, either a tape slap effect, or anywhere from subtle delays/echos to extreme ones if the music calls for it. If you want metallic robotic voices, a vocoder. If you want that telephone voice effect, saturators, distortion, bit crushing, whatever.

In other words, think about what you're trying to achieve and then use FX to help you achieve it, You can be as subtle or extreme as you need to be to get the sound you want.

[Meef Chaloin]

they should sound good already if they were well recorded through a condenser

but high pass somewhere around 100-150hz, maybe a small dip between 250-350hz and send through a de-esser

[Warminstrel]

If i find the vox dont poke thru enough i tend to cut a 'notch' for them to sit in using EQ8 on all other tracks that share simmilar frequencies, lead guitars etc...

Often use this simple technique if I cant hear certain elements in a track

[leedsquietman]

It's true that the recorded sound should be the first priority, but very, very few recordings use dry vocals with no FX.

At least a bit of a subtle plate reverb and very often a light (almost inaudible) tape slap, with a little compression and EQ are very common, as is saturation for that vintage analog tube effect. (light adds a little excitement without being OTT, heavy gives you overdriven/telephone vocals).

High pass filters can be used but where you start is dependent on the other material. Sometimes, you only need to high pass 20Hz to avoid rumbles etc, other times, if the vocalist is bass heavy, high passing 100Hz can help. You can also add some 'air' at 16-18 Khz if called for (not always). Quite often boosting 3-4Khz by a couple of dBs and the dipping that on the instrument backings helps it poke through a mix but not always. EQ and frequency balancing is never as easy as saying boost X Hz, cut Y Hz and Bob's your uncle. You have to sweep through the bands and find the correct places to do this. There are no magic EQ buttons that make everything sound excellent every time. You have to work that out for yourself manually as it will vary from song to song.

[Machinate]

they should sound good already if they were well recorded through a condenser

Yes, and if the proper mic techniques have been used, and pop filters involved where needed - a good hearty pop overload of the signal is a BITCH to fix in-the-box.

but high pass somewhere around 100-150hz

Definitely don't do that unless you're recording a woman or a weedy pop song. There's usually tons of juice below 150hz, if you ask me. Again, this depends on the program material, which takes me to my main point: There is no one way to do this. Work with them ears. And, if you must, use a low shelving filter instead!

maybe a small dip between 250-350hz

Aye, can be good at times, depending on the singer

and send through a de-esser

NOOOOO! De-essers are the bane of humanity and a scurge of the studio! Soul-sucking devilish machines, them. To the seventh circle of hell they go, along with "exciters" and "distressors"

Comp is good. Lots of it can be very good, depending on the style, but NOTHING will even match a good singer with good microphone technique (with the moving of the head and the riiiiiboflavin and the good sooong.)

These days reverb is kind of out of style, due to the big productions we tend to crank out making the reverbs muddy things up. If you must use reverb a natural, somewhat short ambience is preferable, if you ask me.
A complex delay is usually easier to mix with.

[dcease]

To the seventh circle of hell they go, along with ... "distressors"

Comp is good. Lots of it can be very good...

[Machinate]

To the seventh circle of hell they go, along with ... "distressors"

Comp is good. Lots of it can be very good...

The distressor's just been hyped way too much for my tastes. YMMV, of course.

[dcease]

i was just confused, as it is just a compressor...

[Machinate]

i was just confused, as it is just a compressor...

hehe, head over to gearslutz and repeat that phrase. Bring a life raft

[dcease]

i was just confused, as it is just a compressor...

hehe, head over to gearslutz and repeat that phrase. Bring a life raft

i don't really get that forum... it's called gearsluts, but a lot of the posters are always chastising people for wanting gear...?

you suck, your room sucks, just give up, you are wasting your money... you can make a great recording with cheapass gear.

and then...

the extended hi freq range on my mg um900 pair is sooo silky, i think i need another pair...

too snobby for me the distressor is a nice tool, but it ain't magic... no gear is, only the end user oh yeah, i forgot, the lit states 'Its not only a compressor but a ... "Distortion Generator"'

[Aequitas123]

obviously you need heavy autotune and loads of compression on all vocal tracks all the time!