Calvin Harris
and Dillon Francis
worked there... no way!
| Help with vocals for school Okay gotta highschool project ot finish and need to ask, how do you master FEMALE Rap vocals ?
basically any tips you guys have on this would be appreciated | Dorie Scelzo
01.06.2012 |
Originally Posted by JasonBay
Filter the lowend, put a audio effects rack on the track and make three chains. One is just going to be dry, and the other two you'll be panning hard left/right. Put a simple delay on each and set the length to around 50-70ms (do each side different). Wet/Dry 100, zero feedback, and then add a chorus after the delay and and adjust levels to taste.
Should be a good place to start to add some colour and depth while maintaining the original recording integrity. Might ave to add a compressor before it depending on the recording itself, nothing to drastic, just a gentle setting to bring it out and tame some loud parts.
The better way to do what he's suggesting if the vocalist is decent and you recorded it as well is to just record 3 separate passes and pan them L, R, and C. If she's not a good vocalist, either do it jason's way or make 3 different comps from however many takes you have.
Depending on the song, squash the center signal some. I'd consider an expander on the side signals. And I'd skip the choruses on the sides, since that's essentially what you're doing.
If the vocalist is good enough, get several takes and pan them differently and play with levels until you like it. Most of Michael Jackson's vocals were done that way (with a $300 dynamic mic, no less) eith several mics around him and several takes. That sound is what you should be going for. Not an over the top chorus | Dorie Scelzo
01.06.2012 |
Originally Posted by JasonBay
Filter the lowend, put a audio effects rack on the track and make three chains. One is just going to be dry, and the other two you'll be panning hard left/right. Put a simple delay on each and set the length to around 50-70ms (do each side different). Wet/Dry 100, zero feedback, and then add a chorus after the delay and and adjust levels to taste.
Should be a good place to start to add some colour and depth while maintaining the original recording integrity. Might ave to add a compressor before it depending on the recording itself, nothing to drastic, just a gentle setting to bring it out and tame some loud parts.
The better way to do what he's suggesting if the vocalist is decent and you recorded it as well is to just record 3 separate passes and pan them L, R, and C. If she's not a good vocalist, either do it jason's way or make 3 different comps from however many takes you have.
Depending on the song, squash the center signal some. I'd consider an expander on the side signals. And I'd skip the choruses on the sides, since that's essentially what you're doing.
If the vocalist is good enough, get several takes and pan them differently and play with levels until you like it. Most of Michael Jackson's vocals were done that way (with a $300 dynamic mic, no less) eith several mics around him and several takes. That sound is what you should be going for. Not an over the top chorus | Dorie Scelzo
01.06.2012 |
Originally Posted by JasonBay
Filter the lowend, put a audio effects rack on the track and make three chains. One is just going to be dry, and the other two you'll be panning hard left/right. Put a simple delay on each and set the length to around 50-70ms (do each side different). Wet/Dry 100, zero feedback, and then add a chorus after the delay and and adjust levels to taste.
Should be a good place to start to add some colour and depth while maintaining the original recording integrity. Might ave to add a compressor before it depending on the recording itself, nothing to drastic, just a gentle setting to bring it out and tame some loud parts.
The better way to do what he's suggesting if the vocalist is decent and you recorded it as well is to just record 3 separate passes and pan them L, R, and C. If she's not a good vocalist, either do it jason's way or make 3 different comps from however many takes you have.
Depending on the song, squash the center signal some. I'd consider an expander on the side signals. And I'd skip the choruses on the sides, since that's essentially what you're doing.
If the vocalist is good enough, get several takes and pan them differently and play with levels until you like it. Most of Michael Jackson's vocals were done that way (with a $300 dynamic mic, no less) eith several mics around him and several takes. That sound is what you should be going for. Not an over the top chorus | Dorie Scelzo
01.06.2012 |
Originally Posted by JasonBay
Filter the lowend, put a audio effects rack on the track and make three chains. One is just going to be dry, and the other two you'll be panning hard left/right. Put a simple delay on each and set the length to around 50-70ms (do each side different). Wet/Dry 100, zero feedback, and then add a chorus after the delay and and adjust levels to taste.
Should be a good place to start to add some colour and depth while maintaining the original recording integrity. Might ave to add a compressor before it depending on the recording itself, nothing to drastic, just a gentle setting to bring it out and tame some loud parts.
The better way to do what he's suggesting if the vocalist is decent and you recorded it as well is to just record 3 separate passes and pan them L, R, and C. If she's not a good vocalist, either do it jason's way or make 3 different comps from however many takes you have.
Depending on the song, squash the center signal some. I'd consider an expander on the side signals. And I'd skip the choruses on the sides, since that's essentially what you're doing.
If the vocalist is good enough, get several takes and pan them differently and play with levels until you like it. Most of Michael Jackson's vocals were done that way (with a $300 dynamic mic, no less) eith several mics around him and several takes. That sound is what you should be going for. Not an over the top chorus | Dorie Scelzo
01.06.2012 |
Originally Posted by JasonBay
Filter the lowend, put a audio effects rack on the track and make three chains. One is just going to be dry, and the other two you'll be panning hard left/right. Put a simple delay on each and set the length to around 50-70ms (do each side different). Wet/Dry 100, zero feedback, and then add a chorus after the delay and and adjust levels to taste.
Should be a good place to start to add some colour and depth while maintaining the original recording integrity. Might ave to add a compressor before it depending on the recording itself, nothing to drastic, just a gentle setting to bring it out and tame some loud parts.
The better way to do what he's suggesting if the vocalist is decent and you recorded it as well is to just record 3 separate passes and pan them L, R, and C. If she's not a good vocalist, either do it jason's way or make 3 different comps from however many takes you have.
Depending on the song, squash the center signal some. I'd consider an expander on the side signals. And I'd skip the choruses on the sides, since that's essentially what you're doing.
If the vocalist is good enough, get several takes and pan them differently and play with levels until you like it. Most of Michael Jackson's vocals were done that way (with a $300 dynamic mic, no less) eith several mics around him and several takes. That sound is what you should be going for. Not an over the top chorus | Dorie Scelzo
01.06.2012 |
Originally Posted by JasonBay
Filter the lowend, put a audio effects rack on the track and make three chains. One is just going to be dry, and the other two you'll be panning hard left/right. Put a simple delay on each and set the length to around 50-70ms (do each side different). Wet/Dry 100, zero feedback, and then add a chorus after the delay and and adjust levels to taste.
Should be a good place to start to add some colour and depth while maintaining the original recording integrity. Might ave to add a compressor before it depending on the recording itself, nothing to drastic, just a gentle setting to bring it out and tame some loud parts.
The better way to do what he's suggesting if the vocalist is decent and you recorded it as well is to just record 3 separate passes and pan them L, R, and C. If she's not a good vocalist, either do it jason's way or make 3 different comps from however many takes you have.
Depending on the song, squash the center signal some. I'd consider an expander on the side signals. And I'd skip the choruses on the sides, since that's essentially what you're doing.
If the vocalist is good enough, get several takes and pan them differently and play with levels until you like it. Most of Michael Jackson's vocals were done that way (with a $300 dynamic mic, no less) eith several mics around him and several takes. That sound is what you should be going for. Not an over the top chorus | Dorie Scelzo
01.06.2012 |
Originally Posted by JasonBay
Filter the lowend, put a audio effects rack on the track and make three chains. One is just going to be dry, and the other two you'll be panning hard left/right. Put a simple delay on each and set the length to around 50-70ms (do each side different). Wet/Dry 100, zero feedback, and then add a chorus after the delay and and adjust levels to taste.
Should be a good place to start to add some colour and depth while maintaining the original recording integrity. Might ave to add a compressor before it depending on the recording itself, nothing to drastic, just a gentle setting to bring it out and tame some loud parts.
The better way to do what he's suggesting if the vocalist is decent and you recorded it as well is to just record 3 separate passes and pan them L, R, and C. If she's not a good vocalist, either do it jason's way or make 3 different comps from however many takes you have.
Depending on the song, squash the center signal some. I'd consider an expander on the side signals. And I'd skip the choruses on the sides, since that's essentially what you're doing.
If the vocalist is good enough, get several takes and pan them differently and play with levels until you like it. Most of Michael Jackson's vocals were done that way (with a $300 dynamic mic, no less) eith several mics around him and several takes. That sound is what you should be going for. Not an over the top chorus | Dorie Scelzo
01.06.2012 |
Originally Posted by JasonBay
Filter the lowend, put a audio effects rack on the track and make three chains. One is just going to be dry, and the other two you'll be panning hard left/right. Put a simple delay on each and set the length to around 50-70ms (do each side different). Wet/Dry 100, zero feedback, and then add a chorus after the delay and and adjust levels to taste.
Should be a good place to start to add some colour and depth while maintaining the original recording integrity. Might ave to add a compressor before it depending on the recording itself, nothing to drastic, just a gentle setting to bring it out and tame some loud parts.
The better way to do what he's suggesting if the vocalist is decent and you recorded it as well is to just record 3 separate passes and pan them L, R, and C. If she's not a good vocalist, either do it jason's way or make 3 different comps from however many takes you have.
Depending on the song, squash the center signal some. I'd consider an expander on the side signals. And I'd skip the choruses on the sides, since that's essentially what you're doing.
If the vocalist is good enough, get several takes and pan them differently and play with levels until you like it. Most of Michael Jackson's vocals were done that way (with a $300 dynamic mic, no less) eith several mics around him and several takes. That sound is what you should be going for. Not an over the top chorus | Dorie Scelzo
01.06.2012 |
Originally Posted by JasonBay
Filter the lowend, put a audio effects rack on the track and make three chains. One is just going to be dry, and the other two you'll be panning hard left/right. Put a simple delay on each and set the length to around 50-70ms (do each side different). Wet/Dry 100, zero feedback, and then add a chorus after the delay and and adjust levels to taste.
Should be a good place to start to add some colour and depth while maintaining the original recording integrity. Might ave to add a compressor before it depending on the recording itself, nothing to drastic, just a gentle setting to bring it out and tame some loud parts.
The better way to do what he's suggesting if the vocalist is decent and you recorded it as well is to just record 3 separate passes and pan them L, R, and C. If she's not a good vocalist, either do it jason's way or make 3 different comps from however many takes you have.
Depending on the song, squash the center signal some. I'd consider an expander on the side signals. And I'd skip the choruses on the sides, since that's essentially what you're doing.
If the vocalist is good enough, get several takes and pan them differently and play with levels until you like it. Most of Michael Jackson's vocals were done that way (with a $300 dynamic mic, no less) eith several mics around him and several takes. That sound is what you should be going for. Not an over the top chorus | Dorie Scelzo
01.06.2012 |
Originally Posted by JasonBay
Filter the lowend, put a audio effects rack on the track and make three chains. One is just going to be dry, and the other two you'll be panning hard left/right. Put a simple delay on each and set the length to around 50-70ms (do each side different). Wet/Dry 100, zero feedback, and then add a chorus after the delay and and adjust levels to taste.
Should be a good place to start to add some colour and depth while maintaining the original recording integrity. Might ave to add a compressor before it depending on the recording itself, nothing to drastic, just a gentle setting to bring it out and tame some loud parts.
The better way to do what he's suggesting if the vocalist is decent and you recorded it as well is to just record 3 separate passes and pan them L, R, and C. If she's not a good vocalist, either do it jason's way or make 3 different comps from however many takes you have.
Depending on the song, squash the center signal some. I'd consider an expander on the side signals. And I'd skip the choruses on the sides, since that's essentially what you're doing.
If the vocalist is good enough, get several takes and pan them differently and play with levels until you like it. Most of Michael Jackson's vocals were done that way (with a $300 dynamic mic, no less) eith several mics around him and several takes. That sound is what you should be going for. Not an over the top chorus | Dorie Scelzo
01.06.2012 |
Originally Posted by JasonBay
Filter the lowend, put a audio effects rack on the track and make three chains. One is just going to be dry, and the other two you'll be panning hard left/right. Put a simple delay on each and set the length to around 50-70ms (do each side different). Wet/Dry 100, zero feedback, and then add a chorus after the delay and and adjust levels to taste.
Should be a good place to start to add some colour and depth while maintaining the original recording integrity. Might ave to add a compressor before it depending on the recording itself, nothing to drastic, just a gentle setting to bring it out and tame some loud parts.
The better way to do what he's suggesting if the vocalist is decent and you recorded it as well is to just record 3 separate passes and pan them L, R, and C. If she's not a good vocalist, either do it jason's way or make 3 different comps from however many takes you have.
Depending on the song, squash the center signal some. I'd consider an expander on the side signals. And I'd skip the choruses on the sides, since that's essentially what you're doing.
If the vocalist is good enough, get several takes and pan them differently and play with levels until you like it. Most of Michael Jackson's vocals were done that way (with a $300 dynamic mic, no less) eith several mics around him and several takes. That sound is what you should be going for. Not an over the top chorus | Dorie Scelzo
01.06.2012 |
Originally Posted by JasonBay
Filter the lowend, put a audio effects rack on the track and make three chains. One is just going to be dry, and the other two you'll be panning hard left/right. Put a simple delay on each and set the length to around 50-70ms (do each side different). Wet/Dry 100, zero feedback, and then add a chorus after the delay and and adjust levels to taste.
Should be a good place to start to add some colour and depth while maintaining the original recording integrity. Might ave to add a compressor before it depending on the recording itself, nothing to drastic, just a gentle setting to bring it out and tame some loud parts.
The better way to do what he's suggesting if the vocalist is decent and you recorded it as well is to just record 3 separate passes and pan them L, R, and C. If she's not a good vocalist, either do it jason's way or make 3 different comps from however many takes you have.
Depending on the song, squash the center signal some. I'd consider an expander on the side signals. And I'd skip the choruses on the sides, since that's essentially what you're doing.
If the vocalist is good enough, get several takes and pan them differently and play with levels until you like it. Most of Michael Jackson's vocals were done that way (with a $300 dynamic mic, no less) eith several mics around him and several takes. That sound is what you should be going for. Not an over the top chorus | Dorie Scelzo
01.06.2012 |
Originally Posted by JasonBay
Filter the lowend, put a audio effects rack on the track and make three chains. One is just going to be dry, and the other two you'll be panning hard left/right. Put a simple delay on each and set the length to around 50-70ms (do each side different). Wet/Dry 100, zero feedback, and then add a chorus after the delay and and adjust levels to taste.
Should be a good place to start to add some colour and depth while maintaining the original recording integrity. Might ave to add a compressor before it depending on the recording itself, nothing to drastic, just a gentle setting to bring it out and tame some loud parts.
The better way to do what he's suggesting if the vocalist is decent and you recorded it as well is to just record 3 separate passes and pan them L, R, and C. If she's not a good vocalist, either do it jason's way or make 3 different comps from however many takes you have.
Depending on the song, squash the center signal some. I'd consider an expander on the side signals. And I'd skip the choruses on the sides, since that's essentially what you're doing.
If the vocalist is good enough, get several takes and pan them differently and play with levels until you like it. Most of Michael Jackson's vocals were done that way (with a $300 dynamic mic, no less) eith several mics around him and several takes. That sound is what you should be going for. Not an over the top chorus | Delmar Swamy
30.05.2012 | Okay gotta highschool project ot finish and need to ask, how do you master FEMALE Rap vocals ?
basically any tips you guys have on this would be appreciated | Georgina Schatzman
01.06.2012 | The subtle use of the chorus is try and soften up the delay hits and smooth it over a bit, and I'm not talking about going crazy. If it's at 92bpms set the rate at 38hz, feedback at about 30-40% and dry/wet at about 40% as well. Should soften it up, add some depth and space and give it was movement as well. | Dorie Scelzo
01.06.2012 |
Originally Posted by JasonBay
Filter the lowend, put a audio effects rack on the track and make three chains. One is just going to be dry, and the other two you'll be panning hard left/right. Put a simple delay on each and set the length to around 50-70ms (do each side different). Wet/Dry 100, zero feedback, and then add a chorus after the delay and and adjust levels to taste.
Should be a good place to start to add some colour and depth while maintaining the original recording integrity. Might ave to add a compressor before it depending on the recording itself, nothing to drastic, just a gentle setting to bring it out and tame some loud parts.
The better way to do what he's suggesting if the vocalist is decent and you recorded it as well is to just record 3 separate passes and pan them L, R, and C. If she's not a good vocalist, either do it jason's way or make 3 different comps from however many takes you have.
Depending on the song, squash the center signal some. I'd consider an expander on the side signals. And I'd skip the choruses on the sides, since that's essentially what you're doing.
If the vocalist is good enough, get several takes and pan them differently and play with levels until you like it. Most of Michael Jackson's vocals were done that way (with a $300 dynamic mic, no less) eith several mics around him and several takes. That sound is what you should be going for. Not an over the top chorus | Delmar Swamy
31.05.2012 | Lol okay thank you | Georgina Schatzman
31.05.2012 | Depends on how bad she is. Sometimes you don't need it, and sometimes you need four of them! | Delmar Swamy
30.05.2012 | thank you and obviously a de-esser ? | Georgina Schatzman
30.05.2012 | Filter the lowend, put a audio effects rack on the track and make three chains. One is just going to be dry, and the other two you'll be panning hard left/right. Put a simple delay on each and set the length to around 50-70ms (do each side different). Wet/Dry 100, zero feedback, and then add a chorus after the delay and and adjust levels to taste.
Should be a good place to start to add some colour and depth while maintaining the original recording integrity. Might ave to add a compressor before it depending on the recording itself, nothing to drastic, just a gentle setting to bring it out and tame some loud parts. |
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