Now that you’ve recorded the vocals for your song, are you a little surprised at how poor they sound?
Most music production with voices relies on a good deal of processing to achieve the sound that we are accustomed to hearing in professional recordings. It takes years to cultivate these techniques and use them well, but the steps are quite easy to learn. Here are a few steps to mixing vocals in Garageband that any beginner can follow.
- 1. De-Essing the Vocals
A de-esser is a processor that takes away the harsh sibilance of the letter S. You’ve probably noticed that it’s quite a bit louder than other vocal sounds. This has to do with the way the human voice creates the S.
Garaband doesn’t have a dedicated de-esser, but you can download one. When you apply the de-esser, you need to use the different monitor modes on it to zero in on the S, which sits around a specific frequency. Monitor the vocals so you only hear the de-esser working, and adjust the frequency of the detector and suppressor until you hear mostly S’s coming through. Then switch back to monitoring the de-essed track and play around with the ratio of the de-esser so that it doesn’t create an unnatural sound.
Garaband doesn’t have a dedicated de-esser, but you can download one. When you apply the de-esser, you need to use the different monitor modes on it to zero in on the S, which sits around a specific frequency. Monitor the vocals so you only hear the de-esser working, and adjust the frequency of the detector and suppressor until you hear mostly S’s coming through. Then switch back to monitoring the de-essed track and play around with the ratio of the de-esser so that it doesn’t create an unnatural sound.
- 2. Compression
De-essers are compressors that target a very specific sound. Compressors work on all the sounds in the signal by reducing the dynamic range of the signal. The human voice oscillates between quiet and loud syllables rapidly, making it sometimes difficult to hear, and sometimes overwhelming. Compressors even out the differences.
There are a few different parameters to understand first:
- Ratio – Determines how much the signal is compressed. It is often expressed as 3:1 or 4:1 and means that every 3 decibels are compressed to a single decibel, for example. Higher ratios “squash” signals and you’ll probably want to keep your ratios under 5:1 or so, as you start using compression.
- Threshold - Defines the level at which compression begins. Setting the threshold at -10 decibels means that the signal is only compressed above that level. You need to experiment with this so that your signal is only occasionally going above the threshold. It can kiss the threshold on every word, but if you drop the threshold so that the compressor is always on, the signal begins to sound a little strange.
- Attack – Defines how fast the compressor works. Setting the attack to 10 milliseconds means that the compressor starts working ten thousandths of a second after the threshold is crossed. For vocals, you can use very fast attack times, about 2 or 3 milliseconds, since syllables are so quick.
- Release – This controls how long it takes for the compressor to stop working, after the signal drifts below the threshold. Long release times are perfect for vocals and tend to smooth out levels. Try release times between 200 to 300 milliseconds to start.
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Every voice is different, and every style demands a different approach with the compressor, so start with these suggestions and augment them while you listen to the signal. Using compressors well takes quite some time to master so don’t be discouraged by initial, unsatisfactory attempts
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- 3. Equalization
Equalization is a way of increasing or decreasing the level of different frequencies of a signal, much like the bass and treble knob of your stereo. EQ helps to differentiate sounds with similar frequencies.
First, subtract before adding. Our ears notice when you boost EQ but subtractive EQ is much less noticeable. That also means you should make your boosts very subtle, no more than 5 dB, while you can cut quite drastically.
Every voice has different requirements, and you need to tinker around to find what works best for your voice, but here are some recommendations.
First, subtract before adding. Our ears notice when you boost EQ but subtractive EQ is much less noticeable. That also means you should make your boosts very subtle, no more than 5 dB, while you can cut quite drastically.
Every voice has different requirements, and you need to tinker around to find what works best for your voice, but here are some recommendations.
- Cut out all the frequencies below 100 Hz. They’re not contributing to the performance, and usually contain rumbles and odd sounds that cloud the rest of the recording.
- Gently boost the frequencies above 10 kHz for male voices. Be wary about boosting female voices similarly.
Almost every voice has some annoying frequencies around 5kHz which should be removed. Boost a wedge of EQ and slide it around that region to accentuate that frequency, which often has a nasal sound. When you find it, go ahead and cut it out.
- 4. Reverb
Reverb is a way of adding an element of space to your recording. It also adds an element of thickness, when applied correctly. Not all vocals need reverb, and in some genres, like hip-hop, it is rarely used on lead vocals.
Apply a reverb patch to the vocals and choose a reverb setting you like. Turn the reverb all the way down and listen to the song. Gradually turn the reverb up until you notice it in the mix. That’s a good level for the reverb, unless you are looking for an effected vocal sound, like Enya, which requires much higher amounts of reverb.
- 5. Sound Better?
Hopefully, your vocals sound much more professional after following these steps. Mixing engineers often apply many more advanced techniques and use series of these effects to achieve a pro sound. These techniques are the basics of all that professional engineers do, and are a solid foundation for you to explore with.
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