I'm new to SONAR X3 Producer, although I have tinkered with LE versions in the past. On deciding to invest in X3 I'm finding the experience of learning to use it enlightening, frustrating and a very steep learning curve to get where I would like to be! I've bought books on how to use it, looked at videos and read all I can on the Cakewalk Blog, and I think I'm making some progress, through trial and error mainly!
I'm continually frustrated by my vocal attempts, but seem to be getting closer to mixing a reasonable effort. I recently stumbled upon a route that seems to thicken my voice up considerably and was wondering if it is the correct path or is there an better alternative?
I started using the Prochannel presets regarding vocals and then inserted VX-64 Vocal Strip. This was then routed to a separate vocal bus. However, by some fluke I seemed to have pushed some button somewhere which routed the signal through the SENDS to my vocal bus and then on the Output its going to the Master?
Turning the POST and the Power button on SENDS and the POST and Power on the vocal bus seems to thicken the vocal considerably. And then using a vocal preset in the vocal bus smooths the signal even further!
I would like to know if anyone out there could inform me if this is an exceptable route or is there a better way to mixing vocals?
 

Hey there, Pete.
 
Let me see if I can help. *I'm going to intentionally over-simplify my response to keep it brief.*
 
In your studies you probably learned there are two main reasons for modifying a track, like your vocals within a mix. There are the type of modifications so the track fits in the mix and doesn't get buried or bury any other tracks. 
 
There is also modifying tracks for effect--just to enhance the sound or make your own unique sound, etc.
 
Neither of these techniques are mutually exclusive--you can do both. Both use many of the same tools, like EQ, compression, even saturation (distortion), reverb and/or delay.
 
I recorded and mixed for over 30 years as being self-taught before I did what you're doing with studying not only the how, but the why you do things in a mix.
 
I think the best way you're going to get the answer from this forum that you're looking for, is if we know why you're wanting your vocal to be thicker. Is it because it gets lost in the mix, is it because you want the vocals to pop, or is it because when you listen to pro mixes you like, yours doesn't sound like theirs?
 
The reason we need to know this, is because there is always give and take when you start modifying a track. If you merely add something to your vocal track, you may take away from another track that might be sharing the same EQ space, etc.
 
Your routing sounds pretty cool, and I'd like to try it, but I can't emphasize enough, that if you want to improve your craft and end up being pretty darn good at it, you need to ask yourself, "why" you are doing what you're doing to your (vocal or?) track. That will help you make sure you only make those modifications that will do what you want (improve the track), with the least amount of taking away from another track, or the overall project.
 
This is my .02. There are a lot of really excellent and experienced members in this forum that can help as well, but I wanted to give you a tip that I think will not only help this track you're working on, but build your ear and craft at the same time.
 
Cheers,

Razor - that response really is philosophical - and truly should be the focus of altering and/or modifying recorded tracks...

listen
Razor - that response really is philosophical - and truly should be the focus of altering and/or modifying recorded tracks...

 
Is that good? I hope so. It's easy, and I admit I still fight wanting to grab everything on my DAW that has flashy lights and cool interfaces--BUT, must...fight...the...urge...

Yes that is good & likewise I must fight the urge to tinker with some things just because I can - "great advice" - on the real...........

I'm a vocalist.  This is what I do:
 
Use a good microphone (uh duh).  If you have a good voice and you have a good microphone, you shouldn't have to EQ.  Honesty is the best vocal policy.  Clap your hands in the room you are going to lay your vocals down in.  Is there a bunch of slap?  Things buzzing?  Typically the wall behind you is most likely to bounce unwanted reflections into your mic.
 
Use Melodyne to see if your lead vocal is going flat or sharp.  Does it make you sad?  Solo your lead vocal.  Do you cringe?  Go buy some Rumple Minze 100 proof peppermint schnapps (not kidding), gargle with a shot.  It is a magic elixir that gives your vocal chords a refreshing bath of fire.  Get all the snot out of your head - if you've never been backstage at the opera, you are missing one grand gross-out.  Redo your vocal.  Rinse, repeat, and dry.  Often when trying to get the best take, there's a bell curve involved:  suck...suck less...mebbe ok...now your cooking...things going downhill...I taste blood.
 
Use the Prochannel compressor 4:1 ratio and adjust input to get about 4db or so of compression. 
 
On another track, use comping to DOUBLE your lead vocal, make every effort to start and end each phrase to duplicate the lead vocal.  Tighten that up with Vocalsync.  Compress that and bring the double up in the mix to taste.  Real doubling is always better than using some gadget.
 
Route your lead vocal and double to a Bus so you can mute it.  Get the mix down without the vocal.  Unmute the bus.  Do you cringe?    Maybe a little reverb, as in "little".  Remember that everything that makes anything louder, is interpreted by your brain as being "better", but loudness and quality are not the same; watch your meters.

Thanks For replies guys.
I am actually self taught with a fairly basic grasp of digital recording techniques, so just wanted to put the question out there!
I am beginning to realise that there are no hard and fast rules when it comes to mixing, just some basics that I think I've kind of got?
I'm not trying to "thicken" the vocals, just make them stand out from the track a bit more than  I have previously managed, and that is why the bus question came up! I found that it stands out a bit more than before using the routing explained, but I'm very critical of my vocals anyway! Using Melodyne I've found that I'm close to being in tune but prior to the new routing I wasn't standing out as much as I'd of liked.
I'm using a Samson CO1 Condenser mic, which isn't the best but it seems a pretty good allrounder for my purposes?
Also using a TUBE MP pre-amp to boost the signal.

You should be able to get an OK sound, I would think, with what you've got.  Don't use the starved plate tube on the MP, tho.  You don't mention your interface, but be sure it is going into a line input, not mic, if you are using the MP.  Most auto select.
 
I can't follow your routing scheme but it seems like you are doubling the vocal to the output, which would account for sounding thicker.  You shouldn't have to do that to get a good signal.  If you vocal track isn't settling in around -12 dB or so and spiking up to - 3 dB, you are probably recording a bit soft.  Which may make it hard to get enough gain to "float" above 10-20 tracks of guitar and what not.  You can experiment w/ normalizing but be careful.  - 6 dB is most often enough.  All normalizing does is up the vol percentage wise up until you hit 0 dB - basically adding gain.
 
Once you get a nice signal that is about as loud as the music tracks and that peeks over the music, you can fine tune the vol using an envelope.  This takes experience to hear the relative vols and it takes time to do.  I'll run through a vocal track and eyeball it and reduce any spikes or peaks.  Then go through and adjust the low areas up and the louder areas down, and use your ears.  It does take time to learn to hear how much energy a sound contains relative to the next phrase - you might cover 6 dB or more depending upon the performance.  EQ can help - I always roll off vocals from 100 Hz up to 200, depending upon the voice.  There ain't nothing down there even for Barry White.  Sibilance happens around 6 kHz, and esp. for females it often helps to dip here.  And because of the mic I use I almost always add some air - above 10 kHz, with a shelf.  This is with the Prochannel EQ, and there are a few other spots that either boost of dip - 400 Hz being one area that tends to get tubby.  But all that depends upon the song and voice.
 
Once you get the vol situated then I add compression and limiting.  The purpose of those is to compress or limit the variation between the loudest and softest passages, and most software works better the less it has to work.  Hardware you can hit harder and it sounds better, but even with the really good stuff it usually sounds smoother to apply layers of compression rather than slam it one time.  So I usually use a nice analog comp going in, then have the optical or FET Prochannel track and send the vocal out through a bus and put the SSL PC on it.  That is 3 compressors each working a little - that can really firm up a signal so the vocals never overwhelm the music or drops below the level of the music.  The vocals just kinda float along with even the softer passages clear and the loudest ones feel louder without masking the music.  Some good reverb - just a touch.  Most of the software reverbs are set too high - I usually have the reverb set to only 20% wet or the reverb down -12 dB to - 20 compared to the dry. 
 
@

Most people relatively new to DAW work underestimate the amount and precision of volume automation going on on the lead vocal. There was a nice article on this in Sound on Sound like a year ago, it may even have been Craig's. Basically, if you're not hearing the end of a word, automate the volume (or split and gain correct) until you do. If there is a P or S that is too loud, automate or gain it down. Really get in there. If you have Waves Vocal Rider (or a demo of it), you can let it write its own automation during one pass to give you a starting point, and an idea of what kind of work to do. I believe this is the prime discerning quality. If you automate well enough, you won't even need compression or EQ, or at least not to fix problems of sinking into the mix.

I'm also a big fan of the Waves Renaissance Vox plugin, I think it's probably based on a stack of an 1176 and an LA2A compressor, which is considered a "classic" vocal chain. It's pretty idiot proof with just a few faders though :)