Make Space For Vocals In The Mix

A whole thread has been going on this subject. Check it out here:

http://forum.cakewalk.com/tm.aspx?m=2084121

There have been some good posts in this talking about this very thing. It does start to become hard because of what ends up competing for the vocal line by the time balacing of the vocals take place.

But here is another tip I did not mention in the other thread. It is common mistake to start with all the instruments and get those right then somehow people expect to magically drop the vocals in the perfect position. But as they are often left late in the mix, there may not be any room for them at all.

You should start early in the mix with the instrument(s) you want to hear right at the end of the mix well. So, if it's a clear vocal you want to hear at the end, then start with them or bring them in soon in the mix.  That way they tend to stay longer and remain until the end and as you bring other things in to your mix, you are tending to make them fit the vocal line that is already there.  Rather than trying to drop something important into a huge texture that is already there and has literally swallowed up all your spectrum energy.

I have gone on about (real) VU meters before but thay can help you mix.  As you bring in big sounds they start showing early that you are almost full so to speak and you are using up energy fast.  A great vocal line will hardly change the VU ballisitic to the mix. The main VU ballastic will be moving to the music.  If the vocals are too loud they start taking over the VU movement. Ears are best of course.

The vocals are the mind, heart, soul, and strength of a pop piece (I don't recall any pop pieces of late lacking vocals).

I hope your subject will gain more respect as we each try to improve our vocs on all levels. 

TBH, I wish about 50% of all threads were dedicated to vox techniques, vox spirit, vox signal chains, vox compression, bkg vox, vox pitch, vox verb, vox saturation, vox harmonics, vox gear, etc etc.

To refine this discussion of vocal mix, I think we can be of most service by talking only about lead vocal. There is no point in talking about BGV's if you don't have the lead sounding good. With that in mind, and in reference to the initial post, there is still a wide variance in how prominent the lead vocal should be. The lead vocals of Boston, for example, are clearly intended to be part of the harmonic structure and flow over you along with the music. The lead vocals of Queen are clearly intended to be the focal point, with the instruments adding drama (drama and queen in the same sentence... hmm). My questions:  Is this the end of those categories - 1. part of the harmonic structure or 2. focal point? Or are there other categories? What do these different approaches communicate to the listener?

Yea, Dean, there are plenty of ways to go about mixing in the vocals.  I don't sing or do the vocal melody but I premix my electronic songs w/ that space in mind.  And now I do the premix lower and lower, since I get tired of turning them all down.  Even w/ buses there are still individual tracks to remember and re-balance.

When doing other people's stuff I always try to get a scratch vocal.  Even if it is badly recorded and poorly performed, it is still nice to have to hold a place.

@

Philip


The vocals are the mind, heart, soul, and strength of a pop piece (I don't recall any pop pieces of late lacking vocals).

I hope your subject will gain more respect as we each try to improve our vocs on all levels. 

TBH, I wish about 50% of all threads were dedicated to vox techniques, vox spirit, vox signal chains, vox compression, bkg vox, vox pitch, vox verb, vox saturation, vox harmonics, vox gear, etc etc.

+1