Lesson 1 of I am really excited we have a lot of great stuff to go over let's talk about me just for a second because I'm sure some of you guys don't know who I am I, uh these are some of the bands that I've done a day to remember is probably the one that you might be the most familiar with, but I've done the ghost inside motionless and white the word alive with diversity merge tons of other bands sometimes I forget bands that I've done till I go back and listen, but uh so yeah, I've been doing this for years would do it for like ten years or more eso I've gotten I've gotten a lot of knowledge I haven't had any actually haven't had profession like technical training it's all just been me figuring stuff out on my own and kind of talking to other people that have been in the industry and finding out what their favorite things are and what works for them and then I tried it apply it to myself and, uh, she's my favorite everything.

So what I'm going to be talking about is like, stuff that really works Um so the band one more time the data remember data data remember? The most specific stuff is not pro tools it's, actually melody line okay and vocal line, those are going to be my the biggest plug ins I'm actually going to be talking about specific plug ins, and some of it is pro tools plug ins, but, um, it's still like regular compressor there's nothing like really crazy like, you know, you could only find this if you're if you're in pro tools, it's all yeah, it's all the same like concepts and okay and workflow and order of doing things and stuff like that.

Okay, so thanks, let's, get back tio, who is this class for anyone that makes music with vocals? Obviously, producers and songwriters vocalists themselves.

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Yeah so you know how some some both of us can be difficult some vocals can be really easy but I'll be talking about howto work with both of them uh yeah sometimes that could be tricky and there there are a lot of cool techniques that will talk about, uh editing uh, effects and mixing the editing is huge.

Um if you're not editing right you're just probably ruining the vocals you got to keep the field I don't show how to how to do all that stuff pitch correction uh shortcuts, tips and tricks and we'll be talking about yeah effects that's it's not there so we'll be talking about the live vote coders and harmonize er's and kind yourself like that.

So let me ask you guys why is a great vocal so important? Um a ce faras what the audience is listening to in music your vocal performance is the number one thing that people relate to it's it's got to be the top of the mix it's it's the one thing that immediately will identify your band too because everybody can use the same guitar tone or how about amazing snare reverb so they sound like def leppard but assumes the singer sings that's the number one identity of of a group yeah that's great that's uh that's exactly right it brings me to these next points like you said, this could be the difference between also if if a band is okay or if they're great um and there are songs where the vocal is almost the only thing that's there.

Uh, if you guys are familiar with imogen heap, they have, like, a track where it's just just a vocal. And that song got pretty popular. There's uh, yeah, the song out right now, royals it's like a super simple beat and just like a baseline or something.

And then it's mainly vocals with backups and harmonies and all kinds of cool stuff uh, and that's what makes the song? I mean, you guys heard these off capella tracks. They almost sound like their songs in themselves. And then the stuff that you do around it kind of just adds the meat to it, uh or the puts it in a certain genre.

So here's, another really good point that I was thinking about a lot of the top songs right now. How the same chord progression. There's actually a wikipedia page uh, that I found that talks about all the songs that use the same chord progression these air just a few here, um but they use the same court.

It might be like in a different order, but they all use the same chord progression might be different tempo or key or whatever, but, uh, you can listen to all these songs back to back and it kind of you don't you don't think hey you know this is the same exact song and well, why not?

Uh, andrew, from we have a question from a chat room, andrew from evanston's wondering, will you be showing examples where the the like layering of vocals is more minimal? So when you're working with just one yes, vocal, yeah, we're definitely gonna do that. Um, in segment three after lunch, we're going to be actually having someone tracking vocal in a song that is just going to be a single vocal.

I'm going to be talking about when two single vocals when these doubles and triples and and, uh, went he's, a complex arrangement first it's the example that I did.

I've tried to make it when I wrote it. I made it complex on purpose, just so we could get through these examples, but sometimes that's, not the best idea, like an inverse. Sometimes you want to start out a song simple. Every great rock song starts with a stellar vocal.

Slow down!

Andrew will cover everything you need to know about recording, editing, and mixing vocals for modern rock songs. This is a superb course, was full of great informations and it has inspired me a lot.

Learned alot of things, thanks to Andrew for this great presentation and sharing his knowledge and experience with us, also thanks to the people in the audience for bringing up good question and to the creative live team for making this happen. I really hope Andrew will come back to Creative Live someday, perhaps with a full course especially about working out and creating vocal harmonies Absolutely essential information in this course.

Very in depth. Even if you went and interned at a studio with a reputable producer, it would probably take months to absorb all the information so cohesively laid out in the course.Inside, I share the only 7 steps you need to go through if you want your mixes to sound professional. There are several stages to a good vocal recording, but the process can be split into three vital sections:.

Without good recording technique, you could make the perfect room sound awful. Skip any of these key ingredients and you are doomed to fail. Good preparation starts with pre-production. Make sure the song is ready for vocals, and that you have a rough mix ready.

After that, you can start to think about the recording location. Choose a room with lots of soft furnishings, and avoid rooms with lots of hard surfaces or windows. When recording vocals, you want the room to be as dead as possible. This is for a variety of reasons:. Too much absorption can lead to muffled highs and an unnatural sound. The perfect balance is a room that is absorptive enough to prevent any significant reflections and resonances, but not so dead that the voice sounds noticeably muffled.

So chose a room with a lot of soft furnishings, like a bedroom or living room. Avoid kitchens and windowed conservatories. The best place to position your microphone considering these rules if just off the center of your room. If you have proper acoustic panels, use them to create a temporary vocal booth around the vocalist. Try mattresses, duvets, heavy curtains and anything else that would absorb a lot of sound.

If you shouted into it, how much sound would it absorb? The more the better. If you are using a cardioid microphone, this is the area that will affect the sound the most. If you are using an omnidirectional microphone, place treatment behind and to the sides of the microphone too. Make sure to download the free Vocal Recording Playbook to use during your recording sessions!

Matching the microphone to the vocalist will guarantee that you get the best tone for that particular voice.

How to Record Better Vocals: The Beginner’s Guide

The standard microphone for vocal recording is a large diaphragm condenser. If you are recording in a well treated room, you could also try using an omnidirectional microphone for a different tone. Plus, as there is no proximity effect, the vocalist can move around more and get closer to the microphone for whispery parts. You can use a dynamic microphone for particularly aggressive vocalist think hard rock and hardcore music or to make a vocalist sound warmer.

Dynamic microphones also reject more background noise so are great if you are in a particular bad sounding room.

How to mix rock vocals: 9 top tips

Make sure you have all the appropriate accessories too. Use a pop filter and shockmount to prevent noise from ruining your vocal recording.Photo via California Dingo.

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Every musician dreams of recording in a big, fancy studio with a world-renowned producer, but the honest truth is that most of us are getting by on a pretty tight budget. Fortunately, with a couple of easy hacks, some production knowledge and little bit of patience, you can get your home recordings sounding extraordinarily close to what a professional studio might deliver.

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As obvious as it sounds, the first step to getting a good recording is to set the right ambience. A bedroom works well because your mattress, blankets, cupboard and even curtains are all good sound absorbers. In any case, you can build a simple vocal booth using old blankets, curtains, mattresses and pillows. You could even add a few rough wood panels to create a more natural sound.

Remember, the most important thing to avoid is those reflections and echoes typical of hard floors, empty rooms and large rooms. Place the mic diaphragm facing your lips sometimes off axis, if necessary. Listen with your headphones for the subtle differences. After the mic warms up for a few minutes, quickly get the level into the preamp and on the DAW.

Learn more about proper mic'ing techniques here. Warm up singing through the entire song two or three times before going into detailed spots. Record everything and properly label all the tracks and takes for easy reference later. Sometimes overdoing it can put strain on your performance and your voice.

Instead of letting frustration build, coming back to it with a fresh start the next day might be your best move. Fill in only the less solid parts from other vocal takes. Make sure you focus on the performance, not the pitch. Only fix the faulty words or sections — don't put the tuning plugin on the whole track. Skilled engineers and producers have figured out how to achieve a convincing sound for vocals after years of experience and dozens of albums. For pop or rock, try using dB compression and a slow attack to preserve a more natural vocal soundand see if you like it.Please enable JavaScript in your browser in order to make this website functional.

View All. Do you want your vocals to sound larger than life?

recording rock vocals

Learn how to get your vocals to sound big, present, and in-your-face: whether you're working with a great recording or not. Regardless of the genre, learn to make them sound huge!

Either your client wanted it, or you wanted it for yourself. A big vocal sound is not necessarily easy to get.

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I know this is a bit of non-advice but I really cannot stress this enough. Starting with a very full capture makes this process infinitely easier. However: the one place I would not want to do this is vocals. This presumes you have control over the recording. From there, grab a nice parametric EQ. An SSL emulation is a great choice here.

Odds are there are a couple specific bands of tone that are too built up; this is a natural effect of recording a human voice in a physical space. The mic, preamp, room, and voice itself are likely to lead to a few frequency bands in a few places that stack up. Usually these frequency buildups will be fairly obvious. The usual culprits are room tone in the lower mids, and mic proximity buildup in the low end.

But there can be a little too much anywhere in the frequency spectrum for one reason or another. The trickier part to keeping your vocals full and upfront is when there is inconsistent tonal buildup over time. The vocalist is chugging along all happy and such, and then suddenly belts a note with too much tension in the neck, leans into the mic, or hits a particularly sibilant consonant.

This is where we reach for our power sander: the C6 multiband compressor. Of course, we use multiband compression all the time in the form of a split band DeEsser. Split band DeEssing is just multiband that is focused on the treble range and designed to act very quickly. Regular multiband is a broader, more flexible use of the concept. So if your vocal is nice and forward, but occasionally gets just a bit too edgy in those upper mids, grab your C6, isolate the offensive band, and set the compressor to trigger right on the sections where the tone hops out of the speakers.

Alternatively, you can try a dynamic EQ to smooth things out. The results will be somewhat similar, but the means of getting there are a bit different. This way, instead of isolating the sound with crossover points like in the C6, you'll be implementing parametric EQ curves.

But hey, which ever floats your boat. Again, similar results, different means of control.Every great rock song starts with a stellar vocal. Andrew will cover everything you need to know about recording, editing, and mixing vocals for modern rock songs. This is a superb course, was full of great informations and it has inspired me a lot. Learned alot of things, thanks to Andrew for this great presentation and sharing his knowledge and experience with us, also thanks to the people in the audience for bringing up good question and to the creative live team for making this happen.

I really hope Andrew will come back to Creative Live someday, perhaps with a full course especially about working out and creating vocal harmonies Absolutely essential information in this course.

Very in depth. Even if you went and interned at a studio with a reputable producer, it would probably take months to absorb all the information so cohesively laid out in the course. I would HIGHLY recommend to anyone looking to properly record their own vocals, or for anyone looking to record other bands whether in a bedroom, or a million dollar studio.

Loved watching, learned a TON learned a lot of great pro tools shortcuts as well. Well worth the money. Thanks for doing it Mr. Skip to main content. Recording Rock Vocals. Class Description Every great rock song starts with a stellar vocal. Reviews exoslime.I want to talk about how to approach mixing vocals in a Hard Rock song. I think the best place to start is by figuring out where you ultimately want to end up. Pop-Punk records usually want to sound a bit done up — it should sound like a natural voice — but a stellar capture of that natural voice.

Metal genres are often heavily effected, but should be done so to the end result of sounding exceptionally aggressive. The more adjectives I can staple on to the idea of the sound, the more deliberate my vocal processing or choice of not processing can be. There was about a five year period in the early 90s where you could not understand the words to any songs playing on the Rock FM station, unless it was Sublime or Chili Peppers.

The guitars often take precedence in the mix, and the snare drum is usually pretty competitive as well. We have to assign what our biggest elements are going to be. The solo button is not your friend.

The solo button is something that you wronged in the past and is now coming for your blood. The latter are vocal-centric, and the music moves around the perfect vocal sound. In these Rock genres, the vocal has to meet and live within a world where the guitars and drums may take center stage. This concept will be a recurring theme in this article. Tone shaping is probably the most challenging aspect of treatment.

However, if we know ultimately what we want from the vocal, our treatment becomes a lot clearer. This is a more assertive, edgy range of treble. Playing up the treble is really only if the vocal needs to float above bright guitars, or if the treble was deficient to begin with. This is usually going to be the focal point of my vocals. For more aggressive styles — Death Metal, Hardcore, etc.

This is the range that helps the vocal be heard through heavy guitars. Solo mode hates you and tells you lies. That lower midrange can be tricky. I tend to favor a very heavily compressed sound for my vocals in most styles of Hard Rock. I handle my dynamics in stages in order to get this right. Even if I want the vocal to be quieter in some places and louder in others I still want the vocal feeding the compressor to be evened out. I want my compressor to be acting on my vocal in a uniform way.

In addition, I find that Rock tends to be shocker very accepting of distortion. I tend to find that drier is better most of the time. Reverb tends to make things sound too produced and polished.Therefore… it demands our best work. To find out which ones I recommend, check out this article :.

One strange thing about the human voice is…. Creating a punchy low frequency sound known as Popping. Place your hand in front of your face as you say these two sentences :. Hear that annoying hiss? Problem solved. With certain instruments such as acoustic guitar, this can serve as a useful tool in adding warmth.

If the acoustics in your room suck, so will your vocals. To see which ones I recommend, check out this article :.

recording rock vocals

With certain flooring…. Because most shockmounts are designed to work only with a specific mic, you need to find the right match. If not, you might want to try using a different mic altogether. And other than their actual singing abilitythe other HUGE factor that determines the outcome is their microphone technique.

And the really good ones know when to intentionally breathe INTO the microphone for effect. But rather than trying to fix everything with editing…why not give them a few pointers to help them fix it themselves? The great thing about home recording is…the people you record are typically your friends, and you guys have all the time in the world to get things right.

recording rock vocals

To understand it better, try this exercise: Place your hand in front of your face as you say these two sentences : Peter Piper picked a peck of pickled peppers. Better businesses build big boxes. Feel the air hitting your hand?

The closer the sound, the stronger the effect. Use omnidirectional mics — which are immune to proximity effect because of their design. Up next… 4. Foot Noise With certain flooring… Every single footstep can be heard loud and clear throughout the entire house.


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