From the course: Audio Mixing Master Class
Argo vocals - Pro Tools Tutorial
From the course: Audio Mixing Master Class
Argo vocals
- [Instructor] Many vocals need some extra aggression to match the track and this trick dials it up in style. Let's see how to take that aggression to the next level and make it perfect for the track. First thing we'll do is have a listen to our track and particularly listen to the vocal. ♪ You hear me calling but you're carried away ♪ ♪ With all that buzzing on the railway ♪ ♪ You know I love you but I might attack ♪ ♪ I ain't back in black ♪ - [Instructor] Doesn't sound too bad but what we really want is to make it more aggressive so we can match the track better. So the first thing we're going to do is duplicate our vocal track. There we go, let's Solo it up and what we'll do is we'll add a limiter. So let's bring our normal Pro Tools Limiter in. Fast attack, medium release, and let's bring it up 8 or 10:1, somewhere in there and what we'll do is we'll make our knee nice and easy here. Have a listen. ♪ You hear me calling but you're carried away ♪ ♪ With all that buzzing on the railway ♪ ♪ You know I love you but I might attack ♪ - [Instructor] Okay, so that's pretty solid, pretty steady, that's what we want. Now, we're gonna add the aggression by adding a little bit of distortion. So come down to Harmonic here and any kind of distortion plug-in will do. In this case, let's do Eleven which is the distortion plug-in from Digidesign. And let's have the vintage amp here. Let's have a listen. ♪ You hear me calling but you're carried away ♪ ♪ With all that buzzing on the railway ♪ ♪ You know I love you-- ♪ - [Instructor] We don't want too much. We just want enough to make it aggressive, to give it some extra presence. And now what we'll do is we'll add an EQ on top of that and we'll boost up our mid-range a little bit. ♪ You hear me calling but you're carried away ♪ ♪ With all that buzzing on the rail-- ♪ - [Instructor] That's very aggressive. So let's listen in relation to the vocal and we'll gradually add it in. ♪ You hear me calling but you're carried away ♪ ♪ With all that buzzing on the railway ♪ - [Instructor] That sounds pretty good. Have a listen. ♪ You hear me calling but you're carried away ♪ ♪ With all that buzzing on the railway ♪ - [Instructor] Okay, let's listen to the track now. ♪ You hear me calling but you're carried away ♪ ♪ With all that buzzing on the railway ♪ - [Instructor] Now let's listen without the added new duplicated aggressive track. ♪ You hear me calling but you're carried away ♪ ♪ With all that buzzing on the railway ♪ ♪ You know I love you but I might attack ♪ ♪ I ain't back in black ♪ - [Instructor] Now you can hear what happens. Just that little bit of extra aggression. Just kind of puts it over the top. And if we want to, we can really push this as well. So let's just push it a little more than I normally would, anyway. Just to hear what it'd be like. ♪ You hear me calling but you're carried away ♪ ♪ With all that buzzing on the railway ♪ ♪ You know I love you but I might attack ♪ ♪ I ain't back in black ♪ - [Instructor] So you can hear sometimes you want just a little extra push. A little extra power in the mix. And there are certain songs, hard rock songs, metal songs, anything that has an edge to it, sometimes needs that extra aggression and you don't want it to be overbearing, you just want to be enough that the aggression of the vocal kind of matches the track. So you can use this trick in order to get that extra aggression that sometimes you can't get any other way. To give the vocal in a hard rock or metal song a bit more of an edge, duplicate the lead vocal channel, then insert a compressor in signal path. Set the compressor for 6 to 10 dB or more of compression. Insert a distortion or harmonic plug-in after the compressor in the signal path and set it for mild distortion. Be careful since too much distortion will make the vocal sound harsh. Insert an EQ after the distortion plug-in in the signal path and boost the mids anywhere from two k to four kilohertz. Finally, mix in subtly with the original vocal channel to fit the song.
Contents
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The Abbey Road reverb trick6m 7s
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The Real NYC compression trick8m 52s
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The secret to "punchy" drums6m
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Give your vocal an awesome airy sound4m 13s
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Dr. Pepper 1176 setting4m 8s
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Low-volume listening for a great mix balance6m 59s
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The secret SSL buss compressor setting4m 36s
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Using a short reverb for a massive sound5m 43s
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Make your mixes hot and loud10m 11s
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The Van Halen guitar sound trick5m 40s
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Give your bass some low-end definition5m 42s
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Make your vocal shine with a stereo delay7m 13s
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Add some excitement to your boring pad tracks5m 2s
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Make your programmed hi-hat come alive5m 37s
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Get that old-school delay feedback5m 33s
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Eliminate unwanted track noises like the pros4m 37s
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Short reverb decay is your friend5m 17s
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The 1176 British "nuke" setting4m 8s
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The mono spring vocal surprise4m 6s
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Put some "smack" in your snare1m 52s
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"Space" for your keyboard tracks3m 1s
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The secret to panning background vocals3m 35s
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The “nail In the paddle” rock kick sound3m 57s
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The Hank Marvin multihued delay trick4m 21s
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Emphasizing the beat with a pumping rhythm guitar5m 17s
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Simulating a tape delay6m 45s
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Parallel compression for punch with dynamics7m 26s
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How to get reverse reverb7m 48s
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Tweak your track timing like the pros6m 9s
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The biggest sound from the shortest delay3m 53s
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The ultimate 80s guitar room sound3m 7s
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Taming the picked bass5m 18s
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The secret to gated drums4m 50s
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The exploding snare trick4m 11s
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The awesome double-effect trick3m 33s
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The moving filter trick3m 9s
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The terrific timed reverb trick7m 48s
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Acoustic guitar peak limiter trick4m 39s
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The Tommy Lee thunder drums trick5m 6s
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The mono listening trick5m 1s
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The pitchy vocal coveruo trick3m 48s
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Tighten up releases4m 1s
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The large and thick background vocal trick3m 31s
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The legendary layered reverbs trick6m 33s
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Bones Howe 1176 setting4m 17s
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The big pad reverb trick4m 26s
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Effective effects automation5m 33s
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Eliminating clicks and pops3m 35s
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EQing the mix buss4m 49s
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The magic of mono reverb5m 9s
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Adding presence with flanging3m 58s
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Insanely big room sound4m 19s
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EQ your vocal with multiband compression4m 19s
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The Abbey Road double-track trick5m 28s
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The secret Pultec bass setting3m 42s
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Increase your background vocal energy3m 13s
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EQing the perfect club kick2m 34s
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Another exploding snare trick4m
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Perfect DI and mic'd bass phase3m 34s
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Finding the Elton John piano sound4m 39s
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Effecting the effects5m 41s
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Panning outside the speakers5m 25s
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The wisdom of dotted and triplet delays4m 42s
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Increase your room mic presence5m 15s
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The dbx 160 punchy drum setting6m 8s
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Dual untimed vocal slaps5m 3s
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Tuning the kick to the song4m 28s
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De-essing the reverb4m 36s
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Let's hear it for mid-side processing3m 54s
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Dial in your low end with an RTA5m 36s
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Add some air to that piano5m 55s
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Lock the feel of the bass and kick4m 41s
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Swept midrange guitar trick5m 16s
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Hat pad trigger trick4m 9s
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Big thump snare3m 57s
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Single word delay3m 48s
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Drum replacement4m 47s
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Keyboard life4m 4s
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Balance kick and bass8m 51s
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Ducked reverb5m 52s
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Autopanning5m 38s
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Tame peaky acoustic guitar5m 9s
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Snare ambience5m 3s
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Pitchy vocal4m 13s
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Snappy snare4m 58s
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Super big reverb5m 52s
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Spectral widening4m 37s
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Clean overheads4m 38s
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Argo vocals4m 21s
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EMT short room6m 19s
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Massive snare5m 1s
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Compressed reverb4m 30s
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Bass wide4m 47s
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Vocal control3m 42s
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Compressed guitars5m 26s
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Snappy snare4m 47s
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Dry vocals2m 44s
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Bass trigger4m 15s
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Hard snare4m 51s
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Drum phase3m 25s
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Floppy kick2m 56s
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Rough mix5m 58s
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Make your drums fills more dynamic3m 23s
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The filter boost technique3m 5s
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Add some sizzle to your snare3m 3s
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That big wide guitar sound5m 53s
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Hear every hat nuance4m 25s
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Micropan for greater track separation8m 33s
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Make those toms bombastic5m 11s
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The power of the high-pass filter3m 53s
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Add some ambience to your percussion5m 9s
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Flat fader mixing8m 45s
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Get control of your cymbals2m 16s
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