Vocal Mix Prep
With your lead vocal performance comped and tuned, and its timing tightened, is there anything else to do before you start mixing?
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With your lead vocal performance comped and tuned, and its timing tightened, is there anything else to do before you start mixing?
Just how do you achieve that extra bit of professional polish for your vocal parts? Find out with our in-depth guide...
A broadcaster’s personal guide to getting a great vocal sound at Eurovision. Or in a pub.
Have you ever wondered how to separate a vocal or the instrumental backing from a stereo mix? We find out what’s possible — and what isn’t.
A new generation of vocal processors, and a new generation of engineers, confront the possibilities and ethics of digital vocal manipulation.
Getting vocals to 'sit right' can require a lot more than setting the fader and applying EQ. We asked a number of engineers how they do it.
Grammy Award-winning engineer and producer Dom Morley chats with Sam Inglis about the art and craft of recording and mixing vocals.
Have you ever wondered how to separate a vocal or the instrumental backing from a stereo mix? We find out what’s possible — and what isn’t.
Kick drum and lead vocal present tough processing challenges in this installment's remix.
The technical dimension to vocal production is important, but the human dimension is even more so.
Having created the conditions for a successful mix last month, what can you do to fit your vocal in the mix?
Last month, we showed how to comp a great vocal performance. Now we look at how you can use editing tools to improve both timing and tuning.
To transform multiple takes into truly great vocal tracks, you might need to look further than your DAW’s built‑in comping tools.
We show you how to get great results from self‑recording singers.
Songs suffering from superfluous sibilance? Study SOSs super strategies for sorting esses...
This issue's Studio SOS comes to you from the other side of the world, as we help an Australian reader sort out his vocal recordings.
Everyone knows how much a classy vocal sound can add to any recording, but achieving this in the studio can seem something of a black art, so this month we demystify the recording, processing, and mixing techniques required to produce professional results.
The SOS team battles through snowdrifts to help Nick Redman and Mike Sinnott with two different vocal sounds.
Paul White comes up with a few tips for using the processing power of your computer audio sequencer to turn one or two voices into a complete backing ensemble.