Live mic reverb software
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Live mic reverb software full#
(Some high-pass filters allow adding resonance in this way, but many don’t - in which case just use a regular parametric EQ boost alongside the shelf.) This bump increases bass that’s out of the range of the proximity-effect ‘mud’, allowing you to reduce the lowest frequencies while retaining a relatively full sound. Then, add some resonance (Q) to produce a slight ‘bump’ just above the cutoff frequency. First set the shelf frequency and then cut to reduce the muddiness, as you’d expect. In this scenario, a shelving EQ may prove more effective, so here’s a trick that many engineers use. Sometimes, though, you’ll find no suitable compromise setting, and reducing the proximity effect’s lowest frequencies with a high-pass filter will make the voice too thin. If, on the other hand, the proximity effect is severe, perhaps try an 18dB/octave filter. If it’s difficult to find the ‘sweet spot’ try the same technique but with a gentler, 6dB/octave slope. It’s possible to set this filter too high, of course, leading to a somewhat thin sound - you should strive for a balance in which the low-frequency energy gives a rich, full sound, without overwhelming the rest of the vocal. Loop a section of the vocal where the proximity-effect bass boost is problematic, then slowly increase the high-pass filter’s cutoff frequency. However, note that some singers deliberately use the proximity effect to make their voice sound less ‘thin’, so don’t automatically EQ to reduce the low end - do so only if it dominates, or leads to a muddy or muffled sound.Ī high-pass filter usually works well here, with a moderate slope (eg. bass boost caused by singing close to the mic). EQ can easily address excessive bass that was captured due to the proximity effect (ie. I recommend using the upper bass and mid-range as the ‘reference’ for vocal EQ - try leaving that region alone while you work first on the lows and then the upper mid-range and highs. For female vocals, the formant tone (which gives vocals much of their character) will be somewhat higher, so if these ranges don’t work try moving them up about half an octave.
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This EQ shows many of the tweaks I’ve mentioned: a high-pass filter to counter proximity-effect bass boost a high-frequency shelf boost to bring out air and transparency an upper-mid boost to increase intelligibility, so the vocal can ‘cut’ more and a tiny lower mid-range dip.When it comes to applying EQ, there are three main areas it can help to consider adjusting for the male voice (which is primarily what I work with): the lows, below about 150-200 Hz the lower mid-range, around 300-400 Hz the upper mid-range, in the 2-4 kHz range and the highs, which can overlap the upper mids. My point here is that before you even reach for an EQ and start tweaking, you really need to make an effort first to listen to the part and then decide how you want it to sound. Similarly, keep an ear out for what any other processing such as compression and analogue tape emulation does to the tonal balance of the vocal. Mic selection isn’t really a mix issue, of course (unless, I suppose, you’re deliberately using one of the new crop of modelling mics), but it’s well worth listening out for what the mics might have added. cardioid) mics will add bass boost due to the proximity effect if they’re used close to the source (as they almost always are for vocals). The mic itself may already have added a first stage of equalisation - most large-diaphragm condenser mics (and a fair few dynamics) have a natural ‘lift’ in the vocal range, and directional (eg. Judicious equalisation (EQ) obviously helps a vocal sit well in the mix, but note that ‘EQ’ isn’t the preserve of dedicated equalisers.
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That said, there are certain constants you’ll encounter with almost every vocal and it’s those I’ll address here. Much of what makes for a good mix is highly subjective and the same goes for vocal sounds too: every voice is different and we all have different tastes. This time, I’ll run through what you can do to perfect your vocals during the mix itself. In Part 1 of this two-part series, I explained some ways to prepare your vocal recordings to maximise your chances of a good result in the mix. Part 2: Having created the conditions for a successful mix last month, what can you do to fit your vocal in the mix?