Listen to an Example ➜ YouTube Link Vintage Analog Preamp Emulation Let’s listen and notice the classic and smooth timbre the vocal takes on. This dips highs, boosts lows, and again, adds some additional 3rd order harmonic distortion to increase mids. I’ll use a tape emulation and reduce the speed to 7.5ips, or even 3.75ips if I don’t mind a little extra distortion for the vocal, and adjust pre-emphasis. Tape emulation, especially slower speed tape emulation, is a great way to reduce harsh frequencies, as well as boost low mids. Listen to an Example ➜ YouTube Link Slow Tape Speed Emulationįor the last 4 chapters, let’s talk about how emulation can smooth out vocals. Let’s listen and notice the lessened sibilance. Too long and the compression will be too noticeable, but 10 to 15ms of attenuation on the high frequencies is a great way to smooth high frequencies. Let’s go into the settings of this Weiss de-esser, and increase both the short and long release times. Listen to an Example ➜ YouTube Link Long Release De-esserĪ de-esser is a frequency-specific compression, which we can use to attenuate some of the sibilance we were dipping with equalizers in previous chapters. Let’s listen to compression with a super quick attack and long release, and notice how it smooths the vocal-like optical compression, but has a different sound. This time, I’ll also use a soft knee to very gradually introduce compression, which reduces the potential of distortion that could increase the vocal’s harsh frequencies.
Similar to the last chapter we can utilize quick attack and long release times to smooth out a vocal. Listen to an Example ➜ YouTube Link Quick Attack, Long Release Compression This second release stage really smooths out vocals, by reducing transients and lessening dynamics. Half of the release is about 60ms, while the remaining signal will take about 500ms to 5 seconds to return to unity. Listen to an Example ➜ YouTube Link Opto Compression and Smooth Vocalsįor the next 3 chapters, let’s use compression to smooth vocals.įirst let’s look at how optical compression can smooth vocals with its quick attack time, usually 10ms in fixed optical compressors, and its variable release. Let’s listen and notice how the more powerful low mids mask some higher, more aggressive frequencies. Let’s dip the same frequencies we did in the last 2 chapters, but now dynamically amplify the low mids. Last up when it comes t using EQ, we can use a dynamic EQ to attenuate aspects of the vocal that make it harsh, or amplify some smoother sounding aspects. Listen to an Example ➜ YouTube Link Smooth Vocals with Dynamic EQ Let’s listen to the same filters we used in the previous chapter, but with a transient EQ. This will more accurately attenuate sibilance and other harsh frequencies since the percussive aspect will be attenuated. With a transient EQ we can do the same thing we just did in the previous chapter, but now isolate the attenuations to only the transient aspects of the vocals.
Listen to an Example ➜ YouTube Link Reducing Transients with Split EQ If I look and listen I’ll notice sibilance in the high frequencies, dynamically moving in and out in a predictable way - which I can now attenuate with a band or shelf filter.įor a more digital and precise sound, I’ll use a sharper bell, but I may want to use a shelf to keep the attenuation a little more natural. I’m going to start with a regular equalizer, and simply observe my frequencies while I listen intently.
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Get a FREE Mastered Sample of Your Song ➜įor the first 3 chapters, let’s look at how EQ can be used to smooth vocals. Attenuate your sibilance with a de-esser, equalizer, or with an analog emulation that dampens highs, then subtly increase low-mids to mask higher frequencies and add a warm, smooth quality. When trying to make your vocals smooth sounding, it’s all about balancing high frequencies with low-mids.
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