![]() ![]() If it’s a ballad with long, drawn-out words then a long delay creates a big sound without overpowering the actual vocal. Depending on the BPM of the song, style, and genre, use either short, medium, or long delays. Delay adds space without making the vocal sound distant, something that happens all too often when you use too much reverb. Combining the delay and reverb together in various ways can often yield some interesting results so I’m constantly trying out one in front of the other to see whether the song in question likes diffused delays (with the reverb after the delay), or an echo reverb (with the delays after the reverb).įor an in-your-face lead vocal, scrap the reverb entirely and use a delay to make the soundstage wider. This usually gives me enough variation to create the sense of depth and space I’d like on the vocal. I usually have the Valhalla Room on there, but the EMT 140 Plate also comes in handy on occasion Stereo delay for longer delays than the automatic double tracking bus.Compressor (in case I’d like to compress the reverbs or add some parallel power).However, regardless of genre and style, my Vocal Space bus always comes pre-loaded in my template with a few things: But if your singer is Scatman John then a long reverb will probably just get in the way. If you’re going for “My Heart Will Go On” Celine Dion-long sustained singing then a large and long reverb might work exceptionally well. The rhythm of the vocal can tell you if the reverb you’ve chosen actually works. Is the singer singing long sustained notes, scat singing, or rapping? These are some of the factors you might want to consider when choosing your vocal reverb. The reverb is used to give a sense of glued space to all the instruments, but the vocal space bus is dedicated to finding the perfect vocal sound.ĭepending on the type of sound you’re looking for, you’re going to approach this vocal space bus differently. That’s why I have a separate vocal space bus in addition to the instrument reverb. I tend to process my vocals a little bit differently than the rest of the instruments. Try it next time you want a dry vocal part that you don’t want to push way back into the mix. ![]() You can get a really nice wash of backing vocals if you have several panned vocals parts routed to a stereo chorus. Similarly, you can do the same thing with backing vocals. ![]() It’s a simple enough trick, and great for giving a little more breadth to your lead vocal. If you add a bit of the chorused signal underneath the lead vocal you’ll get a thicker sound, emulating a double-tracked vocal part. You can also try to use a simple chorus plug-in instead of a delay to double the vocals.
0 Comments
Leave a Reply. |
Details
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |