Flawless Vocals: Recording, Editing & Mixing

Lesson 13 of 14

Issues "Stingray Affliction": Special Effects Pt 2

 

Flawless Vocals: Recording, Editing & Mixing

Lesson 13 of 14

Issues "Stingray Affliction": Special Effects Pt 2

 

Lesson Info

Issues "Stingray Affliction": Special Effects Pt 2

The next thing I would always add some sort of distortion and like the stock pro tools, sands and plugging does it really well now, man, now, you know, it sucks to be you pretty now, man deep that now, man, now you know, it's still bu you can decide how much you want a little you want go crazy getting effect like this because deep down, you know, tio, take it so far that it barely even sounds like a vocal like this, which I kind of like to do sometimes I think it sounds cool like, is that a vocal or guitar? I don't know now great cool lo fi affects that way, there's also a lot of plug ins that, like ad, you know, vinyl noise, there's, even a free plug from isotope that adds final noise and does stuff like that. But it's, just fun to go out there if you want to sound like it's a speaker in a room small phone in the room was a little bit of rebirth. All this stuff might seem obvious, but I'm not sure it always is on this. I'm going to bring the mix down because actually a plug in on the ...

track and not just, um, auxiliary, where I'm blending two effects now man could be value no man could be tonto now man, you know you could get that dial them better, but now it kind of sounds like a phone in her room, not a man's back. Well pre delay make it sound more natural now you know, tonto, you know you can go back to dry now man could deep now you know, it sucks to be you but it's all just where you wanted, what space you wanted in and and what kind of affects you want to do now let's see it's going to get I'm going to get more into the outboard local effects stuff tomorrow so I'm gonna stay in the box here with this another cool thing that you could do with the lay something that I was kind of touching on and showing with low fight away um keep it away times like quarter notes usually good place to do it keep it away that has a really cool effect on it. This is normally called a throw keep it the way that has a cool effect on it. You have a scent to it it's always muted like I was saying earlier and then you just put it, put a pro tools and automation mode and or like writing mode for the automation and grab the fader ondas you're going, I'll just show you this actually give me one second set this up, we'll make an ox track gonna do a mono even though the delay is going to be stereo I'm sending it in march so call this throw delay and this is a factual you're on a lot of my records to do this all the time goto mind delay plug ins goonies echo boy again but the monastery aversion which actually just takes them on a signal in turns it on the stereo and gives you the stereo effects you can do ping pong delays and control the width which means one side is delayed just slightly longer than the other which was talking about earlier about the slap delay that's that's how you make a delay sound wide is you just slightly delay one side a little bit more than the other and it will appear to be more within the headphones and stereo mics so I've got that on one through a little river after it to kind of space it out also most ways in pro tools have some kind of way to lock into the tempo and that's part of the throat aways you wanted to be like right on time you kind of wide feedback which is the same as repeats how many times the delay repeats turn that up and take a little high end off which is the high cut and I'm gonna turn the mix all the way up like I said, I'm gonna add a reverb after it else used deaver easy but I'm not gonna have them mixed one hundred percent with do it about fifty and want to make a longer river and this gives it kind of like a space so it doesn't sound like a hard repeat it actually sounds like this like like it's kind of stretching out the vocals just get a little bit of reverb kind of long almost fifty percent makes I like it to be a little lower from forty forty five I'm gonna choose call this affects three we'll go from the main vocal we're gonna send the lead vocal actually senate lead vocal toe fx three which is where I have my throat away low five local I just made some doesn't get in the way actually doesn't even matter his first chorus and I'm going to take out just for just for explaining this I'm gonna take out the screams that come in right after a lot of times in music you have a course and then you have like the intro again or you have some sort of is a standard way to format song's chorus into some kind of interlude sometimes right back into the verse but usually there's some sort of post course so cool way to transition into post courses to do this, throw it away sort of thing and then also show you how to use it to access certain words no, no, no no that doesn't really fit this song so let's do a show that was on eight I want a quarter note away that's basically what it sounds like no no I get kind of a swelling you know it's not really appropriate here which is why I didn't do it and also with the gap like that I'm gonna wanna turn up the repeats but when you're hearing this you can kind of imagine it in the correct spot and it's a really cool waited to do things you can also do that under certain words you want let me listen once pick what words I want to really make spaced out you're really here wait a place to put it but just bringing in on one word throwing it in like that and you can do it by just muting and un muting which does that and you can also do this which gives that cool swell wait like a random spacey fuel instead of having this hard beginning and obviously that wasn't the best pass I would have done that a couple more times to try to perfect it and you can also do that by just straight writing in automation if you want I do it that way a lot um which is really easy to showyou affects three you just go to the level find the word you want and if you just want the word tough all the way just bring it up actually, if I was doing that, I would, um, unit, but here I'm going to swell it, so I'm gonna bring the volume up and this is the send and this way when you do it this way, it sends the swell vocal in so the delay last as long you want if you were trying to swell up and swell out the delay on that side than obviously, you're getting all the extra words coming into it and you're just fading out the delay and fading in and it's not nearly as cool in effect. So what I'm doing here is automating what I attempted to do live just a minute ago, and if you have all the same parts on a rhythm like like it's the last word, every time, just coffee and paste actually, I want twice as much it's quick way to get through things, a spoon and kind words about this one automatic and I can change it later I don't have to record wait and so that's, something you can use on anything but that's something I do a lot just to keep the vocals moving and keep things going yeah, we've been talking about like a lot about transitions, yeah, do you just fill in transitions for bands like when they don't have them or do you, you know you want them to come up with the transitions themselves like the effects you're talking about yeah, like you're getting a little bit of time sometimes people write vocals with the idea of they're being some kind of effect to make a transition I mean that's that's one way of writing vocals sometimes you have two vocal parts that are awesome and I don't want to change them like one's the verse and one's the chorus but you do have a gap that's where I come in and I'll figure out how to make that transition whether we write another vocal teo fill that up because that happens a lot to I mean that's something that happens all the time is you're like have a cool part that you have here in a cool part that you live here and you don't really know where you maybe don't realize that they don't work back to back or you're just not sure how to make them work back to back and you could just either you know that's where you're like who's and gauze on records all the time stuff like that or like rhythmic vocal things a lot of times that's where they came from is like you couldn't figure out the transition or the vocal comes in like on the second beat of the chorus so you come in with like an awe or something to fill space and that's something I help out bands with all the time on dh I'm helping out with writing vocals and stuff to a times so no, I don't expect the band to do that. That kind of stuff we did actually have one final request if you can show how to do the tape stop oh yeah, definitely good call I want breeze right past that perfect actually wire sum that up let's have a quick question as faras the person you know, your personal preference. Well, how do you go about as faras like making sure you're not fatiguing yourself and I know you know this kind of music in general like right now, like right now? Yeah, yeah has told a plenty engineers everyone has their own way of kind of like when to take breaks, what they doing breaks how it makes low volume. Yeah, and more importantly, that's that's so important when you're mixing vocals and when you're tracking vocals toe not get fatigued because the thing about you is a producer and engineer when you're tracking vocals, you need to be working on the singer schedule because it's their body and when it's working just keep going just keep going do it until you know, not till they're completely trashed you got a key keep going and that doesn't mean that you're not getting fatigued, so it is really important teo consider those things and monitoring low which you probably noticed here that I'm not listening that loud and this is actually kind of loud to me and I'm just trying to get it out there but monitoring lo keeps your hearing better throughout the day it's the same with the singer you want to make like I said earlier you don't blast their ears take quick little breaks you know, every forty five minutes an hour and a half I try to just like stand up and walk around the room for two minutes if a guy is riding and that's stuff you want to do like if a guy has to write a part or if he's like practicing something like sometimes you have to put pro tools on loop and they're trying to hit something that's when you stand up and walk away for a minute out what I most often do is I opened up the door and I walk out in the hall because I can still hear what's going on I can hear if they're getting better if they need more time but I'm also not being blasted by music and just standing up and get in your blood flowing is really important I also try to have like a glass of water or something not super sugary coffee but you don't want to overdo the coffee just something tio some kind of muse you know, something that that that you could do aside from just staring at a computer and listening you want teo, I prefer not to during too many sugary drinks because these start to crash after like four or five hours the sugar words out but that's just me but that's how I fight dirty it's really all about small breaks, monitoring it low volumes and if you're listening loud volumes because you want to hear something like crank or sound cool, just step back that's what I do, I'll crank it up and then press play with a little pre roll and then walked to the back of the room or walk somewhere like because people don't really think about it, but you're like really close to the monitors and that the the volume of just blasting your ears when you crank things up so you gotta be careful with that also, try not to wear headphones as much as possible because headphones like you khun like they're good for listening pleasure and they're great for when you're tracking and stuff. But if you're a new engineer working twelve months a year, working all the time if you always got your headphones on and you're like slowly creeping up, creeping him up that's really fatiguing here's a lot more and it's not only fatiguing your ears like ear drums, it's fatigue in your ears physically and that can be annoying and kind of make you lose lose uh focus a little bit all right let's do that let's do the tapes up yeah yes back to the tape stop there. Yeah, the tape stop thing is pretty easy let me find so this one actually what I did it's the tape stop of yeah of a delayed vocal so I should just show you how I did that yeah and that's what we mean by tape stop yeah, but and that's the same thing as the tape stop it's the sound of tape stopping and I actually like at my studio I have an actual tape machine and that effect sounds different than like verify which I'm about to show you and sometimes I'll just print something to the tape machine and just touch it and then I can slow it down slow I want or you can do though like it's kind of like a record scratching sort of thing but verifies almost a little more like a record turning off but doing it on actual tape machine that's cool another thing that's cool tape machine and you could do this with tape delay well certain tape the ways you can do this but let it go slow it down with your finger and then hit rewind and it'll it'll relying on tape machines start really slow so it'll rewind or it'll stop slow down and then it'll start to reverse slower and slower and go faster and faster and faster and then you can hit play right when you know it starts again and then hit the thing is cool effect I've done that on like used to do it more on records back in the day and then I felt like I was overdoing it but I'll start doing it again you mentioned him I think it's time but you know let's let's show you how to do that on the computer I was doing basically we'll deal with the screen I'm creating a new track again because I like to do all this stuff audio sweet I think I think the plug and I'm using his only audio sweet and there's every d w has an effect like this it's called something different but you can google it and find it out and in pro tools it's called verify call this track tape stop and audio sweet refers to plug ins that are processed are not processed in real time and they're printed as audio instead of instead of affecting the audio in real time which is useful because there's certain effects like a tape stop you do it once in the song there's no reason that have another hold uh track with a bunch of plug ins on it and stuff just for that so um it helps keep cpu usage alight so basically what I've done is copied the exact vocal no what no what? It's a little louder but there's not much else different goto audio sweet folder go to pitt shift and verify the plug in and this is a pretty cool plug in and you can kind of learning manipulate it um we'll just do the stock setting which is slow down you have selection at fit to which means that if I select this exact region um when you when you do the tape stop effect no it stops it slows down to the point of the end of the region, but if you want it to be longer or have like a little bit cooler tail extend and do the same amount and it'll actually on lee do the part it has like a set section in which it slows down and on lee does um I don't know how to explain this it also does the blank space, so no, what? It only goes to the point in which the vocal stuff that makes sense we'll do a couple more times so you can see with the extend no because sometimes you don't want to go all the way to the end. You don't want to drop quite a slow and so it's kind of a simple plugging, but you learn to manipulate it by how much of a region you have selected, you know what there's just a slight one select less dress no and if you really wanted to go to the end, you do fit tio no and you can see that it has a point in which it starts so if you want to start a little later, make the region a little longer and used it to no, that makes sense because it kind of like sits pitch is a little bit that it pitches down fast a little bit know what or super fast by bringing the region in no and then you can also turn fades off so it doesn't fade as it drops no, no goes all the way but it's a pretty cool effect and it's cool because like what I did was I took a delay and it repeats and I tape stopped the repeat so slowly the repeats dropping pitch but you can do the opposite you can add it away to it so that it repeats the tape drop and it's a totally different effect all cool things to consider oh actually something else you can do with this plug and it's pretty cool and I'm done this is actually really cool pitch vocals other screen because I haven't selected you can speed up, which is like basically the opposite of what I just did which was slow down, which is what which is like the tape stop this is like a tape start that's kind of cool but it's not useful in that many spots that finding two sounds kind of cheesy but which can d'oh is select this gonna kind of do like what I did with the reverse river I'm gonna reverse it which I already have this open then I'm going to the tape stop slow down do with in this other region so that when I un reverse it I can select the original region and it will go back to the same spot in the song but because verifies verifies touching I have to do the verifying in a random you know a random spot that I just slowed down the reverse vocal but now I selected the whole region again and I selected a smaller region because that's how I wanted tape stuff the verified his own put it back it's pretty cool it's kind of like what I had then if you keep it reversed at a reverb to it one hundred percent what actually yeah I do this one percent with creates a cool modulation with the river now go back to your original section reversed that again so it's forward you get a cool like it almost sounds like a doppler type um coming around the corner reverb or something like that instead of just being a straight cheesy reverse reverse ah that's perfect I like to use two and that's a really cool way to use the tape stop effect

Class Description

Not every vocalist you encounter is going to be great, but when you do get a strong one in front of your microphone, you better know how to record them. Kris Crummett will show you how.

Kris has worked with some of the biggest post-hardcore/rock bands of the last few years; Issues, Sleeping With Sirens, Dance Gavin Dance, Jonny Craig, Alesana, and more. Throughout this course, Kris will use the actual Pro Tools sessions from Issues' self-titled album to teach you his unique approach for tracking, editing, and mixing vocals.

If you are looking for a fresh take on recording and mixing vocals, this course is for you.

Reviews

exoslime
 

this was a great course, i found it very interesting, Kris had a good way to explain things and guide through the course, perfectly understandable even for a non-native english speaker as me. i wished togeher with the course contents would be also some hi-defination audio files so that you really can hear the signal quality that has been and also whats going on with the special effect tails, something like a main music background stereo track, but all vocal tracks as rendered in different version (processing on / off) and all the aux fx channels printed to stereo .wav files. That would have been a great bonusd-addition to the really great and helpfull course, as due the cideocompression, sometimes it was not very clear what was going on there, also to compare different sounds going back and forth in the video-file is not as exact as you can do it yourself in an DAW. i really enjoyed that course and watched it already 2 times, next i´m going to purchase "Tracking & Mixing with Outboard Gear" and i really hope Kris will return to Creativelive for more courses, as mentioned in the beginning, he has a really good way to show and describe his doing

Tyler Little
 

I'm recording with a simple solo usb mic pre into ableton, and mixing entirely ITB - but I still found this course very helpful. I was skeptical when I saw how young Kris was but the dude obviously lives and breathes music and he answered a lot of my questions. Audience participation was helpful sometimes, sometimes not. Overall, a lot of content for pretty cheap. Would watch more from him. Thanks

Adam
 

I got this as vocals are something I wasn't confident with in a mix. This course has drastically increased my confidence in recording, editing and mixing vocals but more importantly.