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Mixing Master Class

Lesson 11 of 13

Vocals

 

Mixing Master Class

Lesson 11 of 13

Vocals

 

Lesson Info

Vocals

before we start doing some automating on the vocals. Let's such get the same basic sounds for the backup vocals. So start off by turning off our folder here and would see the first vocals coming, which should be, and they are right over here. The news. So let's check those out. First we have to turn the back of local folder on right off the bat. I could tell their way to dark from me. I like I was doing that slipping. It does not want to move everyone to move. Thank you. It's a little too dark signings. What's your soul? Those? Oh, uh, e want used to be a lot brighter than that. So let's jump into a que let's try this one. And like with weed vocal, we're gonna start by getting rid of the low range first with a high pass. Oh, I think it's definitely a lot of mud writer on this range here before, after not so handsome compression, Just so it it, uh, kind of contained little bit more. Give them or ah affected ah, process sound as you will come preserved. And for one, it'll make a gain and...

last will put another week. You on the too make it brighter again, I put it after the compressor, so it's not fighting against the a q. M adding right now way. I'm going for super bright right now. You see if that works with the track, though north those guitars away too loud to bring those down much better back to our who's now These need to be wet so we will not there who had some sends. Stop the vocal verb. Oh, wait and delay in the track. Try a little bit brighter on those. We can go with that for now, and we have a double vocals which, coming right here he's doubled leads, will compare it to the lead. When we're done to wear a thing to be with right away the thing to be with you that's a little bit of that. Seem kind of treatment with a low on removal. Pull this down a little bit away The things to be with you, compression right away, the things to be with you away in a thing to be with you and one more e que right away the thing to be with you and we just put some read about nervous away with you A way to be with you. I was supposed to support for this guy. So we do not want to making too loud with way back here. What? Start that after we see this Gonna turn off some of these other guys. Oh, this is supposed to be filtered sounding. So I'm not gonna try to make a brighter or change the acute too much on that one. What I'm gonna do with this song, not just the painting you had mentioned before about that you had a question about when I was done with the times with panning for that person. I'm going to the same kind of thing. He would talk back, vocal, just to make it sound a little wider. I'm gonna do it a little different Going to do it after the new, an envelope and seven envelope on the item into an envelope on the track. So gonna go to trim trim. Sorry. Go the envelopes and turn on a pan envelope and it puts a pan envelope right down here. But I adjusted right on the track, so I'm gonna write cook over here and showing up in Lane. Turn it off. So it shows up in here. So it's similar to what we do with the Times, except it's on its based on the track instead of based on this item, but is going to exact same thing. Someone who's on the drawer but hold on control on the Mac or could sorry, commanding the Mac or control the PC on a drawer pan right from It's not. Let me do it. No, I'm sorry. That shift. I'm forgetting my things. Um, here we go. So I could just draw right from here to hear. I want to a different spot. What do you hear? Teoh here. That's gonna pan from left to right for this note? Uh, a little quicker. Oh, just do that with each one now by that's right to go through and grab the other ones. Don't be perfect, as you could tell. Better like that. And nope, that spending more. I assume out there aren't anymore. So we go. So now, which is balance that level in the mix. It feels good there. I'm really pushing. I really want to hear that effect. It's a cool sound to it. So I don't want to bury that one too much. Let me have this guy. He had a talk back, which is like an auto tune version of it again. I don't want to try to make that brighter. I wanted to be filtered sounding like this. And then we have our talk back harmony that comes in later. It's not a little bit. Okay, uh, moving a little to this side. Want on that place. And then we have our spacey vocals. I already have some reverb on them. You might want to put some more on. Oh, he's just a little more. What's truck vocally, Herb, That Izabal no visible die and comes in one more time over here. Okay, now we have our backup vocals. Pretty sure he's a pretty dark. That should be a lot brighter. So I'm gonna grab We didn't lose right here. Maybe too much. We can't change it. All three of them. Place it on the back of local. And this is the chain for a backup vocals. Probably pulled us back a little bit. Who will check out compressor? Ooh, that's okay. And now use this same chain on It's a more drop it on this track. And what's here? This one? You mean a bit more topping? Oh, great. And we want to put a little river problems and delay as well. A bit too much. It was going with us. And then it's a one for Dr Way to you. That the mix? Just this one. What? Watch me. Who had the same thing to this guy? Watch me. Watch me. Watch me Go. Should stay in that folder. Backup vocals can stay there. I don't know if I can do anything more. I don't know. You're so far from me. Space between goes and this'll e I think we're ready to ride the leave vocal before I actually do with automation. Want to check to see if anything is jumping out? I don't know. Back like that are right there. I don't know back And you might want to bring that down before we even hit the compressor so I could do with a pre effects envelope if we could do it on the track itself with the item. What? We could do it. Actually, the track going right here to our envelopes and choosing this option volume pre effects, and this is not the typical volume control. But that one's over here. This is going to before the effects. Everything we do on this envelope is before hits the effects right here, which doesn't really matter for the cuse, but it matters for the compressor, because if we bring it way down, it's going to compress a less. So if you bring it up, it's gonna bring it to compress amore. But by adjusting any of these things that are popping out, it's not gonna hit the compress from the compresses. Not gonna accept accentuate how loud the differences. So it kind of makes for a smoother vocal. So I try to smooth this out a little bit. They make this a little bigger, so I could see Come on, go down and let's make this bigger. This way, in fact, is a good time to Haidar Mixer, and even this during this over. It gives us some room to work with, and I'll make a hold shift to make a few points. Let's do it here in here. I'll bring this down. What's nice? You can see what's happening. You can see if you want, make a sort of or even I don't know, back it. I don't know if I can. Do you know anything more with that? You I don't think that can another example right there for a few points year here and here. And this down a little bit. I don't think Just undo those and do the points a little more here. It doesn't really get loud to get really close to that. Here, here we go. Do I don't think that I can be? No, you're so far from so far with s right here is jumping out a little bit so far. It's a good way to fix that too. Just create those four points. Bring us down a bit. I feel so far with you. Also far from even the far can come down a little bit. He also far from a space between goes and space between goes in the same with these two s is here this one and this one space between goes and a little bit here too. It doesn't mean perfect now because we're still gonna rewrite this vocal. This is just set up so that we can get a correct before it actually hits the compressor. So any big changes or problems, it's easy to fix this way and visually later on, we just will ride the vocal and get the vocal to sit perfect in the mix. Spain Santa. This isn't too bad. Let's see. It sounds any better with it. And down here, Spain, Santa Fuel s is in there. Santa Space Center. You? Yeah, but this bike doesn't sound so bad, but the lay sounds a little out. You think with being sold out like this would be a problem. But sometimes what you're seeing, what you hear is at the scene. U s jumps out a little bit right there. This is here. But that other note bothered me too. So let's do both of we could delete these notes. This with these points thing bothers me too. De emphasize that one a little bit with is what allowed two jumps out a little bit. It too much pick up right here to loathe opposite. There. Bring these up a bit. That might be too much. Just the first hit right here is a little hard again. It's gonna hit the compressor too hard because of it. Mr More precise way of adjusting it. I think this could all go up a little bit. Pick up right here is a little too low as well. Nope, not that much. Go. And this part's a little too loud Now, this is not right. Here's a little too low. This could be a little better as well. Way have. I don't think it makes sense to go through all of it. I think you kind of get the point on this. So I'm gonna move on with this part and ride the Vocal East. We did get through at least a chorus here, but I'm gonna obviously you have a single through the entire song that way. But I'm going to show you more stuff and not have to be stopped before, so I'm gonna move on.

Class Description

Kenny Gioia is a multi-platinum engineer and producer behind pop and rock records from the likes of Bayside, American Authors, Ingrid Michaelson, and Mandy Moore. He is also a trusted educator and founder of kennymania.com.

In this mixing masterclass, Kenny will walk you through his specific mixing techniques getting top-40 friendly mixes entirely inside the box in Reaper. He will cover:

  • EQ, compression and dynamics
  • Reverb, delay and time-based effects
  • Vocal automation and vocal tone
  • Drum, guitar and bass mixing techniques
  • Mix-buss and pre-mastering tricks
If you’ve been looking for a way to get that big studio sound from your bedroom DAW setup, Kenny will show you how to get your mixes sounding like they’re radio-ready.

Reviews

exoslime
 

this is really great mixing course, kenny has a great workflow and i learned quite a lot and it was easy to undestand, and i dont even use reaper, what you learn in this course applys to all daw and tools, which is great

Evan Phillips | Alaska
 

Kenny's Mixing Master Class blew my mind. His workflow and level of organization during mixing is a real eye opener. I'm also a longtime Reaper user so this is an excellent all around resource for me. I feel like I just stepped up my game. Thanks Kenny!

a Creativelive Student
 

Kenny's the real deal. His knowledge and teaching abilities are second to none. This is a no-brainer! Cheers, Kenny!