ABSTRACT
ACCOUNTWHENPANNINGBECOMESANADVANTAGEIFYOURROOMHASLESSTHANPERFECT ACOUSTICS
4HEMIXDIDNTSOUNDTOOBADBUT)KNEW)HADALOTTODOINCLUDINGSOMEBIG CHANGESTOLEVELSAND%1THAT)HEARDMORECLEARLYAFTERABREAKFROMTHETRACK ANDTHElRSTTHINGREALLYPUTTINGMEOFFWASTHEVOCALSSO)MADETHATMYlRST TASKOFTHEDAY!S)SAIDATTHEBEGINNINGOFTHISREMIXWALKTHROUGHTHEVOCALS AREFORMEMOREOFTENTHANNOTTHEMOSTIMPORTANTPARTOFTHEREMIXSO)TEND TOPUT A LOTOF TIMEANDEFFORT INTOMAKING THEMSOUND THEBEST THEY CANBE 3OMETIMESTHATISANEASYJOB7HENTHEVOCALPARTS)AMGIVENHAVEBEENWELL RECORDEDWELL%1EDANDCOMPRESSEDBUTHOPEFULLYNOTtooMUCH ANDAREAT ATEMPOTHATISNTTHATFARAWAYFROMTHETEMPO)WILLBEWORKINGATTHINGSCAN BE QUITE EASY/FTEN APART FROM TIME STRETCHING A SIMPLE %1 TWEAK PERHAPS SOMEADDITIONALSPATIALEFFECTSANDSOMEhRIDINGvOFTHELEVELSWILLBEALLTHATIS NEEDEDFORTHEMTOWORKFORTHEREMIX(OWEVERONOTHEROCCASIONSITCANBEA WHOLEDAYSWORKJUSTGETTINGTHEVOCALSTOSOUNDRIGHT
)HAVEALREADYDISCUSSEDMANYOFTHEVOCALTECHNIQUES)USEIN#HAPTERSO )WONTDESCRIBETHEPROCESS)USEDINGREATDETAILHEREBUTWILLSIMPLYSAYTHAT BECAUSEOF THEQUITE LARGE TIME STRETCHFROMBPMTOBPM THEREWERE QUITEAFEWPLACESWHERETHEVOCALSOUNDEDEXCESSIVELYWOBBLYSO)NEEDEDTO lX THOSEAND THENSEEWHAT ) COULDDOABOUT THE FEWPLACESWHERE THEVOCAL HARMONIESDIDNTMATCHUPWITHTHENEWCHORDS)HADBEENWORKINGUP UNTILNOWWITH JUSTABOUNCEDACAPPELLAWHICHHADALLOF THEVOCALSMIXED TOGETHERBUT SEEINGAS )HADBEENGIVEN SEPARATE LEADVOCALSBACKINGVOCALS ANDAFEWAD LIBS)WANTEDTOWORKONTHEMSEPARATELYTOGETTHEBESTRESULTS !SITWASBYFARTHEMOSTIMPORTANT)DECIDEDTOWORKONTHELEADVOCALlRST
7HEN)LISTENEDTOTHELEADVOCALINISOLATIONTHEMAGNITUDEOFTHETASKBEFORE MEBECAMEMOREAPPARENT#LEARLY)WOULDNEEDTOCORRECTTHESPED UPVIBRATO ONATLEASTONEPARTOFEVERYLINEINTHELEADVOCAL7HEN)WASLISTENINGINCON TEXTWITHTHETRACKSOMEOFTHELINESSOUNDEDOKAYBUTGIVENTHAT)WANTEDTO GETTHEBESTPOSSIBLERESULT)WASNTGOINGTOJUSTSETTLEFORh/KAYvANDWANTED TOCORRECTEVERYLINE)COULD3O)ROLLEDUPMYSLEEVESANDGOTSTUCKIN
'IVEN THAT YOU HAVE READ THE CHAPTER ON HOW ) lX UP VOCALS IN THIS SITUA TION )WONTDETAIL EVERY SINGLE STEPBUTWILL JUSTGIVEANOVERVIEWOFWHAT ) DID 4ONOT GET DISTRACTED ) CREATED A NEW ,OGIC SONG AND JUST IMPORTED THE THREEORIGINALVOCALTRACKS)HAD4HElRSTTHINGWASTOOBVIOUSLYSTRETCHTHEM ALL FROM BPM TO BPM7HEREAS ) HAD JUST USED ONE OF THE QUICKER BUILT IN ,OGIC TIME STRETCHING ALGORITHMS FOR THE ROUGH STRETCH ) DID EARLIER THIS TIME ) CHOSE TOUSE THE I:OTOPE2ADIUS TIME STRETCHING ALGORITHMS AS TO MY EARS THEY ARE THE BEST ) HAVE FOUND "ECAUSE ) WANTED TO USE THE ORIGI NAL VOCALS ) HAD ASWELL ) CREATED A COPYOF EACHOF THEORIGINAL VOCAL PARTS IMPORTED THOSE INTO ,OGIC AND DID THE TIME STRETCHING ON THESE lLES /NCE )HAD THEORIGINALBPMANDSTRETCHEDBPMVERSIONSOFEACHVOCALPART INTHEARRANGEMENTITWASTIMEFORTHEHARDWORKTOREALLYBEGIN)HADALISTEN THROUGH THE LEAD VOCAL STRETCHED VERSION AND CUT THE lLE ROUGHLY AT ALL THE
POINTS ) THOUGHTWOULDNEED THEVIBRATOlXING )WASNTWORRIEDABOUTBEING TOOEXACTWITH THESE CUTSBECAUSE )WOULD TAKE TIME TOMAKE SURE THEPASTED SLOWERVOCALSHADGOODEDITSANYWAY&ORNOWALL)NEEDEDWASANINDICATIONOF WHERETHEPARTSNEEDEDTOBEREPLACED
/NCE)HADDONEALLOFTHESEANDTHEREWEREQUITEAFEW)CUTTHEORIGINALSLOWER VOCALS IN THE CORRESPONDING PLACES ) THEN CREATED A NEW EMPTY AUDIO TRACK BENEATHTHESTRETCHEDVOCALANDTHENCOPIEDOVERALLOFTHECUTREGIONSFROMTHE SLOWERVOCALTOTHERELEVANTPLACESONTHESTRETCHEDVOCALTRACK)WANTEDTOFOCUS ONEACHEDITSO)WOULDSETUPACYCLEINTHE!RRANGEWINDOWSOTHAT)WASJUST LOOPINGAROUNDONELINEOFTHEVOCALATATIMEANDTHENONCEALLOFTHEEDITS HADBEENDONEONTHAT LINE)WOULDMOVETHECYCLEFORWARDTOCOVERTHENEXT LINEANDSOONUNTIL)REACHEDTHEEND3OTOBEGIN)SETUPTHECYCLEAROUND THE TWOBARS CONTAINING THE lRST LINE OF THE VOCAL AND ZOOMED THEWAVEFORM VIEWINSO)COULDSEEBETTERWHERE)MIGHTBEABLETOMAKETHElRSTEDIT/NE OFTHEKEYTHINGS)LOOKFORISAPOINTINTHElLEWHERETHEWAVEFORMCROSSESTHE zero line 4HE REASON ) DO THIS IS SO THE EDITS SOUND SMOOTHER AND REDUCE THE CHANCESOFCLICKSANDPOPS4HEBIGGER ISSUE INDETERMININGEXACTLYWHEREAND HOWTOMAKETHEEDITISACTUALLYLOOKINGATTHESHAPEOFTHEWAVEFORMOVERVIEW ANDTRYINGTOlNDTHESAMEPOINTINTHATSHAPEINBOTHWAVEFORMSORIGINALAND STRETCHED ANDUSINGTHATEXACTPOINTASTHEPLACETODOTHEEDIT
/FCOURSETHEREAREANUMBEROFPLACESWHEREYOUCANDOTHEEDITBUT)ALWAYS LIKE TO KEEP IT AS CLOSE AS POSSIBLE TO THE POINT WHERE THE VIBRATO BECOMES A PROBLEM 4HE MAIN REASON FOR THIS IS SO THE TRANSITION BETWEEN THE TWO IS ASUNNOTICEABLE ASPOSSIBLE AND TOMAKE SURE ) USE AS LITTLEOF THEORIGINAL AS POSSIBLE PURELY FOR PRACTICAL REASONS )N THE CASE OF A VOCAL LIKE THIS THAT HAS QUITE A SUBSTANTIAL STRETCH THE ORIGINAL REGIONS ) PASTE IN ARE ALWAYS MUCH LONGER THAN THE STRETCHED ONES AND AS A RESULT YOU CAN RUN INTO PROBLEMS WITH THEM NOT lNISHING BEFORE THE NEXT LINE OF THE SONG STARTS 4HAT ACTU ALLY HAPPENED ON SEVERAL OCCASIONS IN THIS VOCAL AND ) WILL EXPLAIN WHAT )DIDSHORTLYBUTFORNOW)WILLJUSTlNISHEXPLAININGTHEGENERALPROCESS)USED
/NCE)DETERMINEDWHERETHEEDITSHOULDHAPPEN)ZOOMEDRIGHTINTOMAKE SURE THAT BOTH THE END OF THE FASTER VOCAL AND THE BEGINNING OF THE SLOWER VOCAL WERE BOTH HAPPENING AT ZERO CROSSING POINTS AND THEN NUDGED THE FASTERVOCALAROUNDWHILELISTENINGTOMAKESUREITWASINTHEBESTPLACEFORA SMOOTHSOUNDINGEDIT7HATMIGHT LOOKINTHEORYASTHEMOSTOBVIOUSPLACE DOESNTALWAYSGIVE THEBEST SOUNDINGEDIT"UTHAVING SAID THAT ITSALWAYSA GOODPLACE TOSTART )F )CANGET THINGSSOUNDINGNICEANDSMOOTHTHENGREAT BUTTHEREARETIMESWHENASHORTCROSSFADEBETWEENTHETWOREGIONSCANHELPTO EVENTHINGSOUTBUT)ALWAYSMAKESURE)KEEPITASSHORTASPOSSIBLEASLONGER CROSSFADESCANSOMETIMESLEADTOTHEVOCALSOUNDINGLIKEITISPHASINGORmANG INGINPLACES4HISWOULDTAKECAREOFTHEFRONTENDOFTHEEDITS
4HEBACKENDOFTHEEDITSPROVEDINPARTATLEASTTOBEJUSTASCHALLENGINGIFNOT MORESO)FYOULOOKTHROUGHTHE,OGIClLEWITHALLTHEEDITSYOUWILLSEETHAT INSOMECASES)NEEDEDTOCUTASECTIONOUTOFTHESUSTAINEDNOTEWITHVIBRATO
TOMAKE ITlT INTO THE LENGTH )HADAVAILABLE4HAT CANBEDIFlCULT SOMETIMES BECAUSEIFTHENOTEISNATURALLYDYINGAWAYINVOLUMETHENNOMATTERWHEREYOU DOTHEEDITTHEREWILLBEADROPINVOLUMEEVENIFONLYASMALLONE ATTHEEDIT POINT&ORTUNATELYTHATWASNTTOOMUCHOFANISSUEFORMEWITHTHISVOCALBUT ITCANBEATTIMESSOWATCHOUTFORTHATONE/NACOUPLEOFOCCASIONS)FADED OUTTHEENDOFSOMEOF THEEDITEDREGIONSBECAUSEEVENTHOUGHTHEYlNISHED BEFORETHENEXTLINEOFTHESONGITFELTLIKETHEREWASNTANATURALGAPBETWEEN THELASTWORDANDTHElRSTWORDSO)APPLIEDAFADEOUTTOTRYTOGIVEABIGGER SENSEOFSPACE
%VENTUALLYAFTERQUITEABITOFWORKSOMEHEAD SCRATCHINGANDEVENALITTLEBIT OFPROFANITYINAFEWPLACES)GOTTHELEADVOCALlNISHED)WOULDESTIMATETHAT INTOTAL)SPENTABOUTFOURHOURSJUSTONTHEEDITSFORTHISONEAUDIOTRACKBUT IFYOULISTENTOTHERESULT)THINKYOUWILLAGREEITWASWORTHIT4HEREARESTILLA COUPLEOFPLACESWHEREYOUCANHEARTHEWOBBLYVIBRATOBUTTHEVIBRATOHAP PENSFORSUCHASHORTPERIODOFTIMETHATITWOULDHAVEBEENALMOSTIMPOSSIBLE TOPASTEANYMEANINGFULAMOUNTOFTHEORIGINALVOCALINSUCHASHORTSPACESO )DECIDED TO LEAVE THOSEANDHOPE THEYWOULDBE INAUDIBLE IN THECONTEXTOF THEWHOLE TRACK )F IT TURNSOUT THAT THEREWERESTILLANY ISSUES ) COULDALWAYS LOADTHISPROJECTUPAGAINANDSEEWHAT)COULDDO7HILEWEAREONTHESUB JECT OF SAVINGPROJECTS ) FEEL ) SHOULDMENTION THAT ) SAVED THIS PROJECT LITER ALLYAFTEREVERYEDITWASDONE )KNOWITMIGHTSOUNDA LITTLEPARANOIDSAVING EVERYlVEORSOMINUTESBUTSOMEOFTHEEDITSWEREABITOFANIGHTMAREAND )DIDNTWANTTORISKLOSINGWHAT)HADDONEANDTHENNOTBEINGABLETOlNDTHE GOODEDITPOINTAGAINQUICKLY3OTHEFEWSECONDSITTOOKTOSAVETHElLEEACH TIMEWASMORETHANWORTHITINMYBOOK
.EXT ) DECIDED TO TACKLE THE h!DLIBSv TRACK SIMPLY BECAUSE ITWAS VERY SHORT AND ) NEEDED SOMETHINGQUICK AND EASY AFTER THE EDIT JOB ) HAD JUSTWORKED THROUGH4HEPROCESSWAS EXACTLY THE SAME IT JUST TOOKMUCH LESS TIME!ND ) WAS A LITTLE BIT NAUGHTY AND TOOK A SHORTCUT HERE "OTH LINES OF THE ADLIBS SOUNDED IDENTICAL TOME SO ONCE ) HAD lXED THE lRST LINE ) JUST COPIED THE WHOLE LINE INTO THEPLACEOF THE REPEATED LINEAND THATWAS THAT.OW ITWAS TIME TOMOVEON TO THE h"6v TRACK 4HISPRESENTED THE SAMEPROBLEMS )HAD WITHTHELEADVOCALANDSOMEADDITIONALONES4HELEADVOCALWASALWAYSJUST ONE VOICENOTE MONOPHONIC BUTMULTIPLE VOICESNOTES HARMONIES DONT REALLYPRESENT TOOMUCHOF APROBLEMWHENDOING EDITS LIKE THESE7HATdid PRESENT A PROBLEMWAS THAT THEREWERE OVERLAPPING LINES OF LYRICS IN THEONE lLE4HISCOULDBEAPOTENTIALMINElELDFORMEBECAUSEITWASMORETHANPOS SIBLE THAT THEREMIGHTBEASUSTAININGNOTEWITHVIBRATO THATNEEDEDCLEANING UPBEINGOVERLAPPEDBYANOTHERMELODYLINE7HERE)WOULDNORMALLYTAKETHE UNSTRETCHEDVOCALANDPASTEITINTHEPLACEOFTHESTRETCHEDONEBECAUSEITWAS JUSTAHELDNOTE)COULDNTDOTHATHEREBECAUSE)HADTHEEXTRAMELODYTOTHINK ABOUT
4OMAKEMATTERSWORSE THEREWEREQUITE A FEW LINES THATNEEDEDlXING IN THE BACKINGVOCALS/NTHEmIPSIDETHECHORUSWASREPEATEDTHROUGHOUTTHETRACKSO
)ONLYHADTOMAKETHECHANGESONCEANDTHENUSETHATlXEDCHORUSDURINGEACH OFTHECHORUSESSOTHATWASSOMESMALLCONSOLATION!S)SETABOUTWORKINGON THESEVOCALS)SOONREALIZEDTHAT)WASINAVERYDIFFERENTSITUATIONTOWHEN)WAS WORKINGONTHELEADVOCALBECAUSEWITHTHECHORUSVOCALSTHELINESWITHVIBRATO TENDEDTOmOWINTOTHENEXTWORDDIRECTLYRATHERTHANHAVINGSOMESPACEAFTER THEM4HEMORE)LISTENEDTHEMORE)REALIZEDTHATTHISWASGOINGTOBEIMPOS SIBLE TODO IN THEWAY )HAD JUSTWORKEDON THE LEAD VOCAL 4HEREWERE A FEW PLACESINEACHCHORUSWHEREALLOFTHEVOICESWERESINGINGTHESAMELYRICATTHE SAMETIMEANDTHOSE)COULDPROBABLYDOINTHEWAY)HADJUSTBEENWORKING BUTTHEREWERESTILLQUITEAFEWTHATOVERLAPPEDWHICH)WOULDNEEDTOAPPROACH DIFFERENTLY3O)WORKEDTHROUGHALLOF THEPARTS )COULDlXUSINGTHECUTPASTE TECHNIQUEANDTHENLOADEDUP-ELODYNETOTACKLETHEOTHERROGUEPARTS
!LL)DIDHEREWASSELECTALLOFTHEPARTSOFTHETRACK)HADNTBEENABLETOlXWITH THEOTHERTECHNIQUEANDUSETHECONTROLFORADJUSTINGPITCHMODULATIONONTHE SELECTEDNOTES"YPULLINGTHISDOWNTOAROUNDITGOTRIDOFAGOODAMOUNT OFTHEWOBBLETHATWASTHEREBEFOREBUTATTHEEXPENSEOFTHEVOCALNOWSOUND INGALITTLEPHASEY)DECIDEDTOIMPORTBOTHTHEhPREvANDhPOSTv-ELODYNEPARTS BACKINTOTHEMAIN,OGICSONGANDSEEHOWTHEYSOUNDEDINTHERE)NALLHONESTY )PROBABLYCOULDHAVECONTACTEDTHECLIENTSANDASKEDFORTHEMTOREBOUNCETHE BACKINGVOCALSASINDIVIDUALTRACKSANDTHISWOULDHAVEGIVENABETTERRESULTIN ADDITIONTOGIVINGMEANALMOSTINlNITEAMOUNTMOREmEXIBILITYINTHENEXTSTAGE OFTHEPROCESS"UT)WANTEDTOKEEPTHISAShREALWORLDvASPOSSIBLESO)lGURED ITWASBESTTOCONTINUEWITHWHAT)HADBEENGIVENTODEMONSTRATEHOWTOMAKE THEBESTOFALESS THAN IDEALSITUATION
7HEN)HEARDTHElXEDVOCALSINTHESONG)WASREALLYQUITEHAPPYANDFELTTHAT MANY THEWORRIES ) HAD ABOUT THEBACKING VOCALSWERENT JUSTIlED.OW THAT THEYHADEVENBASICEFFECTSONTHEMANDTHEDETAILWASCOVEREDBYTHEMUSIC THEWOBBLEONTHEVOCALSWASPRETTYMUCHINAUDIBLE)WASHOPINGTOBEABLE TOUSE-ELODYNEAGAINONTHEBACKINGVOCALSTOMAKECHANGESTOSOMEOFTHE HARMONIES THATWEREWHEN )HADBEENWORKINGON THEMUSIC FEELINGA LITTLE OUT OF PLACE )WASNT CONVINCED THAT )WOULDBE ABLE TO CHANGE THEM THATWELLBUT)THOUGHTITWASWORTHATRY4HEWORST CASESCENARIOWASFORME TOREMOVETHEBACKINGVOCALSALTOGETHERWHICH)WASNTKEENONDOINGBECAUSE ) DID LIKEWHAT THEYWERE DOING!LTERNATIVELY ) COULD SIMPLY RUN THEWHOLE BACKINGVOCAL THROUGHAVOCODERANDUSE THAT TOEFFECTIVELY SET THEPITCHAND HARMONIES OF THE BACKING VOCALS %VEN THAT WOULD MEAN A COMPROMISE ON SOUNDAND)WASNTPARTICULARLYLOOKINGTOHAVETHATROBOTICTONETOTHEVOCALS IN THIS REMIX7ITH THAT INMIND ) LOADED UP THE-ELODYNE PLUG IN ON THE BACKINGVOCAL TRACKAND JUSTHADAQUICK LOOK TO SEE IF ITWOULDDOWHAT THE MARKETINGBLURBSTATESANDALLOWYOUTOMANIPULATEINDIVIDUALNOTESWITHINA POLYPHONICAUDIORECORDING
) HAVE USED THIS FEATURE OF-ELODYNE TO GREAT EFFECT IN THE PAST BUT THAT WAS ON A VERY CLEAN AND CLEAR RECORDING OF A FUNKY ELECTRIC GUITAR PART %VEN THEN THERE WERE SOME NOTICEABLE ARTIFACTS IN THE lNAL VERSION BUT THEY WERE JUST
ABOUT ACCEPTABLE IN THE TRACK ) WAS WORKING ON ) WAS MORE CONCERNED HERE BECAUSE WE WERE DEALING WITH MULTIPLE NOTES AT THE SAME TIME AS YOU GET IN A GUITAR CHORD AND MULTIPLE DIFFERENT MELODIES SOMETIMES HITTING THE SAME NOTE AT THE SAME TIME BUTWITH A DIFFERENTWORD AND ) HADMY DOUBTS IF EVEN THE WONDERFUL -ELODYNE COULD GET ME OUT OF THIS TIGHT SPOT 7HEN )RECORDEDTHElRSTFEWLINESOFTHECHORUSINTO-ELODYNE)STARTEDTOWORRYALIT TLE9OUCOULDSEECLEARLYTHATTHEREWERESEPARATENOTESINTHEREBUTTHENOTESAND PATTERNSSHOWINGONSCREENWERENOTMATCHINGUPTOWHAT)THOUGHT)WASHEAR INGSOITWASTIMETOGETINTHEREANDTRYMOVINGSOMETHINGSAROUNDTOSEEHOW ITSOUNDED!FTER JUSTAFEWMINUTES)COULDTELL THATITWASNTGOINGTOBEEASY AND)WASNTEVENSUREIF)WOULDGETAWAYWITHITSO)DECIDEDTOLEAVETHEBACK INGVOCALSASTHEYWEREFORNOWANDWORKMOREONTHEMIXOFTHETRACK.OWTHAT )HADSPENTAGOODAMOUNTOFTIMEAWAYFROMWORKINGONIT)HEARDANUMBER OFTHINGS)WANTEDTOCHANGEABOUTTHELEVELSAND%1ANDOVERALLFEELOFTHETRACK
7EALL STRIVE FORPERFECTIONBUTWHENYOUAREONA TIGHTDEADLINEYOUHAVE TO DECIDEWHETHERTHEEVER INCREASINGLYMINUTECHANGESTHATTAKEANEVER INCREASING AMOUNTOFTIMETODOAREWORTHIT!NDGIVENTHAT)WANTEDTOMAKETHISAREAL ISTICREMIX)HADSETMYSELFAGOALOFGETTINGEVERYTHINGINCLUDINGALTERNATEVER SIONSANDhSTEMSv lNISHEDINJUSTFOURDAYS4HATMIGHTNOTSOUNDLIKEMUCH BUTIFANYTHINGTHATISALITTLELONGERTHAN)USUALLYHAVE"YNOW)WASAGOOD WAYINTOTHESECONDDAYSO)REALLYWANTEDTOGETAMOVEON4HElRSTTHING)DID SEEINGAS)HADMYNEWANDIMPROVEDVOCALSINTHETRACKNOWWASTOIMPROVE ONTHEBASICVOCALEFFECTS)HADPUTAPRETTYSTANDARDDELAYANDREVERBEFFECTON THEVOCALSWHEN)STARTEDWORKINGONTHEMIXJUSTTOGIVETHEMSOMEDEPTHBUT RATHERTHANTRYTOCHANGETHESETOSOUNDBETTER)DECIDEDTOSTARTFROMSCRATCH
4HEVOCALPARTS )HADBEENGIVENWEREVERYCLEANANDCLEARANDSOUNDEDLIKE THEY HAD BEEN COMPRESSED A LITTLE ALREADY BUT AS THE REMIX ) WAS WORKING
ONWASMUCHMOREENERGETIC THAN THEORIGINAL TRACK )DECIDED TOPUSH THEM QUITEABITWITHCOMPRESSIONTOMAKETHEMSOUNDMOREhINYOURFACEvANDTO GIVE THEMSOMEBITE )T TOOKA LITTLEAMOUNTOFEXPERIMENTINGWITH THE,OGIC #OMPRESSORTOGETTHEDESIREDEFFECTBUTINTHEEND)THINKTHERESULTSOUNDED GOOD )TWAS STILL A LITTLE TOO CLEAN FORWHAT ) HAD INMINDWHICH IS ONE OF THE REASONS ) WOULD ORDINARILY USE A COMPRESSOR WITH A BIT MORE CHARACTER -ODELED hVINTAGEv COMPRESSORS LIKE THISWILL OFTEN ADD A CERTAIN AMOUNT OF DIRTTOTHESOUND7HILEMODERNRECORDINGSYSTEMSARECAPABLEOFEXCEPTIONAL CLARITYANDPUNCHAGREATNUMBEROFPEOPLEYEARNFORSOMEOFTHAThVINTAGEv CHARACTERANDHUGEAMOUNTSOFTIMEANDMONEYHAVEBEENINVESTEDBYCOM PANIESINMODELINGSOMEOFTHEMOREWELL KNOWNCLASSICUNITSFROMTHEPAST )DIDSTILLWANTTOADDSOMEMOREdriveTOTHEVOCALBUT)WANTEDTOBEMORE INCONTROLOFTHEAMOUNTTHATWASADDEDANDTHELEVELSO)CREATEDANEWTRACK ANDCOPIED THECOMPRESSIONSETTINGSOVERBEFOREADDINGA FEWOTHERPLUG INS TOGIVETHISVERSIONOFTHELEADVOCALAREALLYHEAVILYEFFECTED0ITCH#ORRECTION PLUG IN SET TO A VERY FAST CORRECTION TIME FOR THAT TYPICAL #HER4 0AIN VOCAL SOUND 4HE REASON ) DID THIS WAS BECAUSE YOU GET AN ALMOST double-tracked SOUND BECAUSE THEMAIN VOCAL PITCH ISNT EXACTLY IN TUNEWHILE THIS VERSION IS4HATMEANSTHEREISATUNINGDIFFERENCEBETWEENTHETWOWHICHVARIESWITH EVERY NOTE.EXT UPWAS THE EXCELLENT !MP$ESIGNER TO GIVE THE VOCAL SOME EDGE)DIDNTWANTTOOMUCHDISTORTIONANDENDEDUPUSINGONEOFTHECLEAN SOUNDSBECAUSE IT ADDED JUST ENOUGH CHARACTERWHILE STILL RETAINING THE INTEL LIGIBILITYOFTHEVOCAL4HENITWASONTOTHE%NSEMBLEPLUG INTOADDALOVELY MODULATIONTOTHETONEANDTHENlNALLYSOMEDELAYREVERBANDAHIGH PASS lLTERTOREMOVEALOTOFTHEBODYFROMTHESOUND!LLOFTHESETOGETHERGAVEA REALLYMODERNEDGYVOCALSOUNDWHICH)COULDMIX INUNDERNEATHTHEMAIN VOCAL ) SET THE LEVEL ROUGHLY SO IT COULD BE HEARD BUT WASNT THE DOMINANT SOUNDANDTHENWENTBACKTOWORKINGONTHEMAINVOCALAGAIN 3OMETIMESPROBABLYMOREOFTENTHANNOT)WILLUSEDELAYANDREVERBEFFECTSAS insertsONAVOCALBUT)WANTEDTOTRYSOMETHINGALITTLEDIFFERENTWITHTHISTRACK ) THOUGHT THAT THE VOCAL SOUNDEDPRETTY GOODBEING hUPFRONTv AS ITWASNOW WITHOUTANYREVERBORDELAY BUT)DIDFEELTHATITNEEDEDSOMETHINGTOPUTIT INAPHYSICALSOUNDINGSPACE3OINSTEADOFJUSTADDINGREVERBANDDELAYINTHE WAY )NORMALLYWOULD ) SETUP TWOMOREAUXILIARYSENDSONE FOR REVERBAND ONEFORDELAY &OR THEDELAY ) CHOSEA SIMILAR SETTING TO THEONE )USED FOR THE STAB SOUNDS ANDTHENADDEDABITOFSTEREODELAYTOGIVEITSOMEWIDTH)lGUREDTHATTHIS WOULDGIVEECHOESTHATSATINTHESAMERHYTHMICPATTERNASTHEECHOESONTHE STABSOUNDBUTWITHALITTLEMOREWIDTH)ALSOADDEDAHIGH PASSlLTERAFTERTHE DELAYEFFECTSSO)COULDMAKESURETHEREWASNTTOOMUCHhBODYvINTHEDELAYED SOUND)WANTEDTHEDELAYTOBESUBTLEBUTTHETWODELAYSINSEQUENCEGAVEITA LOVELYSPACEYSOUNDWITHASLIGHTBITOFDISTORTIONFROMTHETAPEDELAYWHICH) THOUGHTWOULDWORKREALLYWELL (OWEVERWHEN )WAS TRYING TO SET THE LEVEL OF THE DELAY SIGNAL ) RAN INTO A PROBLEM4HEISSUEWASTHATIF)SETTHEDELAYLEVELSOTHEECHOESFELTLIKETHEY
WEREATTHERIGHTVOLUMETHEYSEEMEDTOCROWDTHEVOCALPARTBUTIF)SETTHE LEVELS SO THEY FELT LIKE THEY WERENT IN THE WAY OF THE VOCAL WHEN THE VOCAL STOPPEDAND JUST THEECHOESWERE LEFT THEY FELT TOOQUIET ) COULDHAVEAUTO MATEDTHELEVELOFTHEECHOESBUTTHATWOULDHAVEMEANTANAWFULLOTOFWORK THROUGHOUT THE TRACK ) DECIDED TOUSE A VERYHANDY LITTLE SHORTCUT SIDECHAIN COMPRESSION 4HIS IS SOMETHING ) USE AN AWFUL LOT BUT NORMALLY ) USE IT TO PROVIDEREGULARANDRHYTHMICduckingOFPADANDBASSANDOTHER SOUNDS/N THISOCCASION)WANTEDTOUSEITTODUCKTHELEVELOFTHEECHOESANDBECAUSE) WANTEDTHEMTOBEDUCKEDWHENTHEVOCALSWEREPRESENTANDCOMEBACKUPIN LEVELWHENTHEYWERENT)NSTEADOFUSINGAKICKDRUMASTHESIDECHAINTRIGGER INPUT)USEDTHEVOCALCHANNELITSELF
4OMAKE THIS SOUND FAIRLY INCONSPICUOUS ) SET UP RELATIVELY SPEAKING LONG ATTACK AND RELEASE TIMES OF MS AND MS RESPECTIVELY AND ADJUSTED THE THRESHOLDANDRATIOUNTIL )WASGETTINGABOUTnD"OFGAINREDUCTIONON THE LOUDESTPARTSOFTHEVOCAL4HISFELTLIKEJUSTABOUTENOUGHTOPUSHTHEECHOLEVEL DOWNSOITWASAUDIBLEBUTNOTOVERPOWERINGWHENTHEVOCALWASACTUALLYPRES ENT)THINKTHERESULTSAREVERYEFFECTIVEANDCERTAINLYATIMESAVEROVERTHEALTER NATIVEMETHODOFAUTOMATINGTHEVOLUMEOFTHEECHOES!ND)THOUGHTITGAVEA GOODCOMPROMISEBETWEENADRYSOUNDINGVOCALANDASENSEOFSPACE3OGOOD INFACTTHAT)WANTEDTOTRYSOMETHINGSIMILARWITHTHEREVERB
/NTHEOTHERAUXILIARYSEND)HADSETUP)LOADEDUP3PACE$ESIGNERANDTRIED SOMEDIFFERENTPRESETSTOGETTHEBASICREVERBSOUNDINGRIGHTBEFORE)ADDEDIN THECOMPRESSION7HAT)WANTEDWASNOTSOMETHINGSUPER REALISTICBUTSOME THING THATWAS ACTUALLYQUITE SHIMMERING IN TONE )NEEDEDA REVERBWITH FAR MORE HIGH FREQUENCY CONTENT THAN LOW FREQUENCY AND THAT HAD QUITE A LONG DECAY TIME WHICH ) WOULD THEN KEEP QUITE LOW IN THEMIX AS WELL BECAUSE )WANTED THE SPACE AND THE VOCAL TO SOUND SLIGHTLY SEPARATED AS IF THE VOCAL WASPOSITIONEDINFRONTOFTHESPACEITWASOCCUPYING)KNOWTHATMIGHTSOUND QUITESTRANGEWHENYOUREADITBUTITDOESMAKEMORESENSEWHENYOUHEARTHE lNALEFFECT
)FOUNDAREALLYNICE SOUNDINGPLATEREVERBSETTINGON3PACE$ESIGNERBUTTHE DECAY TIMEWASNT AS LONG AS )WANTED SO ) USED THE h 3AMPLE2ATEv CON TROLTOTHELEFTOFTHEPLUG INWINDOWTODOUBLETHEDECAYTIME5NFORTUNATELY BECAUSE THESAMPLERATE ISHALVED THATALSOMEANS THE FREQUENCYRESPONSEOF THERESULTINGREVERBISHALVEDANDINDOINGSOMUCHOFTHESPARKLEISLOST)ALSO ADJUSTEDTHE0RE DELAYSETTINGTOAROUNDMSSOTHEREWASAVERYSMALLDELAY BEFORETHEREVERBSIGNALACTUALLYSTARTED4HISISAVERYUSEFULTECHNIQUEFORADD INGASENSEOFDISTANCEBETWEENTHEDRYSIGNALANDTHEREVERB4HEREWASALSO TOOMUCH LOW FREQUENCYENERGY IN THE REVERBNOW SO )USED THEBUILT IN%1 FEATURESTOCUTALOTOFTHELOWFREQUENCIESOUTUSINGALOWSHELFANDBOOSTA LOTOFTHEHIGHFREQUENCIESINANATTEMPTTOGETSOMEOFTHATSPARKLEBACK4HE HIGHSHELF%1DIDHELPTORESTOREALITTLEOFTHETOPENDBUTITWASNTWHAT)WAS ORIGINALLYLOOKINGFOR(OWEVERITDIDHAVEQUITEANICEPSEUDORETROFEELTOIT SO)WENTWITHITFORNOWTOSEEHOWITWOULDSOUNDINTHEMIX)SETTHEREVERB
SIGNALLEVELTOWHERE)THOUGHTITSOUNDEDGOODASATAILONTHElNALWORDSOF ALINEORSECTIONBUTASWITHTHEDELAYASITSTOODNOWTHEREVERBWASWASHING OVERALLOFTHEOTHERWORDSINTHELINE
)COPIEDOVERTHEEXACTSAMESETTINGSAS)HADONTHECOMPRESSORONTHEDELAY AUXILIARY APPLIED THEM TO A COMPRESSORON THE REVERB AUXILIARY SET THE SIDE CHAINTRIGGERTOTHEVOCALCHANNELONCEAGAINANDHADALISTEN) FELT THATTHE D"ORSOOFGAIN REDUCTIONWASA LITTLEMUCH SO ) LOWERED THECOMPRESSION RATIOJUSTALITTLEANDINCREASEDTHERELEASETIMETOAROUNDMSBECAUSEAT MSITFELTLIKETHEREWASANOBVIOUShPUMPvTOTHESOUNDWHICHMADETHE REVERBFEELALITTLEOUTOFPLACE
)WASNT TOTALLY CONVINCEDOF THE REVERB SOUND AT THIS POINT SO ) TRIED A FEW OTHERSETTINGSANDEVENTUALLYCAMETOAGOODCOMBINATIONOFA3PACE$ESIGNER PRESETCALLEDhS#ONCRETE"ASEMENTvANDADJUSTEDTHECOMPRESSIONPARAM ETERS ,AST OF ALL ) LOWERED THE ACTUAL LEVEL OF THE REVERB SEND CHANNEL AND BACKED OFF A LITTLE ON THE AMOUNT OF COMPRESSION ON THE DELAY SEND ) WAS REALLYHAPPYWITH THESOUNDAT THISPOINT SO )DECIDED TOSPENDA LITTLE TIME SETTING UP SOME EFFECTS FOR THE h!DLIBSv AND h"6Sv ASWELL BEFORE GETTING TO WORKONTHELEVELSAND%1OFTHEMUSICALPARTSOFTHETRACK
&ORTHEh"6Sv)JUSTSETUPANOTHERCOMPRESSORUSINGSIMILARSETTINGSTOTHEONE )HADUSEDFORTHELEADVOCALBUTADJUSTINGTHETHRESHOLDANDRATIOSOITWASA MUCHMOREGENTLE COMPRESSION ) ALSO INCREASED THEATTACK TIME SO THE COM PRESSIONWASNTSOlERCE!FTERTHAT)APPLIEDAVERYSIMPLELOW SHELF%1SETTO (ZUSINGTHE#HANNEL%1ANDSETUPSENDSTOTHESAMEDELAYANDREVERB) HADONTHELEADVOCAL)WANTEDBOTHSETSOFVOCALSTOSOUNDLIKETHEYWEREIN THESAMESPACESOITMADESENSETOUSETHESAMEEFFECTS"UT)SETTHESENDLEV ELSLOWERFORTHEh"6SvBECAUSE)THOUGHTTHATWITHTHEINCREASEDDENSITYOFTHE SOUNDONTHEh"6vTRACKITMIGHTBEABITMUCHTOHAVETOOMUCHREVERBAND DELAY ON IT 4HE h!DLIBSvWERE A PRETTY SIMPLE AFFAIR BECAUSE ) ALREADY KNEW EXACTLYWHAT)WANTEDTODOWITHTHESE4HEREISA#HANNEL3TRIPPRESETCALLED h&ILTERED$ELAY4AILvWHICHGIVES A REALLYNICE SWEEPINGlLTER EFFECT ) SIMPLY LOADED THISUPAND REDUCED THE RESONANCEON THE!UTOlLTERPLUG IN ADDEDA HIGH PASSlLTERSETTO(ZANDTHENUSEDTHEREVERBSEND)HADUSEDFORTHE OTHERVOCALSTOGIVEAGOODAMOUNTOFDISTANCETOTHESOUND!NDTHATWASIT) WOULDPROBABLYAUTOMATESOMEOFTHESENDLEVELSOROTHERPARAMETERSWHEN) GOTFURTHERINTOTHEMIXDOWNBUTFORNOWTHATWASENOUGH
,ISTENINGBACKTOTHEWHOLETRACK)FELTTHATTHEVOCALSTILLSOUNDEDVERYPUNCHY CLEARANDhUPFRONTvBUTTHATADDEDSENSEOFDEPTHTHEDELAYANDREVERBGAVEIT HELPEDTOMAKEITFEELLIKEAPARTOFTHETRACKRATHERTHANBEINGSOMETHINGTHAT WASmOATINGONTOPOFIT4HElNALTHINGS)DIDTOTHEVOCALSOUNDBEFORElNISH INGUPWAS TOADDANOTHER COMPRESSOR TO THE REVERBAUXILIARY ANDAGAINUSE SIDECHAINCOMPRESSIONBUTTHISTIMEUSINGTHEMOREFAMILIARKICKDRUMTRIGGER )DIDNTWANTTHISTOBEAREALLYOBVIOUSEFFECTSO)SETTHETHRESHOLDANDCOM PRESSIONRATIOSOTHATATMOSTTHEREWASONLYABOUTD"ORSOOFGAINREDUC TION/NCE)HADDONETHIS)RAISEDTHEOVERALLLEVELOFTHEREVERBSIGNALBYABOUT
D"AND THEN LISTENEDBACK 4HEDRY VOCAL AND REVERBWEREWORKING TOGETHER reallyNICELYNOWWITHTHEDUCKINGHAPPENINGWHILETHEVOCALWASPRESENTAND THERHYTHMICSUCKINGOFTHEKICK DRUMnTRIGGEREDSIDECHAINWORKINGTOGETHERTO CREATEASPACETHATSEEMEDTOMOVEAROUNDINTHREEDIMENSIONSBACKANDFOR WARDANDUPANDDOWN
.OWTHAT)HADTHENEWVOCALSSOUNDINGmuchBETTER)WANTEDTOGETSTUCKIN ANDDO SOMEMOREWORKON THEMIX2ATHER THAN LISTOUT EVERYDETAIL )WILL SUMMARIZETHEMAINCHANGES)MADE)NTRUTHTHEREWASALOTOFMINORTWEAK INGLISTENINGCHANGINGSOMETHINGELSELISTENINGAGAINGOINGBACKTOTHElRST VERSIONCOMPARINGANDGENERALLYMESSINGAROUND4HEPROCESSOFWORKINGON THEACTUALMIXOFATRACKISRARELYA linearPROCESSBECAUSEASMALLADJUSTMENT INONEPLACEMIGHTNECESSITATE ANOTHER CORRESPONDING CHANGE ELSEWHERE AND ITTAKESANENORMOUSNUMBEROFMINORADJUSTMENTSTOGETTOTHElNALMIX3O IF FOREXAMPLE )MADEDIFFERENT CHANGES TO THE%1OFAPARTICULAR SOUND )WONTDESCRIBEEACHINDETAILBUTWILLINSTEADEXPLAINTHElNALSETTINGSAND WHY ) CHOSE THEM !T LEAST THIS WILL GIVE AN OVERVIEW OF THE lNAL CHANGES ) WANTEDTOMAKEWHILEAVOIDINGTHELABORIOUSAND)AMSUREVERYUNINTEREST ING MINUTIAEOFTHEACTUALMIXINGPROCESS
)WANTEDTOSTARTOFFBYGETTINGTHEDRUMSRIGHTANDBUILDINGEVERYTHINGFROM THERESO)MUTEDEVERYTHINGEXCEPTTHEKICKTOCHECKTHATTHESOUNDWASRIGHT ANDONCE )HADCONlRMEDTHIS )UNMUTED THEh,OOPSvBUSANDHADA LISTEN )FELTTHATTHEKICKNEEDEDTOBEALITTLEMOREDOMINANTINRELATIONTOTHEOTHER DRUMSSO)TOOKAFEWMINUTESTOLISTENTOSEVERALCOMMERCIALLYRELEASEDTRACKS THAT ) THOUGHTWERE IN ROUGHLY THE SAME AREA SONICALLY SO ) COULD COMPARE ,ISTENINGTOTHESECONlRMEDWHAT)HADTHOUGHTSO)DROPPEDTHELEVELOFTHE h,OOPSvBUSUNTIL)THOUGHTTHEBALANCEWASABOUTRIGHT4HEREISNOHARD AND FAST RULE FOR THEBALANCEBETWEENKICKDRUMANDOTHERDRUMANDPERCUSSION SOUNDSITVARIESQUITEALOTBETWEENGENRESPRODUCERSREMIXESANDEVENTRACK TO TRACK FROM THE SAME TEAM'IVEN THE SOUND )WAS GOING FOR )NEEDED THE DRUMSOVERALLTOBEMAINLYDRIVENBYTHEINCESSANTANDBIG SOUNDINGKICKSO THATWASMYMAINCONSIDERATION
.EXT )WANTED TOMAKEA FEWSMALL CHANGES TO THE INDIVIDUALDRUMANDPER CUSSIONPARTSBUTITWASMOSTLYREBALANCINGANDAFEW%1CHANGESNOTMAJOR CHANGESTOTHESOUNDSAS)WASALREADYPRETTYHAPPY) TURNEDUPTHELEVELOF THE h(ATSv PART JUST A LITTLE AND THEN PUSHED THE HIGHER FREQUENCIES ON THE h2OOM+ICKv SOUNDUPA LITTLE )WANTED THIS SOUND TO CUT THROUGHABIT MORETHANITWASANDTHE%1CERTAINLYHELPEDBUT)STILL FELT LIKEITCOULDDO WITHABITMOREhSNAPv3O)LOADEDUPTHE%NVELOPERPLUG INANDUSEDTHATTO EMPHASIZE THEATTACKPARTOF THESOUNDASMIDGEMORE )ALSOPUSHEDUP THE LEVELOF THEh3HAKERvPART THATCAME INONLYDURING THECHORUSBECAUSE ) FELT THATITREALLYPICKEDUPTHEPACEANDJUSTWANTEDTOBRINGTHATOUTALITTLEMORE ,ISTENINGTHROUGHABIT FURTHER INTOTHETRACK)NOWFELT THATTHEh3OFT"REAKv PARTWAS A TAD TOO LOUD IN THE BREAKDOWN ALONGWITH THE h 3NAREv ROLL SO )PULLED THE LEVELDOWNONBOTHOF THOSEPARTS )DIDACTUALLY THINKABOUT
BACKINGOFFONTHEBITCRUSHEREFFECTONTHEh3OFT"REAKv PARTBUT)REALLYLIKEDTHETONEOFITSOJUSTSETTLEDONA VOLUMECHANGEINTHEEND/BVIOUSLYWITHALLOFTHESE CHANGES TO THE INDIVIDUAL LEVELS OF THE DRUM PARTS ) HAD TO GO BACK AND CHANGE THE OVERALL LEVEL OF THE h,OOPSvBUSRELATIVETOTHEKICKDRUM
4HENEXTTHING)WANTEDTODOWASTAKEALOOKATALLTHE DIFFERENT &8 SOUNDS ) HAD ALREADY AND LOOK AT CREAT INGA FEWMORE ) LIKED THE SOUNDOF THE LITTLEPITCHED &8 SOUNDS )HAD SO )DIDNTWANT TO CHANGEANYTHING ABOUTTHOSEOTHERTHANDROPPINGTHELEVELJUSTATOUCH BUT)WASREALLYMISSINGTHEOBVIOUSCRASHESANDBIGGER hDROP&8vSOUNDS)USEREGULARLY)HADNTBOTHEREDSPENDINGTIMELOOKINGFOR THOSE SO FAR BECAUSE ) HADBEENMORE INTERESTED IN GETTING A GOOD VIBEHAP PENINGWITHALLOFTHEMAINMUSICALPARTSBUTTHETIMEHADNOWCOME/NCE AGAIN)WOULDNORMALLYLOOKONONEOFTHEMANYEXCELLENTSAMPLELIBRARIES) HAVEFORAREALLYNICECRASHCYMBALANDSOMEDROP&8SOUNDSBUT)WASSURE )COULDlNDORMAKE SOMETHINGJUSTASGOODUSINGONLY,OGICPLUG INSAND SOUNDLIBRARY
)LOOKEDFORTHECRASHCYMBALlRSTANDFOUNDANICEONETOWHICH)THENADDED SOMEDELAYTHNOTEDELAY TIME ANDREVERB3ILVER6ERB TO PUSH IT QUITE AWAYS BACK IN THEMIX !FTER HEARING IT IN CONTEXTANDADJUSTINGTHELEVELSOITWASNTSOhINYOUR FACEv)ADDEDA#HANNEL%1ANDMADEAFAIRLYGEN TLE%1CUT(ZD"BANDWIDTH AS WELL AS APPLYING A D"OCTAVEHIGH PASS lLTER AT (Z TO CLEAN UP THE BOTTOM END OF THE CRASH CYMBAL AND GET RID OF ANY UNNECESSARY WEIGHT AND CLUTTER THATWAS THERE )T SOUNDED QUITENICEAFTERATINYADJUSTMENTOFREVERBAND DELAYLEVELSBUT)STILLWASNTTOTALLYHAPPYWITH THEOVERALLSOUNDBECAUSE)FELTITSOUNDEDABIT TOO hREALv FOR THE FEEL OF THE REST OF THE PRODUC TION ) DECIDED TO CREATE A LITTLEWHITE NOISEnBASED CRASH TO DOUBLE IT UPWITH TO GIVE ITMORE OF A SYN THETICSOUNDWHICHMIGHTWORKBETTER
) LOADEDUPAN%3ONANEWAUDIO INSTRUMENTCHANNELANDQUICKLYOPENED UP THE h 2IDEv PRESET AS A BASE TO WORK FROM )MUTED THE TWO PITCHED OSCILLATORSAND TURNEDDOWN THE SINEWAVE LEVEL CONTROL TOZERO SO THATONLY THE WHITE NOISE OSCILLATOR WAS LEFT ) THEN INCREASED THE RELEASE TIME ON THE AMPLITUDE ENVELOPE TOMAKE THE SOUND LONGER ANDMORE SPACEY AND ) LOW ERED THE CUTOFF FREQUENCY OF THE LOW PASS lLTER AND LENGTHENED THE RELEASE TIME ON THE lLTER CUTOFF ENVELOPE ENVELOPE SO THEREWAS JUST A TOUCH OF A NATURAL DECAY AND HIGH FREQUENCY ROLLOFF AS THE SOUND DIED AWAY ) COPIED
The most commonly accepted
definition of bandwidth (or Q) in an EQ is that it is calculated by dividing the center frequency (the frequency chosen to boost or cut) by the difference between the two frequencies at which the actual
boost or cut is half of that specified.
