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Vocal production Flashcards

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1
Q

What is basic signal flow with vocal production?

A

The journey your voice takes from the moment you sing into the microphone and when it’s captured by your recording software

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2
Q

How do you record basic signal flow?

A

Step 1: the microphone
Step 2: connecting to the audio interface
Step 3: adjusting input level on the audio interface (aim for around -10dB to -6dB)
Step 4: the DAW - make a new track and have it connected to your audio interface
Step 5: monitoring your voice - listening to your voice in real time with headphones

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3
Q

What is clean signal path?

A

Means the audio signal travels without interference through each component of the recording chain

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4
Q

How do you minimise reflections when recording vocals?

A

1: know your echo enemies - understanding where these reflections come from. Hard surfaces like ceilings and floors can bounce sound around and we want to soften these bounces
2: blankets / pillows - hang up some blankets and utilise soft materials to help catch sound and make sure it doesn’t bounce around too much
3: Magic traps for low end frequencies - stick bass traps in the corners where low end reflections like to hide making your singing sound more clear
4: use sound bouncers (diffusers) - diffusers are like sound bouncers, they scatter reflections without making your room too quiet
5: Place your mic in the right spot - place it away from walls and reflective materials
6: utilise a carpet as they are great for soaking up sound
7: use DIY tricks as sound catchers - minimise the sound of the room as much as possible especially behind the singer, around the microphone as well as above and below you - this will give you that tight, clean, upfront sound

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5
Q

What are two types of microphones?

A
  • condenser
  • dynamic
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6
Q

What is a condenser microphone?

A
  • capture a wide range of frequencies and nuances making them ideal for detailed recordings especially for softer sounds like vocals and acoustic instruments
  • these microphones are a lot more sensitive so they’re very suitable for studio environments that are controlled with forms of isolation surrounding the singer
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7
Q

What is a dynamic microphone?

A
  • for more robust performance
  • they handle higher sound pressure levels making them perfect for louder environments like live performances, micing guitar amps as well as drums
  • their robust construction makes them less prone to damage from rough handling or accidental drops
  • when there’s less acoustic treatment in the room, a dynamic mic may prove to be a better option for recording
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8
Q

What is a pop filter?

A
  • noise protection filter for microphones
  • they reduce popping sounds caused by mechanical impact of fast moving air on the microphone from plosives during recorded speech or singing
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9
Q

Placing your microphone:

A

Experimenting with the angle and distance to feel your sweet spot where your voice comes through crisply with minimised background noise and reverberation is the art

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10
Q

What is guideline 1 if microphone placement?

A
  • the proximity effect: refers to the change in the tonal characteristics of a microphones response when the sound source gets closer to the microphone
  • as a sound source gets closer to the microphone, there is an increase in low end frequency response - this results in a warmer and richer tone in the recorded sound
  • it’s crucial to find a balance with distance and experiment with the mic placement
  • if you are looking for a more spacial effect with your vocals, try experimenting with a bit more distance
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11
Q

What is guideline 2 of

A
  • experiment with different angles
  • tilt the mic slightly up or down until you find the angle that captures the voice just the way you intended
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12
Q

What is the 5 step recording checklist?

A

1: pick the right mic for the job
2: find the sweet spot for the distance
3: experiment with angles
4: isolate reflections in your room
5: check the gain coming through your audio interface into your DAW making sure you’re hitting the -10dB to -6dB range at the loudest peaks of your singing

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13
Q

What is performance with vocal production?

A
  • the nuance and emotion of your vocals
  • there is no amount of post production that can fix a rubbish performance
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14
Q

How do you produce a great performance?

A

1: set the scene - make yourself comfy and at ease, the more relaxed you are, the better your vocals will flow
2: hydration is key - sip water before and during your vocal session helping your voice stay fresh
3: warm up you voice - warm up as if you are a vocal athlete and give it a gentle wake up call
4: focus on emotional intent to connect the trust and the song to the listener
5: embrace the mistakes
6: experiment with different takes e.g. emotions and tones
7: break it down section by section and then piece it together
8: create an open communication loop - understand what the artist is needing in the moment - you need to facilitate the best performance that you can

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15
Q

What is comping?

A
  • assemble the best parts from multiple takes into a single seamless performance
  • a solution to the limitations of one take recordings
  • results in a seamless and polished final recording
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16
Q

How do comping work?

A
  • listen and analyse all takes
  • select the best parts of each take
  • combine into one seamless ‘master’ take
  • most refined representation of the artists true potential
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17
Q

What is the workflow for comping?

A
  • make a general composite on an initial listen to all the vocal tracks
  • listen again to listen out if you hear any local issues, so any phrases or one word that could be potentially problematic, then you can consider comping
  • then you can fade or bring down breaths with gain automation
  • remove any mouth clicks - use Rx mouth de-click plugin
  • revisit any problem areas again
  • when listening to this, listen with auto tune so you can focus on emotion and performance
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18
Q

What is time aligning?

A
  • technique used to synchronise different vocal tracks
  • adjusting the timing of individual vocal tracks
  • aiming to achieve tight cohesion
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19
Q

How does time aligning work?

A
  • listen and analyse the waveforms to identify timing discrepancies
  • carefully adjust the timing of each vocal track in context with the music and lead vocal
  • bring all elements into perfect alignment
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20
Q

Why carry out time aligning?

A
  • enhances the overall tightness, groove, and clarity of the vocal
  • eliminates phrase issues and ensures that every word hits simultaneously
  • the result is a more polished and professional sound
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21
Q

Summary for time aligning:

A
  • the key to achieving precision and synchronisation in vocal performances
  • elevates the overall quality of the recording aiding the listeners journey free of distraction
  • when something feels late timing wise, it creates a perception of groove
  • when something feels a little rushed, often times we perceive this as a mistake
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22
Q

What is an alternate way to align vocals?

A

An alternate way to align vocals (especially when working with doubles), is a vocal alignment plugin which allows you to side chain your double vocal track with your lead vocal to which is will align on whatever strength you select

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23
Q

What is tuning for vocal production?

A
  • adjustment of a vocalists pitch to achieve a flawless and harmonically accurate performance
  • crucial step in modern music production
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24
Q

How does tuning work?

A
  • use tuning software to analyse and adjust the pitch of recorded vocals
  • the goal is to create a pitch perfect performance
  • navigate the nuances of each vocal track without compromising the expressiveness of the artist
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25
Q

What’s the difference between manual and auto pitch correction?

A
  • the degree of control and precision afforded to the user
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26
Q

What is manual pitch correction?

A
  • manual tuning allows more control and precision
  • helps preserve the natural nuance of the vocal
  • addresses specific pitch discrepancies
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27
Q

What is auto pitch correction?

A
  • relies on software algorithms to automatically detect and correct pitch errors across the entire performance
  • while the approach is more quicker and efficient, it may lack the finesse and tailored adjustments achievable with manual tuning
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28
Q

What approach for tuning is better with manual or auto?

A
  • it depends on the desired outcome
  • manual = more control
  • auto = more streamlined
  • common approach is to use both in tandem
  • manually finessing the pitch and tightening up overall pitch with auto tune
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29
Q

Why should you carry out vocal tuning?

A
  • plays a pivotal role in achieving pitch perfect vocals
  • elevates the overall production quality
  • results in a polished professional sound
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30
Q

What is melodyne?

A
  • the leading manual tuning plugin
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31
Q

What is flex pitch?

A

The stock version of melodyne

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32
Q

What is ‘input type’ on Antares auto tune pro plugin?

A
  • the type of signal you’re putting in (included pitch such as soprano,alto and tenor)
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33
Q

What is the ‘key’ on Antares auto tune plugin?

A

The key of your piece for your auto tune to lay in

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34
Q

What is ‘retune speed’ on Antares auto tune plugin?

A
  • how quickly you move to those target pitches that are being told to the auto tune with the key and the scale you are in
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35
Q

What is ‘flex time’ on Antares auto tune plugin?

A
  • allows for expression to come through, so if you have slides up and down or any sort of growls, this tool is going to be much more forgiving for that expression
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36
Q

What is ‘natural vibrato’ on Antares auto tune plugin?

A

The more you push this up, the more it will accentuate natural vibrato’ and vice versa

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37
Q

What is ‘humanise’ on Antares auto tune plugin?

A

Adds realism to sustain notes with a higher retune speed so that you don’t create a very robotic effect

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38
Q

What is gain automation?

A
  • do not skip this step
  • separated beginners from pros
  • gain automation involves adjusting the volume of a vocal track to create a more consistent balanced performance
  • aims to address variations in volume that naturally occur during a vocal recording
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39
Q

How does gain automation work?

A
  • producers use automation tools to manually adjust the volume levels of sections within a vocal track
  • the goal is to create a consistent volume by mitigating sudden spikes and dips that distract from the overall listening experience
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40
Q

Why carry out gain automation?

A
  • a crucial step in achieving a consistent and balanced vocal performance before compression
  • ensures the subsequent compression process operates on a more stable foundation
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41
Q

What is the importance of a gain balanced vocal?

A
  • the compressor may unintentionally emphasize or attenuate certain elements leading to an unnatural and less pleasing results when the gain of the vocals are inconsistent
  • gain automation acts as the preliminary sculpture, preparing the vocal track for compression by creating a smooth and controlled dynamic range
  • use faders when slicing when making gain changes to prevent any sort of popping
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42
Q

Vocal editing tips:

A
  • edit as many vocals as possible
  • take regular breaks to keep your mind fresh for the editing phrase
  • give yourself a time limit
  • don’t fear being heavy - handed with backing vocals e.g. alot more abrupt edits as it wants be picked up in the context of the mix
  • aim for clean takes when comping
  • pay close attention to consonant timing - especially in doubles or harmonies with ‘s’ or ‘t’ sounds in relation to the main vocal which will distract the listener
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43
Q

What are doubles and harmonies?

A
  • doubles involve recording the same part twice
  • harmonies introduce additional notes that compliment the main melody
  • doubles and harmonies provide a fuller, more immersive listening experience
  • used in various genres to enhance vocal vocal or instrumentation performances
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44
Q

How do you create doubles?

A
  • recording a second identical take of the vocal, known as a traditional double
  • altering certain parameters in the second take, such as using a different microphone, adjusting the pitch slightly, or changing the performance style - this is know as a modified double
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45
Q

What are techniques for capturing doubles?

A
  • 1 single take in unison and layering that with your lead vocal
  • recording 2 and sometimes 4 or more doubles, with the intention of spreading those out in the stereo field with panning
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46
Q

What is LCR panning with vocals?

A
  • lead vocals in the center
  • doubles and harmonies are panned out hard left and hard right
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47
Q

How do you create harmonies?

A
  • layering harmonies involves careful consideration of each notes role in the chord
  • they add emotional depth, create a sense of space, and enhance the overall experience for the listener
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48
Q

What should you consider when using doubles and harmonies?

A
  • make sure to place them where it’s needed
  • you will add and cut tracks and doubles and harmonies throughout your piece rather than having them all play continuously crafting a music journey
  • it’s much better to be intentional with subbing and harmonies to dial in the emotion of the song
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49
Q

What are gang vocals?

A
  • gang vocals involve recording a group of singers simultaneously
  • this technique is used widely across genres to add energy, intensity to a vocal section
  • arranging gang vocals involves carefully planning harmonies, dynamics and the number of singers should you choose to work multiple singers
  • the goal is to create a cohesive and impactful sound that enhances the overall emotional experience of the music
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50
Q

How do you create gang vocals?

A
  • select a group of singers with diverse vocal tones
  • you can do gang vocals yourself by being creative with your own vocal placement to mimic the different qualities that having multiple singers would have
  • plan the harmonies ensuring that they compliment the main melody and add depth to the overall sound
  • consider layering unison chants with harmonies, and strategically place accents to emphasize key moments in the song
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51
Q

What are techniques for gang vocals?

A
  • recording gang vocals required strategic microphone placement to capture the energy and unity of the group
  • capturing the genuine enthusiasm of the group contributes to the power of the gang vocals
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52
Q

Why use gang vocals?

A
  • gang vocals inject a sense of unity and power into a song
  • they create a sonic signature that resonates with listeners and enhances the emotional impact of the music
  • great for capturing the collective spirit and delivering a memorable musical experience
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53
Q

What are choirs?

A
  • choir-like arrangements involves creating a rich and harmonically complex vocal ensemble
  • unlike gang vocals, which emphasize unity and power, choirs aim for a nuanced and intricate blend of voices
  • arranging choirs requires meticulous attention to voicing, dynamics and the overall harmonic structure
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54
Q

What is counterpoint?

A
  • counterpoint in music involves the combination of different, independent melodies that are played or sung simultaneously
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55
Q

What are techniques for producing choirs?

A
  • demands a thoughtful approach to capture the subtleties of each voice
  • encourage singers to deliver nuanced performances, allowing for dynamic expression
  • the goal is to capture the delicate interplay of voices within the choir
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56
Q

Why use choirs?

A
  • choir - like arrangements bring a level of sophistication and emotional depth to music
  • convey a sense of grandeur, nostalgia or spirituality depending on the context
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57
Q

What is the difference between choirs and gang vocals?

A
  • choirs emphasize intricate harmonies and nuanced voicings, creating a refined and classical aesthetic
  • gang vocals focus on unity and power, often used in contemporary genres for anthemic choruses or energetic moments
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58
Q

What are ad-libs?

A
  • Spontaneous and improvisational vocal embellishments
  • they add flair, emotion and a distinctive touch to a song
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59
Q

What are techniques for creating ad libs?

A
  • Experiment with layering ad libs, adjusting their volume and panning to create a dynamic and immersive experience
  • encourage improvisation into a recording session, provide the artist with the freedom to experiment allowing for genuine and unrestrained expressions
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60
Q

Why carry out ad-libs?

A
  • ad libs serve as a vehicle for artists to inject their personality and spontaneity into a song
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61
Q

What is pitch / formant shifting?

A
  • pitch shifting changes the note
  • formant shifting changes the colour or tonality, offering creative possibilities
  • exploring advanced pitch shifting techniques involves manipulating tiny vocal fragments independently
  • this method allows for subtle or extreme pitch alterations creating ethereal effects commonly found in electronic or experimental music
  • formant shifting is a technique that can drastically alter vocal character without changing the pitch
  • pitch and formant shifting are essential for pushing creative boundaries
  • they are gateways to sonic exploration
  • the formant essentially emulates the throat length of the vocalist
  • the logic stock plugin for this is ‘vocal transformer’s
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62
Q

What is a vocoder?

A
  • short for ‘voice encoder’
  • vocoders combine the characteristics of a modulator (typically with a human voice) and a carrier (usually a synthesizer), creating a distinctive sound that merges both elements
  • adds a robotic, or synthesized quality to vocals
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63
Q

What are vocoder techniques?

A
  • consider vocoders in dynamic ways, such as creating harmonies, enhancing background vocals, or adding a futuristic touch to lead vocals
  • automating vocoder parameters over time can introduce evolving textures and contribute to the overall sonic narrative
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64
Q

Why use vocoders?

A
  • vocoders hold a unique place in vocal production because they offer a bridge between the organic and synthetic
  • they push the boundaries of vocal creativity
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65
Q

What is modulation?

A

Effects of audio manipulation

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66
Q

What are the different types of modulation?

A
  • flanger
  • phaser
  • chorus
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67
Q

What is a flanger?

A
  • slight delay creates a sweeping jet-like sound
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68
Q

What is a phaser?

A
  • produces a swirling, spacey effect and when applied to vocals, it provides a sense of movement / intrigue
  • the first stage is splitting the signal so the incoming audio signal is divided into two parts or more
  • the next part is phase shifting where the signal is sent through a series of filters called all pass filters which change the phase of certain frequencies within the signal, mixing the original signal, and the phase shifted signals are mixed back together
  • this process creates peaks and troughs in the frequency spectrum which move up and down in frequency - these peaks and troughs give the characteristic of a swirling sound associated with a phaser
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69
Q

What is chorus?

A
  • introduces a rich, lush quality to vocals
  • it’s like creating a vocal ensemble, making the voice sound larger than life
  • works by duplicating the original audio signal and then slightly delaying each duplicate and then modulating the pitch of each duplicate slightly
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70
Q

Why use modulation?

A
  • they introduce motion, depth and character to vocal performances
  • each type evokes a distinct emotion
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71
Q

What emotions can you relate to modulation?

A
  • incorporating modulation begins by choosing the right effect for the desired emotional impact
  • a flanger: might evoke a sense of anticipation or excitement
  • a phaser: can create a dreamy and surreal atmosphere
  • a chorus: introduces warmth and comfort
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72
Q

What is stuttering?

A
  • stuttering techniques in vocal production offer a gateway to rhythmic innovation
  • stutter edit: this effect involves chopping and rearranging vocal snippets in a rhythmic manner, creating a dynamic and glitchy cadence
  • you can carry out the stutter edit manually with cuts and copies or use a stock plugin for it
  • you may also carry out stuttering with a tremolo plugin which is a mix between modulation as well as stuttering
73
Q

What are gate techniques?

A
  • by visualizing a gate with precise technique, you can achieve rhythmic, staccato - like vocal bursts
  • this technique is often employed to add a sense of urgency or excitement to a vocal performance
  • forms another stutter sound
74
Q

Why use stuttering?

A
  • stuttering techniques inject a sense of unpredictability and excitement into vocals
  • they break away from traditional vocal delivery, creating a rhythmic, glitchy canvas that captured attention
75
Q

When do you use stuttering techniques?

A
  • consider using stuttering selectively for emphasis on specific words or phrases
76
Q

What are vocal chops?

A

Vocal chops involve taking snippets of vocals and arranging them in a unique pattern

77
Q

How do you create vocal chops?

A
  • begin by selecting a vocal recording
  • indemnify compelling phrases, notes or even individual syllables that resonates with the mood of your song
  • cut and isolate these segments. Experiment with different chops adjusting the length and arrangement to create a dynamic and engaging vocal pattern
78
Q

How do you create vocal chops?

A
  • begin by selecting a vocal recording
  • indemnify compelling phrases, notes or even individual syllables that resonates with the mood of your song
  • cut and isolate these segments. Experiment with different chops adjusting the length and arrangement to create a dynamic and engaging vocal pattern
79
Q

How do you arrange vocal chops?

A

Play with the placement of vocal chops to create interesting patterns, syncopations, or even melodies

80
Q

Why use vocal chops?

A
  • vocal chops add a human and emotive touch to electronic and pop music
  • consider using effects such as pitch/formant shifting to create a melodic sequence with the vocal chops
  • you can also record in a vocal chop and emulate it’s choppiness
81
Q

What are delay throws?

A
  • involve using delays in a creative and rhythmic manner
82
Q

How do you create delay throws?

A
  • begin by selecting a vocal segment or phrase that you want to emphasize
  • apply a delay effect with a distinct setting such as a short delay time and moderate feedback
  • the purpose of using a delay throw is often to fill up silent sections, to emphasize certain words or to catch the listeners attention to direct them to a certain part of a song
  • you will have a delay on a send and make it 100% wet and then automate the send level of the vocal to the delay, creating moments where the delay becomes more pronounced
  • the other way of creating a delay throw is by duplicating the audio track, copying the section that you want to be delayed and then adjusting the parameters to taste and blending in the volume of the delay throw for that section
83
Q

Why use delay throws?

A
  • they add a sense of depth, excitement and movement
84
Q

Why use reverb swells?

A
  • they add a sense of grandeur, creating a sonic space that envelopes the listener
  • transforms vocals into ethereal and captivating elements
85
Q

What are reverb swells techniques?

A
  • use automation to control the reverbs intensity and decay time, allowing it to swell gradually and recede seamlessly
86
Q

How would you combine techniques for vocals?

A
  • the art of crafting a distinct sonic signature
  • delay throws for movement
  • vocals chops for dynamicism
  • reverb swells for atmosphere
  • modulation for expression
87
Q

Why combine techniques?

A
  • combining techniques is the essence of artistic exploration in vocal production
88
Q

What are different types of recording workflows?

A
  • record all the way through - get a feel for the song
  • record section by section - use takes
  • record phrase by phrase - helps with breath capacity
  • record by intensity
  • comp as you go
  • add backing vocals section by section
89
Q

What is EQ?

A
  • Fundamental audio processing tool used to shape the frequency content of audio signals
  • allows for precise adjustment of specific frequency ranges within the sound spectrum
90
Q

How does EQ relate to vocal production?

A
  • sculps the tonal characteristic of the voice to fit within the context of the mix
  • addresses frequency unbalances, removing unwanted resonances, and accentuating desirable traits
91
Q

What are popular EQ models in vocal production?

A
  • Pultec EQP-1A
  • Fab filter Pro-Q
  • SSL E series channel strip
  • MAAG audio EQ4
92
Q

What is the Pultec EQP-1A?

A
  • known for its smooth and musical sound, often used in vocal production to add warmth, presence and air to vocal recordings
93
Q

What is the Fab filter Pro-Q?

A

Known for its intuitive interface and transparent sound

94
Q

What is the SSL E series channel strip?

A

His plugin emulates the EQ section of the classic SSL 4000 E series console, known for its puncy and aggressive sound

95
Q

What is the MAAG audio EQ4?

A

Renown for its airband - a unique high frequency shelf that.adds sparkle and presence to vocals

96
Q

How does dynamic EQ relate to vocal production?

A
  • De-essing: dynamic EQ can be used to target and reduce sibilant frequencies in vocal recordings - dynamic EQ would only act when sibilance occurs rather than De-essing the entire vocal production
  • taming resonances: dynamic EQ can dynamically attenuate these resonances
  • controlling dynamics: dynamic EQ can help tame dynamic fluctuations by applying EQ adjustments only when a volume exceeds a certain threshold
  • Masking prevention: Dynamic EQ can help by automatically adjusting the vocal frequencies in real time to ensure they remain audible and prominent in busy arrangements
97
Q

How does dynamic EQ relate to vocal production?

A
  • De-essing: dynamic EQ can be used to target and reduce sibilant frequencies in vocal recordings - dynamic EQ would only act when sibilance occurs rather than De-essing the entire vocal production
  • taming resonances: dynamic EQ can dynamically attenuate these resonances
  • controlling dynamics: dynamic EQ can help tame dynamic fluctuations by applying EQ adjustments only when a volume exceeds a certain threshold
  • Masking prevention: Dynamic EQ can help by automatically adjusting the vocal frequencies in real time to ensure they remain audible and prominent in busy arrangements
98
Q

What is compression?

A
  • a technique used to reduce the dynamic range of an audio signal
  • compression evens out the volume levels of an audio signal by reducing the difference between the loudest and quietest part
99
Q

How does compression relate to vocal production?

A
  • leveling the dynamics of the wide dynamic range of vocals
  • improve intelligibility: compression can bring quieter vocal details such as whispers or softer vocal phrases up in volume which improves the clarity in these areas without raising the overall volume
  • controlling peaks: to tame vocals that often have harsh peaks within their vocals
  • enhancing presence: by reducing the dynamic range of the vocal, compression can make the vocal sound more upfront and present in the mix
  • increasing perceived loudness: compression can make vocals sound more louder and more prominent in the mix without actually increasing their peak volume - by reducing the dynamic range, producers can increase the volume of the vocal levels closer to the maximum without causing distortion of discomfort
100
Q

What are common types of compression used on vocals?

A
  • Optical compression
  • VCA compression
  • FET compression
  • Tube compression
101
Q

What is optical compression?

A

Use a light dependant resister (LDR) to control gain reduction resulting in a smooth and natural compression response

102
Q

What is VCA compression?

A

(voltage controlled amplifier) - use voltage controlled amplifiers to regulate gain reduction providing fast and precise control over dynamics - can produce gentle or aggressive compression

103
Q

What is FET compression?

A

Use field effect transistors to regulate gain reduction to provide fast attack time and a slightly coloured compression sound - known for punchy and aggressive characteristics

104
Q

What is Tube compression?

A
  • tube compression use vacuum tubes to regulate gain reduction - they provide a warm and rich compression sound with subtle harmonic distortion
105
Q

What are common compression models for vocals?

A
  • universal audio LA-2A (optical compressor)
  • universal audio 1176 (FET compressor)
  • DBx 160 (VCA compressor)
  • Empirical labs distressor (FET, optical, vintage compressor)
  • teletronix LA-3A (optical compressor)
  • SSL G Series bus compressor (VCA compressor)
  • Fair child 670 (Tube compressor)
106
Q

What affect do optical compressor have on a vocals tone?

A

Subtle colouration to vocals - great at maintaining the natural and tonal balance of vocals while providing gentle level control

107
Q

What affect do FET compressors have on a vocals tone?

A

Punchy, upfront character to vocals - great for adding energy and excitement to vocals

108
Q

What affect do VCA compressors have on vocals?

A

Transparent and neutral tone

109
Q

What affect do tube compressors have on a vocals tone?

A

Distinct, warm, harmonics and saturation

110
Q

What genres utilize optical compression?

A

Genres where a vintage / classic sound is desired such as soul, R&B and jazz

111
Q

What genres utilize FET compressors?

A

Genres where an aggressive / punchy sound is desired such as rock, pop or hip-hop

112
Q

What genres utilize VCA compressors?

A

Suited for a wide range of vocal styles being very versatile and offer clean and precise compression

113
Q

What genres utilize tube compressors?

A

Genres where a rich, harmonic, saturated sound is desired such as blues, rock or folk

114
Q

What is multi and compression?

A

A technique that divides the audio signal into multiple frequency bands and applies compression independently to each band

115
Q

How does multiband compression work?

A
  • splitting the signal: the audio signal is split into multiple frequency bands using crossover filters - each frequency band covers a specific range of frequencies such as bass, mid range and treble
  • compression: a compressor is applied to each frequency band independently, this means that compression settings such as threshold, ratio, attack and release can be adjusted separately for each band
  • processing: compression is applied to each frequency band based on the level of the signal within the band - this allows for targeted compression of specific frequency ranges such as controlling low end rumble, taming mid range hard frequencies or smoothing out sibilance in the high end
  • recombining the signal: after compression is applied to each frequency band, the processed bands are recombined to create the final compressed audio signal
116
Q

Why use multiband compression?

A
  • greater control
  • reduced pumping and artifacts
  • versatility
117
Q

How does multiband compression relate to vocals?

A
  • De-essing: multiband compression can be used specifically to target and control sibilance in vocal recordings by compressing only the high frequency bands
  • taming resonances: multiband compression allows engineers to isolate and compress specific frequency bands where resonances occur
  • balancing tone: multiband compression enables producers to independently adjust the dynamics of different frequency ranges within the vocal signal which can be useful for balancing the tonal characteristics of the vocal e.g. boosting presence in the mid range
  • controlling dynamics: multiband compression offers precise control over the dynamics of vocals across different frequency ranges
  • enhancing clarity: by selectively compressing specific frequency bands, multiband compression can help enhance the clarity and intelligibility of vocals
118
Q

What is a De-esser?

A
  • used to remove excessive sibilance from vocal recordings
  • works by detecting the frequencies associated with sibilant sounds and then applying dynamic equalisation or compression to reduce their intensity - mostly between 4-10KHz
119
Q

What are the parameters of a De-esser?

A
  • frequency range: specifies the range of frequencies the De-esser will target for processing
  • threshold: determines the level at which the De-esser begins to attenuate or compress sibilant frequencies
  • detection mode: includes peak detection, RMS detection and spectral analysis. Peak detection responds to the transient peaks in the signal, while RMS detection analyses the overall level of the signal over time. Spectral analysis examines the frequency content of the signal to identify sibilant frequencies more accurately
  • processing type: includes dynamic equalisation, compression and frequency dependant gain reduction
  • attack and release times: controls the speed at which the De-esser responds to changes in the input signal
  • ratio: determines the amount of gain reduction applied to sibilant frequencies above the threshold level
120
Q

What is saturation?

A

An audio processing effect that introduces harmonic distortion to audio signals, mimicking the characteristics of analog tape, tubes or other analog hardware

121
Q

How does saturation work?

A
  • soft clipping: where the peaks of the audio are gently rounded off rather than abruptly clipped - when the signal exceeds a certain level, the waveform is smoothly compressed resulting in a more rounded shape - this soft clip creates harmonies which are additional frequencies that are multiples of the original signals frequencies
  • harmonic generation: As the audio signal passes through a saturator, non lineararities in the processing circuitry cause the generation of harmonics and these add complexity to the sound by introducing frequencies that were not present in the original signal
  • dynamic response: different saturators have varying dynamic responses meaning they may react differently to changes in the input level - some saturators respond dynamically to the input signal adjusting the amount of distortion based on it’s amplitude - this dynamic response can add further musicality and complexity to the saturation effect
  • frequency dependence: some saturators are suppose to emphasize certain frequency ranges more than others - for example, tape saturation plug-ins often accentuate low frequencies white tube saturation may emphasize mid-range frequencies - this frequency dependence can contribute to the characteristic tone and colouration of the saturation effect
  • mix control: allows users to blend the saturated signal with the dry unprocessed signal
122
Q

How does saturation relate to vocal production?

A
  • warmth and depth: introduces harmonics and subtle distortion - can help to enrich the sound of vocals making them sound more full - bodied and organic particularly in genres such as soul, jazz and folk
  • tonal enhancement: saturation can add richness and colouration to the sound - by emphasizing certain harmonics, and frequencies, saturation can help vocals cut through the mix and stand out while maintaining a natural and pleasing tonal balance
  • character and texture: saturation can impart a distinctive character and texture to vocals giving them a sense of character and personality
  • glue and cohesion: saturation can act as a sonic glue blending individual vocal tracks with the rest of the mix and creating a cohesive sound by adding subtle compression and harmonics, saturation can help vocals form a more unified sound
  • emulation of vintage equipment: saturation plug-ins often include emulations of vintage analog equipment such as tape machines, tube preamps or analog consoles - these emulations can provide authentic, vintage sounds or textures allowing producers to create the sonic characteristics of classic recordings and add a nostalgic vibe to modern vocal productions
123
Q

What is limiting?

A

Works by reducing the gain of the signal when it reaches or exceeds the threshold, effectively limiting it’s peak altitude

124
Q

How does limiting work?

A
  • threshold: a threshold level is set above which the limiting action takes affect, any audio signal that exceeds the threshold will be subjected to gain reduction
  • gain reduction: when the amplitude of the audio signal crosses the threshold, the limiter automatically reduces the signals gain to prevent it from exceeding the threshold level
  • attack time: determines how quickly it responds to signals that exceed the threshold - a fast attack allows the limiter to react quickly to sudden peaks
  • release time: determines how quickly it returns to the normal gain after the signal falls below the threshold
  • ceiling level: specifies the maximum amplitude to which the signal is limited, any audio signal that would exceed this level are effectively limited to the ceiling, preventing clipping and distortion
125
Q

How does limiting relate to vocal production?

A
  • dynamic control
  • prevention of clipping
  • increased loudness
  • consistency in performance
126
Q

What is parallel processing?

A

A technique used to blend a heavily processed signal with the original dry signal

127
Q

How does parallel processing work?

A
  • duplicate the signal: original audio signal is duplicated creating two identical copies of the audio track
  • apply processing: heavy compression, EQ or distortion are applied to one of the duplicated signals - the processing is usually more extreme than what you would apply directly to the original sound
  • blend the signals: the processed signal is then blended back with the original dry signal using a fader or mixer - the blend control allows the audio engineer to adjust the balance between the processed and dry signals determining the amount of processing applied to the overall sound
128
Q

What are common parallel processing uses?

A
  • compression: parallel compression is a popular technique used to add weight, pressure and impact to individual tracks or the overall mix by blending a heavily compressed signal with the original dry signal - you can have great control over the dynamics of the mix whilst preserving the natural sound
  • equalisation: by blending the EQ signal with the dry signal, engineers can achieve tonal balance and enhancement without compromising the integrity of the original sound
  • saturation and distortion: can help to add warmth, depth and character to individual tracks or the overall mix enhancing the sonic texture and vibe of the music
129
Q

What is reverb?

A
  • a natural phenomenon that occurs when sound waves reflect off surfaces in an environment creating a complex.pattern of multiple rapidly decaying echoes
  • in audio production, reverb refers to the artificial replication or simulation of this phenomenon
  • it’s used to add depth, dimension and a sense of space to audio recordings
130
Q

How does reverb work?

A
  • reflections: in a real acoustic space, sound waves emitted from a source bounce off surfaces - these reflections blend together creating a sense network of echoes that give the perception os space and ambience
  • early reflections: the initial reflections of sound waves arrive at the listeners ears within a very short time after the direct sound - these early reflections give special cues about the size and shape of the environment
  • reverberation: as sound waves continue to reflect off surfaces, they gradually lose energy due to absorbtion and diffusion, resulting in a decay of reverbation over time
131
Q

How is reverb used?

A
  • creating realism
  • enhancing depth and space
  • Adding ambience or mood
132
Q

What genres are hall reverbs used for?

A
  • classical
  • orchestral
  • Ballads
  • gospel
133
Q

What genres are room reverbs used for?

A
  • jazz
  • acoustic
  • folk
  • singer-songwriter
134
Q

What genres are plate reverbs used for?

A
  • pop
  • rock
  • R&B
  • country
135
Q

What genres are chamber reverbs used for?

A
  • classical
  • choral
  • vocal jazz
136
Q

What genres are spring reverbs used for?

A
  • surf rock
  • vintage rock
  • lo-fi
  • garage rock
137
Q

What are popular reverb models:

A
  • Valhalla room
  • Fab filter pro-R
  • Valhalla vintage reverb
  • lexicon 224 digital reverb
  • Bricasti m7 reverb
138
Q

What is the emotional intent of hall reverb?

A

Evokes feelings of awe, majesty and reverence

139
Q

What is the emotional intent of room reverb?

A

Create a cosy and exciting atmosphere

140
Q

What is the emotional intent of plate reverb?

A

Evokes feelings of nostalgia, romance and glamour

141
Q

What is the emotional intent of chamber reverb?

A

Evoke s feelings of intimacy, purity and authenticity

142
Q

What is the emotional intent of spring reverb?

A

Evokes feelings of warmth, grittiness and authenticity

143
Q

What is a delay?

A
  • effect that creates repetitions or echoes of an input signal
  • creates a series of delayed copies of the original signal, which can add depth, dimension and rhythmic interest to sends
144
Q

Why use delays?

A
  • creates spacial enhancement
  • rhythmic effects
  • doubling and thickening
  • emotional impact
145
Q

How does delay work?

A
  • captures an audio signal, storing it temporarily in a buffer, and then playing it back at a specified period of time
  • input signal: the process begins with an input signal
  • buffering; the input signal is sent to a buffer which is a temporary storage space in the audio processing system - the buffer holds the audio signal for a certain amount of time
  • delay time: determines how long the audio signal is stored in the buffer before being played back
  • play back: after the delay time elapses, the buffer signal is played back through the audio signal - this creates a series of delayed copies of the original input signals
  • feedback: in some delay effects a portion of the delayed signal is fed back into the buffer, creating multiple repetitions of feedback loops - this can lead to the signal decaying over time or sustaining indefinitely
  • mixing: the original input signal and the delay signal are mixed together to achieve a desired balance
  • output: the combined signal is sent to the output of the audio processing system
146
Q

How does delay relate to vocal production?

A
  • depth and dimension
  • emotional impact with movement and atmosphere in the sound altering vocal texture
  • texture and character
  • rhythmic effects
  • spatialisation
  • creative expression
147
Q

What are different types of delays?

A
  • analog delay
  • digital delay
  • tape delay
  • bucket brigade device delay
  • multi-tap delay
  • modulated delay
  • reverse delay
  • ping-pong delay
148
Q

What is analog delay?

A

Emulates the warmth and organic sound of vintage analog delay units

149
Q

What is digital delay?

A

Uses digital processing to create a concise digital delay repeat

150
Q

What is tape delay?

A

Emulates the sound of vintage tape echo machines - it adds warmth, saturation and modulation to the delayed signal

151
Q

What is Bucket Brigade Device delay?

A
  • uses analog bucket brigade circuitry to create delay effects - produces a distinctive sound with a unique tone and texture
152
Q

What is multi tap delay?

A

Features multiple delay lines each with it’s independent delay time and feedback settings - allows users to create complex rhythmic patterns and spacial effects.

153
Q

What is modulated delay?

A

Adds modulation to the delayed signal creating a chorus like effect with pitch and time variables - adds movement and depth to the delayed signal enhancing it’s texture and character

154
Q

What is reverse delay?

A

Plays back the delayed signal in reverse creating a unique and surreal effect - produces a sense of backwards motion and can add tension or intrigue to the sound

155
Q

What is ping-pong delay?

A

Alternates the delayed signal between the left and right stereo channels - adds width and depth for the sound

156
Q

What is the emotional intent of analog delay?

A

Evokes feelings of nostalgia

157
Q

What is the emotional intent of digital delays?

A

Evokes a modern and innovative feeling

158
Q

What is the emotional intent of tape delay?

A

Evokes feelings of nostalgia, authenticity

159
Q

What is the emotional intent of BBD delay?

A

Evokes feelings of warmth and retro charm

160
Q

What is the emotional intent of multi-tap delays?

A

Evokes a feeling of movement, depth and complexity

161
Q

What genres are analog delays used in?

A

Rock, blues or soul

162
Q

What genres are digital delays used in?

A

Pop, electronic, Hip-hop

163
Q

What genres are tape delays used in?

A

Folk, acoustic and indie

164
Q

What genres are BBD delays used in?

A

Dream pop, experimental music, lo-fi

165
Q

What genres are multi tap delays used in?

A

Electronic, ambient and experimental music

166
Q

What are popular delay models?

A
  • echoboy by sound toys
  • repeater by D16 group
  • Valhalladelay by Valhalla DSP
  • echo by universal audio
  • replika XT by native instruments
167
Q

What are inserts?

A
  • direct processing: inserts apply the reverb or delay effect directly to the vocal track itself - this means the effect is applied solely to the vocal signal on the track where the insert is placed
  • control: inserts provide precise control over the level and the parameters of the effect for each individual vocal track - this allows for tailored adjustments to fit the specific need of each vocal performance
  • resource intensive: having a reverb/delay on every single insert on all of your tracks may cause issues with your DAW especially if you’re working with a large project
168
Q

What are sends?

A
  • parallel processing: this sends a portion of the vocal signal to a separate auxillary track often referred to as a return track where the reverb or delay effect is applied - this allows for parallel processing where the dry signal remains unaffected and the wet signal with the effect is blended in
  • flexibility: sends offer greater flexibility and efficiency, especially when using the same reverb or delay effect across multiple vocal recordings
  • consistency: sends ensure consistency in the reverb or delay effect across multiple vocal tracks as they all share the same return track - this helps maintain coherence and balance in the mix
  • resource management: much more efficient for CPU by not using so many plug-ins on inserts
169
Q

Considerations for mixing vocals with spacial effects:

A
  • blend and balance: experiment with the blend of the dry, unaffected vocals and wet effected vocals to achieve the desired balance - adjust the send level to control the amount of reverb or delay effect applied to the vocals
  • pre-delay and decay time: pay attention to these with a reverb effect to ensure they compliment the vocal performance without masking the clarity of the vocals
  • EQ and filtering: use these to shape the frequency response of the effect - this can help to prevent build up of the low frequencies and tame any harsh or muddy frequencies that may interfere with the vocals
  • automation: use automation to dynamically adjust the send levels of reverb and delay throughout the song
170
Q

What is a vocal chain?

A
  • refers to a series of audio processing effects and plug-ins applied to a vocal track to enhance it’s sound
  • the purpose of a vocal chain is to sculpt the vocal sound, correct any imperfections, and achieve the desired tone and clarity
171
Q

What goes on a vocal chain?

A
  • preamp/input gain: the vocal signal is first routed through an input or preamp stage to boost its level, and bring it to an optimal recording level
  • equalisation: altering the tone and sonic energy within an audio signal with boosts and cuts on the frequency spectrum
  • compression: applied to control the dynamic range of the vocal signal, reducing the level of loud peaks while simultaneously boosting the quiet passages
  • De-essing: employed to detect any problematic or sibilant frequencies improving overall clarity and smoothness
  • saturation and harmonic enhancement: can help to emulate the pleasing qualities of analog recording equipment
  • effects (reverb/delay): can be applied to add spatial dimension, depth and ambience
  • final processing and mixing: the final vocal is balanced and integrated into the mix with further potential processing with EQ, automation and general level balancing
172
Q

Why do we use vocal chains?

A
  • consistency: by establishing a standard processing work flow, vocal chains ensure consistency in the sound and quality of vocal recordings across different projects
  • efficiency: vocal chains streamline the process or vocal processing by providing a structured framework for audio effects and processing techniques
  • quality control: vocal chains help maintain quality control by applying tried and tested vocal techniques that are known to produce desirable results
  • workflow optimization: by organizing vocal processing into a predefined set of effects and plug-ins, vocal chains offer workflow efficiency
  • professional results: vocal chains are designed to emulate the processing techniques used in studios, where experienced engineers apply a series of carefully chosen effects to enhance the quality and impacts of vocal performances
  • creative control: they offer flexibility for creative experimentation and customisation, you can alter all of the individual effects within the chain to suit any unique vocal performance
173
Q

Does order matter for using a vocal chain?

A

Yes, whilst there is no general fixed order, the order you have yours set out will affect the result

174
Q

What is the general order for a vocal chain?

A
  • noise reduction / gate
  • gain / trim
  • pitch correction
  • EQ
  • compression
  • De-esser
  • saturation / harmonic enhancement
  • effects (reverb/delay)
175
Q

How could you produce 80’s pop vocals?

A
  • microphone selection / preamp: choose a microphone with a bright and airy sound characteristic of vintage mics used in the 80’s - use a preamp that adds warmth and colouration to the vocals
  • EQ: boost the high frequencies around 8k-12k to add brightness and airiness to the vocals
  • compression: use a compressor to control the dynamics of the vocals and add some punchiness
  • saturation: add warmth and character to the vocals to be reminiscent of analog techniques used in the 80’s
  • reverb / delay: use reverb to create a sense of space and depth around the vocals, especially plate / chamber reverb - incorporate delay effects to add movement or texture to the vocals experimenting with classic analog delay, set the delay time with the tempo of the song
  • De-esser: use a De-esser to tame any excessive sibilance or harshness in the vocals
  • parallel processing: implement parallel processing techniques to add richness or depth to the vocals
  • final touches: fine tune the settings in the vocal chain to achieve the desired balance and cohesion
176
Q

How do you produce top 40 pop vocals?

A
  • microphone selection / preamp: choose a microphone that captured the clarity, warmth and intimacy of the vocalists voice that projects a modern / high end sound - pair the microphone with a transparent preamp to capture the nuances and the dynamics of vocals accurately
  • EQ: use EQ to enhance the presence and clarity of vocals in the mix
  • compression: apply moderate to heavy compression to control the dynamic range of the vocals to achieve a consistent and upfront sound
  • saturation: introduce subtle saturation to add warmth or colouration to the vocals
  • reverb / delay: create the sense of depth around the vocals with reverb forming an expansive sound. Plate / Hall reverbs are popular choices for adding this desired depth and dimension - incorporate delay effects to add movement or excitement to the vocals. Use digital delay plug-ins with tempo sync capabilities to enhance the groove / energy in the vocals
  • De-esser: use a De-esser to tame any harsh sibilance in the vocals
  • parallel processing: implement parallel processing techniques to add depth and excitement to the vocals - blend processed signals with the vocal track to add certain characteristics as well as preserving their nature
177
Q

How do you produce EDM vocals?

A
  • microphone selection / preamp: choose microphone that captures the clarity and details of the vocab while also providing a modern and edgy sound - consider using a condenser microphone with a bright and airy sound. Pair the microphone with a preamp that adds colouration to the vocals enhancing their presence and impact in the mix
  • EQ: use EQ to enhance the presence and clarity of the vocals in the mix
  • compression: apply aggressive compression to apply the dynamic range of vocals and achieve a consistent and upfront sound that cuts through the mix. Add punch and energy to the mix with a low threshold and a high ration
  • saturation and distortion: introduce saturation and distortion to add grit, edge and character to the vocals enhancing their intensity and impact in the mix
  • pitch correction: use pitch correction software to correct any inaccuracies and to enhance the tuning of the vocals
  • reverb / delay: incorporate time based effects like reverb and delay to add depth, dimension and movement to the vocals creating a sense of space and atmosphere in the mix
  • creative processing: experiment with creative processing to transform the vocals and add unique textures and effects to the mix e.g. vocoders, pitch and formant shifting and glitch effects
  • stereo imaging: use stereo imaging to widen / specialize the vocals creating a sense of width and depth in the mix experimenting with different modulation techniques such as chorus
178
Q

How do you produce Hip-hop vocals?

A
  • microphone selection / preamp: choose a microphone that captures a unique tone / texture of the rappers voice while also providing clarity and presence in the mix - consider using a dynamic microphone to capture the intimate qualities of the vocal. Pair the microphone with a preamp that adds warmth, colouration to the vocals, enhancing their depth and impact in the mix
  • EQ: use EQ to enhance the clarity, presence and punch in the mix
  • compression: apply aggressive compression to achieve a powerful vocal that will cut through the mix. Use a fast acting compressor with a high ratio and a moderate threshold to add punch and impact into the performance
  • saturation: use saturation to add warmth, grit and character to the vocals enhancing their texture and attitude in the mix
  • delay / reverb: incorporate delay and reverb effects to add depth, dimension and atmosphere to the vocals creating a sense of space within the mix
  • ad-libs and vocal effects: incorporate ad-libs and vocals effects to add texture, energy and excitement to the vocals enhancing their impact and presence in the mix
179
Q

How do you produce singer-songwriter vocals?

A

Microphone selection / preamp: choose a microphone that captures the natural timber and suitable nuances of the artist voice emphasizing warmth, clarity and detail - consider using a large diaphragm condenser microphone with a neutral frequency response. Pair the microphone with a transparent pre-amp that adds clean gain and transparency to the vocals
- EQ: use EQ to enhance the natural tone and texture of the vocals emphasizing warmth and clarity while taming any unwanted frequencies or harshness
- compression: apply gentle compression to control the dynamics and smooth out the vocal performance adding consistency and cohesion to the mix without sacrificing the natural dynamics and expressiveness of the vocals
- saturation: introduce subtle saturation to add warmth, depth and character to the vocals enhancing their texture and presence in the mix without overpowering their natural tone and timbre of the artists voice
- delay / reverb: incorporate subtle delay / reverb effects to add depth, dimension and atmosphere to the vocals creating a sense of space and mood in the mix - choose a delay / reverb plugin with a natural and transparent sound
- harmonies / backing vocals: experiment with different harmonies and vocal arrangement to add depth and dimension to the vocal arrangement - creates a sense of harmony and unity creating a greater impact of musicality to the song

Music production (5 decks)

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