I get asked about vocal mixing a lot and rightfully so. We all want professional sounding vocals that sit perfectly in the mix and I believe there’s very little stopping you from achieving that goal.
Now, the first thing worth pointing out is that whatever source material you’re working with is going to affect the overall results you get. So, if you’ve recorded a vocal performance in a noisy space or you’ve digitally clipped it on the way in, it’s going to be a lot harder to get it to sound the way you want in the mix.
If you know you’ve recorded a nice clean vocal, then great! Now you can focus on blending it into the mix. If not, then don’t be afraid to re-record. It’s always easier and better to work with a well recorded vocal.
Microphone selection is less important. Don’t get me wrong… if you’ve got top quality microphones and they help you achieve the sound you’re looking for, then by all means use them. However, a lot can be done in the mix to create your desired vocal sound despite the microphone you use.
Yes, if you’re looking for a bright, sparkly sound, a Neumann U87 will help you get that straight off the bat. But if you only own one mic and it’s not a U87, well then you have to try and create that colour and tonality with your vocal mixing chain. It might take a little more time, but you can definitely get the results you want.
It’s worth pointing out that even the most expensive microphones will not sound their best in a bad sounding room. In fact, a large diaphragm condenser like a U87 will pick up a lot more of the room modes and odd resonances in a recording space. Those can exist in both recording studios and small rooms or closets in a home studio. While a recording studio should have better acoustic treatment in the booth or live room, some EQ is almost always required to clean up the presence of unnecessary resonant frequencies.
So, that leads me to the first tool that should be in your vocal mixing chain…
EQ
I can’t remember the last time I’ve mixed a vocal without an EQ plugin in the chain. Every vocalist and vocal performance is different but there are a few key areas you can focus on to maximise the vocal in the mix.
The low end
It’s always worth putting on a HPF or low cut at 80Hz.
Anything below that point is not produced by the human voice and is likely to be detrimental to the mix, so it’s better to cut it out.
You can adjust the frequency at which the filter takes effect to suit each vocalist and each mix. Sometimes you might want to cut at 100Hz and sometimes even higher if the vocalist has pushed a lot of air into the mic capsule and overloaded it.
There are also times when you might want to cut below 80Hz and then boost a little above that at 100Hz to add extra presence to the vocal. It all depends on the mix.
The low mids
If you’re going to find resonant, problematic frequencies in the midrange, they’ll most likely be between 250Hz and 700Hz.
Listening closely in this area will help you clean out any muddy or boxy frequencies.
I associate muddiness with excessive frequencies between 250Hz and 500Hz. Boxiness is more closely associated with the 500Hz to 1kHz range.
The high mids
My definition of high mids is anything from 2kHz to 6kHz.
Our ears have a strong reaction to these frequencies due to equal loudness contours (look it up!).
If everything is working well in this range, the vocal will feel present and clear. If there’s way too much going on in this range, it’ll sound harsh and sibilant. If there’s not enough, then your vocal is going to sound very distant.
The high end
In the 6kHz to 20kHz range, there’s not a whole lot of vocal energy but you will get a sense of air and brightness.
If there’s not enough, the vocal is going to sound dull, dark and distant. As with the high mids, if there’s too much going on in this range, the vocal will sound harsh and sibilant.
When you’ve got the frequency range of your vocal sounding nice and balanced, it’s time to move on to the next step…
Compression
It took me quite a long time to get my head around compression but once I started to develop a much better understanding of it, I noticed my vocal mixes improved a lot. Being able to tame an uneven performance and carefully play with the dynamics of a lead vocal really changed things for me.
Now, while a vocal performance will differ from song to song and artist to artist, I generally use a compressor that can provide fast attack and release times. I will rarely use a fast attack on a lead vocal but I will almost always use a fast release.
For the reasons I’ve outlined above, my favourite compressor to use on lead vocals is an 1176 of some sort. The settings will usually be close to the below.
- 4:1 ratio
- Medium Attack time (between 3 and 5)
- Fast Release time (between 5 and 7)
- Set Input for 3-6dB of gain reduction
- Set Output so that the level of the vocal is smooth and consistent
At this point, you should have a very smooth sounding, clear and present lead vocal.
Now, you might be wondering about de-essing, serial compression, vocal riding and other such tricks and techniques that might fit into the vocal mixing chain.
Well, they fit in wherever they’re applicable and wherever you want them to fit in. One EQ and one compressor is all you really need in your vocal mixing chain but you can add in other plugins as well.
Here are some variations you can play around with:
Vocal FX Chain 1 (Standard)
- EQ
- Compressor
Vocal FX Chain 2 (Extra De-Esser)
- EQ
- De-Esser
- Compressor
Vocal FX Chain 2 (Extra De-Esser, Serial Compression)
- EQ
- De-Esser
- Compressor 1 (Slow Attack, Slow Release)
- Compressor 2 (Medium Attack, Fast Release)
Vocal FX Chain 3 (Extra Vocal Rider, De-Esser, Serial Compression)
- Vocal Rider
- EQ
- De-Esser
- Compressor 1 (Slow Attack, Slow Release)
- Compressor 2 (Medium Attack, Fast Release)
Vocal FX Chain 4 (Extra Vocal Rider, De-Esser, Serial Compression, Post-Compression EQ)
- Vocal Rider
- EQ
- De-Esser
- Compressor 1 (Slow Attack, Slow Release)
- Compressor 2 (Medium Attack, Fast Release)
- Post-Compression EQ
As you can see from the sample chains above, the options are endless. But just because you can add in as many plugins as you want, doesn’t mean you should.
Outside of a single EQ and compressor, every other plugin in your vocal mixing chain must earn its place and be there for a specific purpose. Otherwise, you’re being a gear slut and just playing around with plugins.
With that said, I know that you’ll want to know what plugins I use in each of these chains, so I’ll show you what I would use for Vocal FX Chain 4 and you can strip it back from there.
Vocal FX Chain 4 (Extra Vocal Rider, De-Esser, Serial Compression, Post-Compression EQ)
- Vocal Rider: Waves Vocal Rider
- EQ: Fabfilter Pro Q
- De-Esser: Waves De-Esser
- Compressor 1 (Slow Attack, Slow Release): Waves CLA-2A
- Compressor 2 (Medium Attack, Fast Release): Waves CLA-76
- Post-Compression EQ: Avid Stock EQ
You obviously don’t need to use the same plugins that I do and most of this can be done with stock plugins. For example, you can simply swap out the Vocal Rider for fader automation and the Fabfilter EQ for any stock EQ.
No matter what chain you use, remember that none of your plugins should be doing too much of the heavy lifting. They’re all doing little bits of work to sculpt the vocal to sound better in the mix.
As with anything music-related, this shouldn’t feel like a chore. We make music for the love of it, so don’t overcomplicate things.
If you’re overthinking your vocal mixing, then strip it back and start with a single EQ and compressor. I guarantee you that it will get you at least 80% of the results you’re looking for.
The rest of your vocal mixing chain should be used to compliment your earlier decisions and make the vocal performance shine.
Two steps, two plugins and nicely balanced vocals. Easy!
Now, I’d love to know…
What’s in your vocal chain? Do you always use an EQ and a compressor?
Leave a comment below!
professional sounding mix every time...
“Yes, if you’re looking for a bright, sparkly sound, a Neumann U-87 will help you get that straight off the bat. But if you only own one mic and it’s not a U87, well then you have to try and create that colour and tonality with your vocal mixing chain. It might take a little more time, but you can definitely get the results you want.” With all due respect, and you might not have meant this; but you seem to be saying if you don’t use a U-87 you’re going to have problems. A U-87 may be an awesome mic; but how many can shell out the bucks for one? Not one of my many engineer and recording friends have one. On the other hand, there are are tons of lower priced mics these days that sound not just good, but great! I think it’s unfair to even mention a mic in this article if your going to basically tell people they need a certain mic to make they’re vocals sound good. I have been using an inexpensive mic from the start and the one thing that folks always say when they listen to my music is how good the vocals sound. My suggestion is buy what you can afford and learn the tonal capabilities of it, and with a good voc chain can sound just as good as any mic…A good voc going in is more important than the mic you choose. My opinion of course.
Thanks Doc. No, that’s not what I was saying at all. What I am saying is that a Neumann U87 will get you a brighter sound straight away, as that mic possesses that tonality and it’s my personal “go to” large diaphragm condenser.
That’s not to say you can’t get similar results with an inexpensive microphone. You can. But you might have to make some adjustments to your vocal chain to achieve the desired sound – something you’ve mentioned yourself.
There are a multitude of great microphones out there that do a great job.
I definitely agree with your end statement:
“My suggestion is buy what you can afford and learn the tonal capabilities of it, and with a good voc chain can sound just as good as any mic…A good voc going in is more important than the mic you choose.”
I hope that clears things up and you understand my points a little better.
Thanks for reading!
by the way, this IS a good article…I appreciate all your articles…Doc
Agreed: the possibilities are limitless. I nowadays often:
-Render the ready-to-mix vocal track with a bit (3db)of compression.
-Apply EQ
-Fader automate for small volume tweaks.
-Compress some more for inyourfaceness
-De-ess to taste
Give me all of that “inyourfaceness” Marcel!
Great article Seven, like allways. Yes, I use EQ and compression (stock plugins) alltimes on vocals. Allmust reverb/echo also, because I have to mix mostly homerecorded things, and than you need it for rooming. My mainmic for vocals is the NT1A, and I love it.
Thanks Gerd! Interesting that you mention reverb/delay as part of your chain. Do you view them as extra effects or an essential part of your vocal effects chain?
If you record in a good room or studeo, you have naturaly good ambiancesound included in the vocal. In homerecording the room is so crappy, you try to get the capture almust without the room. Therefor it can help to add a little bit in the channel.
Referencing is also a must. Listen to other great vocal recordings and compare yours side by side. Check for EQ, stereo width, volume, thickness and warmth, reverb amounts, delay, all the usual suspects. This always help to get the mix in the ballpark quicker
I definitely agree!
Late as usual, after reading this article (a damned good one I must say), just want to add (regardless the quality / price mics subject mentioned above) that every aspiring musician / mixing engineer / producer should copy / paste it and religiously keep it for furder reference. Yes. It`s areally nice guide on what to use to get the desired results without overcomplicate things.
By the way, I normaly stay by the first option (EQ + Compression) `cause (for what I`m doin`) its more than sufficient.
And Stephen, sorry for this constant delay on reading your articles / watching your latess videos, but… maybe I need Compression on MY own tasks to keep things “in the axis”. 😉
Greatings from Portugal!