Sample rate, and the myth of accuracy (35 comments)Popular Tags arrangement bass-guitar business collaboration compression diy drums EQ freeplugins guitars hearing home-studio hometracked humour interviews kickdrum mastering microphones miking mix-tutorials mixing monitors music-business myths newsdigest performance pictures plugins predictions production professional-engineers promotion psychoacoustics radio reference-cd reverb snare-drum songfight stereo studios tips-digest tracking video vocals vstVocal recording and effects chains include, depending on the performance, a de-esser, a noise gate, an equalizer, and a compressor. All Linkin Park songs look the same (231 comments) 10 Myths About Normalization (78 comments) Improve Your Recordings and Mixes, on the Cheap (82 comments) Using Delays for 3D Sound Placement (20 comments) It has built in high and low pass filtering that you can set to linear or.
The main causes of the dark sound are the SM58’s frequency response, and the proximity effect – I sang with the mic almost touching my lips. My inhalation sounds add urgency here, and I didn’t want to cut them out completely.I used the equalizer primarily to address the dullness I mentioned. But in this sample, it doesn’t have much work to do. But each effect here is appropriate, given the issues identified above.The de-esser (Spitfish) is tuned to roughly 7Khz, at a medium depth, just enough to soften the worst of the sibilants.In the quieter parts of this song, the noise gate action is pronounced, gating out my breathing. However, a track this dry often sounds unnatural or harsh when mixed with other instruments, especially when those instruments (like the drum kit in On My Feet Again) have an open, ambient sound.To address these issues, I choose a straightforward approach:De-ess -> Gate -> EQ -> Compression -> Tape saturation -> ReverbOf course, this chain isn’t suitable for treating all vocal tracks. It’s dry: This is by design, as I wanted to keep my room sound out of the recording.
I find it more convenient to adjust the reverb level without having to open the plugin interface. I placed this plugin on a bus (or “effect send” in some DAWs,) instead of directly on the vocal track, mostly out of habit. That’s fairly aggressive compression for a vocal track, but I think the “squashed” sound really suits the song.Finally, the reverb.
I read somewhere on a forum that they also charge about £30 to raise a customer service query! Be warned and only buy their stuff after you’ve given them a thorough trial.One plugin from the Waves bundles that did catch my attention though is ‘CLA Vocals’, an all in one VST that has adjustments for bass gain & bass colour, treble gain & treble colour, compression & compression colour, a very nice reverb & reverb colour, a delay and delay colour, and pitch modulation and pitch modulation colour. Because Waves plugin bundles cost between $500 to $6000 people assume they must be the dog’s bollocks, I did, but when I managed to try them I was truly appalled at the quality of most of the components, an outright rip-off for the price. I’ve tried all their plugins, and while some may be okay, most are only good for Dr Who alien sound effects.
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