#Musicproduction: Five Effects For Recording VocalsThe goal of this informative article would be to familiarize you with five of the very common vocal effects, how they work, and what they appear to be in action. If you're an artist, you'll definitely hear them when working in the studio. And if you've just started home recording, you'll, in the event that you haven't already, encounter them in your DAW.
The holy grail of vocal effects, reverb is utilized on most vocal tracks to create a sense of space. We don't usually consider it in the moment, but we hear reverb around people the time.
Reverb is “some many closely-spaced sound reflections that individuals hear as a continuous sound.” Put simply, reverb may be the sound of a space.
Reverb can be captured naturally while recording a vocal. It can be added in post-recording using DAW plug-ins that alter or enhance the qualities of a room. DIY bedroom vocals can be built to appear to be these were captured in a sizable church or stadium. We're so used to reverb that a vocal can sound pretty strange without it.
Boiled down to basics, compression is automatic volume control. It will help even out vocal recordings so they don't get lost in the mix or overpower other song elements. Most vocal recordings contain volume changes—an artist may start softly but belt out the chorus. With compression, you can minimize these peaks and dips.
For lead vocals, compression is employed to lessen loud transients that clip or annoy. This is performed by setting a threshold—all words which can be below the threshold will remain untouched, and everything above it is going to be slightly reduced for that moment.
Even when an artist is rather consistent through the recording process, producers often add compression to shrink the vocal mix.
A de-esser is a type of compression tuned to be sensitive to noisy, high-frequency vocal sounds called sibilance. The key culprits are Sss sounds, which can be where the de-esser gets its name, but the letters F, X, and T can introduce issues as well.
Words with accentuated sibilances scratch listeners'ears, especially when they use headphones. They are generally looked at as simply annoying, but also can cause distortion. In the event that you read “Sing a Song of Sixpence” out-loud you can get a good idea of how sibilances could be a problem when recording.
Microphones that capture a great deal high end are usually vulnerable to sibilance issues. Too much compression can cause these nasty whistling sounds too, so always place your de-esser before a converter in your effects chain.
In this new recording, there is a really harsh “S” at the beginning of the term “sleep.” Using RX 6 De-ess, the “S” sound could be attenuated. For the goal of demonstration, the result is more extreme than it will be. The target isn't to get rid of all sibilance, but to tame them for a more pleasant, controlled vocal.
So, add an instance of VocalSynth to the white noise and tune in to the brand new textures that are brought out. VocalSynth succeeds at enhancing high end frequencies so that they sound detailed and expressive. This works swimmingly with white noise.oticeable once compressed.
EQ (aka equalization) can be used to sculpt the frequency content of vocals, instruments, and effects so that they sound good together in a mix.
When referencing frequency content, producers and engineers use three main categories: lows, mids, and highs. In music, lows are sub and bass frequencies, and highs would be the harmonics that provide clarity and space to a mix. Vocals fall into the mid range and can spill to the highs. Male vocals are usually in the bottom end of this spectrum and female vocals are up top.
Most other instruments occupy the mid range too. EQ is a valuable tool since it enables you to cut frequencies that occupy the same space as vocals, lending to a feeling of balance in the last mix.
- Pitch correction
Pitch correction works by reading the pitch of an expressive and correcting the off-key notes. Over the last decade, it's end up being the go-to effect for vocal mixers, primarily in hip-hop and R&B, but also in pop and electronic music.
If an artist does a great take with one sour note, pitch correction can correct it, without the need for a re-do. But pitch correction isn't only a crutch for bungled vocals—it can be used as an original modulation and distortion effect. You can hear a range of pitch correction used in music by Bon Iver, Frank Ocean, and Post Malone.
Some genres like pop need pitch correction because pop is the largest music genre, so the competition is quite hard. Imho pitch correction should not used in some genres like blues. It may destroy the mood in the song.Also artists like Tom Waits shouldn't be pitch corrected.