I usually have 2 per session. One large hall and one small room or ambience. Usually the lead rap vox gets just a touch of the hall so you can barely hear it. Then various instruments get a touch of either.
I am curious if this is pretty typical for mixing hip hop. Originally Posted by Dopamine. My Studio. Well, I think halls CAN work when plates don't. Though I'd be more likely to reach for a plate first, too. With the RenVerb, I usually like to just dial in some early reflection instead of the full reverb, then maybe pull up the reverb just a touch to get it to sit right. Then, up a little more on bg's.
Just me TC M Use that on nearly everthing. Sounds good to me. Better than alll that bulls Plugin reverb thats sound like whatever Im not talin about Sony Oxford yo Tony Whats a reverb unit thats used on commerical records nowadays? What u think of that M one? Originally Posted by TonyBelmont. Originally Posted by youngkain. I also like the TC Reverbs! They can be configured really nice and often give a very good result! But Tony is right, there are lots of good reverbs!
After sending a vocal to the aux channel, process it with delay and other plugins to create a more musical echo. This way, whenever the main vocal is active in the mix, the delay is compressed and lower in volume, but as soon as a vocal cuts out, the echo from the delay creeps back in. In-and-outs—also known as dubs or stacks—are recorded after the lead is already laid down, when the artist adds a second vocal to certain parts of the verse.
These will add emphasis to punch lines and key phrases usually at the ends of each bar or help to bring clarity to syllables that may not have been fully pronounced the first time around. Because a rapper will be able to take breaths in between lines, they can really make sure that they nail the parts. The doubled lines can also help give the verse some sort of movement.
Instead of a single vocal track, which can be relatively stagnant in volume especially after compression , it adds a sort of back-and-forth dynamic. To give them their own character and space in the mix, you can compress these second vocals a little harder than the lead and pan them to add a chorus-type effect or stereo depth.
Ad-libs, or additional words thrown in between phrases of the verse, will be treated differently, depending on the rapper. A lot of trap artists I record prefer a lot of effects here, but a lot of old-school hip-hop artists don't like any effects at all.
But unless the artist specifies that they want the ad-libs dry, I typically put them in some sort of telephone filter created with a bandpass EQ—that is, strip away the lows and highs and isolate the upper-mids. One of my favorite things to do is to experiment with different effects on top of the telephone filter. Phasers, flangers, distortion, delays, and reverbs all create a unique sound to the ad-libs, and can put them even more in a specific frequency pocket.
I personally like the sound of a drastic reverb with a long tail, because it will give the ad-lib its own 3-dimensional space. This creates a cool overall effect—with the dryer lead vocal up front, quieter in-and-outs on the sides, and wet ad-libs in the back. Experiment and see what kind of new effect chains you can come up with.
It's important to remember that if there was a formula that worked every time on mixing rap vocals, everyone would be able to do it.
Truth is it really depends on how the vocals sound to begin with. If they sound great without anything on them, chances are you won't have to do as much. And if not, at least you now have a guide of how to fix them. Your purchases also help protect forests, including trees traditionally used to make instruments. We understand the importance of online privacy and are committed to complying with the EU General Data Protection Regulation.
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Tips on using reverb for rap vocals? My Studio. I usually wouldn't use any reverb on rap vocals. Check this 3 parts series, pretty detailed example of vocal production and processing, it might help you.
I like verb on hip hop vox. Strong early reflections can as you said ruin signal but a touch of it can really help to pull an inch MC back a bit. Top Mentioned Manufacturers. Facebook Twitter Reddit LinkedIn. The difficulty is tapping into that creativity and doing something interesting that serves the song.
Then comes the fun stuff like using certain effects to add interest to the track. Having multiple layers of the same vocal line means they usually need some time-alignment.
Usually the power in doubling or even tripling a vocal comes from having it as tight as possible. These days we can let technology do the dirty work. Once all three layers are time-aligned, you can pan the doubles left and right for a tight, wide vocal.
I tend to find the major points of interest in vocals to be between and Hz, and somewhere around 6k and beyond. Every voice is different and some demand more surgical attention depending on how they were recorded, etc.
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