In the world of live audio mixing, the way you approach vocal mixing can make or break the final sound of your mix. In this blog, we’ll dive into the process of setting up a vocal chain using simple tools that are available on any digital mixing console as well as some more advanced software tools from Waves to achieve a polished and professional sound. If you’re ready for your church’s vocals to sound amazing… let’s get started!
Introduction to Vocal Mixing
Great vocals are the secret ingredient that can move a song from good to unforgettable. When it’s done right, it creates a space where the vocalist shines, and the song starts to come to life. But vocal mixing isn’t just about throwing a few effects on your mic; it’s about understanding the tools at your disposal and how to use them effectively.
From EQ to compression and effects, each element plays a crucial role in shaping the final sound. Whether you’re working in a small church or a giant auditorium, mastering these techniques can transform your vocal mixes and bring your chuch’s mix to life.
Understanding Channel Strips and Their Functions
Your mixer’s channel strip has all the fundamental tools you need to get a great sounding vocal. While not as robust of a toolset compared to something like Waves (we’ll get to that later) you can still get an amazing sounding vocal mix with just the built-in tools on your console’s channel strip. Let’s break down the key components of a typical channel strip:
- Input Gain: This controls the initial level of the signal entering the channel, ensuring you have a strong yet clean input.
- Filters: High-pass and low-pass filters are essential for eliminating unwanted frequencies, helping to clean up the vocal signal before further processing.
- EQ: Equalization allows you to boost or cut specific frequency ranges, helping the vocal sound clean without becoming harsh or muddy.
- Compression: This controls the dynamic range of the vocal, making quiet parts louder and loud parts quieter for a more even and balanced sound.
- Effects Sends: These allow you to route the signal to external effects like reverb and delay, adding depth and space to the vocal.
Setting Up EQ for Natural Vocal Sound
EQ is vital for crafting a natural vocal sound. When dialing in your EQ, keep these tips in mind:
- High-Pass Filter: Start by applying a high-pass filter to remove unnecessary low frequencies that can muddy the mix. Generally, setting this filter around 100-200 Hz works well.
- Midrange Cuts: Identify any problematic frequencies in the midrange, often between 200 Hz to 800 Hz. A gentle cut can help clear up the vocal and make it more present and reduce the “muddiness” that happens in the low midrange
- Enhancing Presence: Boosting frequencies around 3 kHz to 5 kHz can enhance the clarity and presence of the vocal, making it stand out in the mix. BUT… be careful because this can also be a source of harsh frequencies for many vocalists.
- Eliminating Harsh/Piercing frequencies: Check around 3khz to 4khz for any harsh or piercing resonances. Particurally on female vocals, there are often concentrations of sound that can build up across multiple vocalists/mics. If you cut out those resonances in each mic, it’ll help keep everything under control as you build you vocal mix.
The Importance of Compression in Vocal Mixing
Compression is one of the most powerful tools in vocal mixing. It helps to smooth out the dynamics of a vocal performance, bringing clarity and consistency. When using compression, here are a few things to think about:
- Ratio: The ratio determines how much the compressor will reduce the volume of the signal once it exceeds a certain threshold. A higher ratio means more compression, which can be useful for controlling dynamic performances. I generally start at a 4:1 ration, which will work great with most vocalists. I like to think about ratio as the “intensity” of the compressor. A low ration like 2:1 will be pretty subtle, while 6:1 or 8:1 will sound more obvious and “intnse”.
- Attack and Release: Setting the attack time determines how quickly the compressor acts after the signal exceeds the threshold. A fast attack can help catch transients, like a vocalist who has loud or agressive consonant sounds (like P’s or B’s hard consonants like K’s “ch” sounds) or while a slower attack allows some of the natural dynamics to come through and can provide more gentle “leveling” of the vocal. Release time controls how quickly the compressor stops working once the signal falls below the threshold.
- Makeup Gain: After compressing, the overall level of the vocal may drop. Makeup gain is used to bring the level back up, ensuring your vocal sits at the right volume in the mix.
Utilizing Waves Plugins for Enhanced Control
Waves plugins are a staple in many live mixing enviorments, offering a range of tools for vocal mixing. Here are a few of my favorites:
- CLA Classic Compressors: The CLA series plugins are modern classics for a reason. They sound great, and have some nice analog-style saturation. The CLA-76 and CLA-2A are two of my favorite vocal compressors.
- Renaissance Vox: This plugin is designed specifically for vocal processing, providing smooth compression and have an almost magical ability to bring a voice “forward” in the mix and make a worship leader’s voice sound full and present.
- Renaissance De-Esser: A de-esser is crucial for controlling sibilance, helping to soften harsh ‘s’ sounds that can be distracting in a vocal mix.
- F6 Dynamic EQ: More on this in a second, but this is one of my favorite tools for adding an extra layer of control to vocals.
CLA Series Compressors
The CLA series compressors are some of the most popular tools for live vocal mixing. They offer more “character” than a typical on-board console compressor, and are super easy to use. These plugins are modeled on classic pieces of studio gear. While we can debate how close they are to the real thing, they undeniably add a certain character and presence that’s difficult to get from other processors. Here are a few things I like about each plugin in this bundle:
- CLA-76: This is my go-to compressor for vocals. It’s VERY fast… which is usually what I’m looking for in a vocal compressor. Start at a 4:1 ration with about 5dB of gain reduction at loud parts and you’ll be at a great starting point.
- CLA-2A: This compressor is “slower” than the CLA-76 but it’s perfect for subtle vocal leveling. I aim for just a couple dB of gain reduction with this compressor.
- CLA-3A: This compressor is amazing for instruments (guitars and pianos in particular) but it can work great on vocals too. It does a great job of bring a vocal “forward” in the mix.
The Role of the De-Esser in Vocal Processing
A de-esser is an essential tool in vocal mixing, specifically designed to reduce sibilance (“ess” sounds). Here’s my strategy for using a de-esser:
- Frequency Selection: Focus on the frequency range where sibilance occurs, typically between 5 kHz to 8 kHz. Adjust the frequency control to find the sweet spot for the specific vocal.
- Threshold Settings: Set the threshold just above the level of the sibilant sounds. This ensures that only the harsh ‘s’ sounds are affected without dulling the overall vocal. If you set the threshold too low, your vocalist may start to sound like the have a lisp.
- Amount of Reduction: Be subtle with the amount of reduction. A little goes a long way in maintaining the natural brightness of the vocal while keeping it smooth. I aim for around 5dB of reduction on a loud “ess” sound.
Extra Control with the Waves F6 Plugin
The F6 plugin is a powerful tool if you want to take your vocal mixing to the next level. It allows for “dynamic equalization”, which means you can reduce (or boost) specific frequencies based on the input level of the signal. This is particularly useful for vocals, where certain frequencies may need to be tamed during louder passages while remaining unchanged during softer ones.
When using the F6, start by identifying the key frequency ranges that require attention. Use the built real-time analyzer (RTA) feature to visualize how different frequency bands respond to the vocal performance. You’ll pretty quickly notice where frequencies build up and you can move your bands to address those particular areas.
Another advantage of the F6 is its ability to create multiple bands of dynamic EQ. This means you can target specific problem areas without compromising the overall sound. For instance, if a vocalist tends to get harsh in the 4 kHz range, you can set a dynamic cut that activates only when that frequency peaks, eliminating harshness without sacrificing the tone of your vocal.
Using Effects into Vocal Mixing
Effects play an essential role in vocal mixing, adding depth and character to the performance. Reverb, delay, and modulation effects can transform a dry vocal into a lush soundscape. However, it’s crucial to integrate these effects intentionally and not overdo it with tons of effects.
- Reverb: Use reverb to create a sense of space. A short, subtle reverb can add warmth without overwhelming the vocal, while longer reverbs can enhance emotional moments in the song. I like to use two reverbs on a vocal (one short and one longer) and blend them depending on what the song calls for.
- Delay: Delay can add depth and interest. Consider using a simple slap delay to create a thicker sound or a more complex delay to fill out the mix during specific sections. With delay, less is always more. I try to never let a delay be heard too much. It should be “felt” more than actually heard.
- Modulation Effects: Doubling or ADT effects can add richness to vocals. Be careful of the amount you use; too much modulation can make the vocal sound artificial.
Adjusting for Vocal Characteristics and Techniques
Every vocalist brings unique characteristics to the table. It’s critical to adjust your mixing approach based on these what the song needs and what the vocalist sounds like. For example, some singers have a naturally bright voice, while others may have a darker timbre. There’s not a “one size fits all” solution when it comes to getting a great vocal sound.
Pay attention to the singer’s technique as well. If they tend to sing softly, you might need to apply more compression to maintain a consistent level. Conversely, if they are powerful singers, you may want to be more conservative with your compression settings to keep their voice from sounding “squashed” or flat.
Also, consider the genre of music. A CCM style song might call for a vocal with more presence and brightness, while a softer worship song might need a more natural, balanced sound. Tailor your EQ, compression, and effects accordingly to suit the style.
Balancing Gain Staging for Perfect Output
Maintaining proper gain staging throughout your vocal chain is crucial for achieving a clean and professional sound. Each component in the chain contributes to the overall level, and if not managed carefully, you can encounter issues like distortion, noise, or even feedback.
- Input Gain: Start with the input gain on your channel strip. Ensure it’s set at a level that captures the vocal clearly without clipping.
- Compression and EQ Levels: As you apply compression and EQ, keep an eye on the output level. Use makeup gain to ensure the vocal sits well in the mix while avoiding excessive peaks.
- Effects Sends: When sending the vocal to effects like reverb and delay, adjust the send levels to avoid overwhelming the original signal.
Using Vocal Tuning Effectively in Vocal Mixing
Vocal tuning (like Waves Tune) can be a game changer for your mix, but it’s important to use it thoughtfully. We want vocal tuning to subtly correct issues… not turn our vocalists into T-Pain.
I like to set Waves Tune where I can’t actually hear it. I know it’s working, but it’s so subtle that it’s not noticable at all. We don’t want tuning to be distracting. It’s there to support the vocalist, not alter their performance.
Always listen critically when applying any vocal tuning. Sometimes, a slight adjustment is all you need to achieve a polished sound. Remember, the goal is to enhance the vocal, not to mask the singer’s talent or natural voice.
Vocal Mixing Best Practices
Mixing vocals is a nuanced process that requires a blend of technical skills and artistic vision. By understanding each component of your vocal chain and using tools like the EQ, compression, effects, and (potentially) advanced processing like Waves, you can craft a sound that enhances the vocalist’s performance and works WITH them to make their vocal sound great. The goal isn’t make their voice sound like something it’s not, it’s to provide the BEST possible representation of their natural voice.
Here are some best practices to keep in mind when you’re mixing at church this Sunday:
- Start with a Solid Foundation: Ensure your input is clean and well-balanced before diving into mixing. Make sure the vocalist is holding the mic up to their mouth and not cupping the mic. A lot of issues can be solved simply by changing the way the vocalist approaches the mic.
- Be Subtle: When applying effects and processing, less is often more. Aim for a polished sound without overdoing it.
- Trust Your Ears: Always rely on your ears when mixing. Visual aids like meters and analyzers are helpful, but the final decision should be based on what sounds best. There’s only one rule in mixing: if it sounds good, it is good.
As you continue to refine your live mixing skills, remember that each vocal is unique. Embrace the creative process, and don’t be afraid to experiment. Happy mixing!