The voice is usually the most important element in music production. Therefore, the focus in the mix is to place the vocals present and prominent in the foreground of the mix. But how do you do that and which steps are necessary to make the vocals stand out against the instrumental?
Let us give you a few tips to help you get your next vocal mix right. If you’re interested in this topic and in mixing in general and want to take your own productions to the next level, check out the HOFA-College online courses in audio engineering.
Some roads do not lead to the destination
The question at hand is not a new one and has been bothering audio engineers for as long as they have been working with music. So it’s no surprise that there are many different approaches and techniques that work better or worse depending on the situation. At this point, we would like to make one thing clear: THERE IS NO ONE-SIZE-FITS-ALL SOLUTION. There are countless videos and articles promoting a particular plugin or signal chain as a universal remedy, but they usually fail to mention that the adjustments and tools may only work for that specific example and that the audio engineer in the video may have spent years developing this workflow.
So don’t just copy the plugins or settings from these videos; rather, take a step back and consider the purpose behind the processing. You’ll then realise that it’s not the plugin itself that’s responsible for the sound, but the way it’s used. This approach can often be applied to other plugins that may work better with your own workflow.
The individual parameters of the tools are not universally applicable either. Presets in particular tempt you to reuse them without thinking, even though the context requires a different approach. It is therefore important to identify problems in the mix each time and react accordingly. Presets can serve as a basis for orientation, but you should not simply copy them.
Having sorted that out, let’s take a closer look at the necessary steps to make the vocals stand out in the mix.
1. The essential importance of levelling
Every good mix is based on well-balanced and consistent levels. Only by creating a clear hierarchy between the different elements, the following necessary adjustments can be applied efficiently and effectively.
So, the first step is to set a suitable level for the vocals, which can then be used as a basis for decisions on the placement of the rhythmic and harmonic elements. If there are several vocal tracks, a clear hierarchy must be created here as well, in which the function of the different vocal tracks plays an important role. Depending on whether it is a harmony voice or a double track, you must determine the volume of these additional tracks in relation to the main voice. However, it is also clear that the lead vocal should always be placed at the forefront of the mix with the highest level.
To help you understand the following steps, we have prepared some audio examples for you. The vocal track is a cover of the Pink song ‘Who Knew’, sung by Jennifer Braun and recorded with a Brauner VM1 at the HOFA-Studios. These recordings are part of the HOFA-College online courses for audio engineering and music production as a mixing exercise.
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More Information2. Tools in the vocal mix
After balancing the levels in the rough mix, the vocals can be optimised using various mixing tools. The objective is to ensure that they meet the musical requirements and listening preferences, and that they can adequately play their leading role in the mix.
An equaliser is used to shape the sound and frequency response of the voice. Various filter types are used to reduce any overemphasised frequencies or to boost weak frequency ranges (usually broadband). High frequencies in particular are often boosted noticeably, as a brighter sound allows the vocals to stand out clearly even at lower levels.
Let’s listen to the audio example:
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More InformationHowever, boosting the high frequencies like this also comes at a price, as the high frequencies also contain sibilants. These are emphasised even more by compression and EQing, which can quickly make the sound sharp and technical. Since this is a temporary problem, a dynamic tool is also used for this purpose. A de-esser is the right tool for this and dynamically reduces the high frequencies to keep the S-sounds under control.
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More InformationAnother important factor is the voice’s natural dynamics, which must be controlled. Basically, this means balancing the loud and soft passages of the vocals so that there are no extreme volume fluctuations, which would either push the vocal into the background or make it stand out too much from the mix. This is where the compressor comes in, reducing the loud signal components and thus reducing the difference between loud and soft. You must find a balance between a constant and natural voice sound, as heavy compression can emphasise background noises such as breathing or mouth clicks. If you’re still unsure when it comes to compression, check out this blog post.
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More InformationAnother versatile tool that is frequently used for vocal mixing is saturation – it should be applied with care, though. By generating harmonics, you can shape the frequency response while also adjusting the dynamics – a useful addition that affects the sound of the vocals in a different way than using an equaliser or compressor. This type of processing is most effective when used subtly, as too much saturation can lead to a distorted and artificial vocal sound.
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More Information3. Spatial positioning of the vocals in the mix
We are used to hearing sounds in a spatial context. In modern music production, however, we often try to record vocals with as little room reflection as possible so that we don’t have to worry about negative side effects in post-production. The ambience is then added to the mix using reverb or delay, for example. As a rule, this is not so much about creating a clearly audible effect but rather giving the voice a more natural three-dimensional quality without making the spatial impression too obvious, which can make the voice sound indirect and unclear. While longer reverberation times are perceived as more natural, there are various approaches to using delay. Stereo or even ping-pong delays are often favoured in order to have an effect over a wider stereo panorama and, depending on the delay time, to add a rhythmic component.
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More InformationConclusion
To summarise: there is no shortcut to a good vocal mix. However, with some detailed levelling and the basic audio engineering tools, you are well equipped to place the vocals clearly in the foreground. Of course, there are situations where you will need to use advanced mixing techniques like multiband compression, sidechaining, etc. If you want to expand your audio engineering knowledge in this area, the HOFA audio engineering online courses will give you answers, practical examples and professional studio productions to improve your skills in vocal mixing. The online course HOFA AUDIO DIPLOMA in particular will prepare you perfectly for all challenges in music production.
