Vocal Boost

I recently recorded a live album, and used my own mic's on stage. Recorded 7 separate tracks, threw them into Logic Pro and began mixing... A problem I ran into is that the two tracks that got 1.) a PA speaker, and 2.) the overall stage. On both tracks, the vocals are very muffled. I need to bring them up a tad, without sacrificing the rest of the stuff on it. I messed with the channel EQ a bit, messing with the mid's and high's, and I could only get the vocals up while making the rest of the mix sound like I recorded it on a cell phone. Are there any techniques used to fix this a bit, or do I just have to accept what I already have?

Andyryan wrote:
I recently recorded a live album, and used my own mic's on stage. Recorded 7 separate tracks, threw them into Logic Pro and began mixing... A problem I ran into is that the two tracks that got 1.) a PA speaker, and 2.) the overall stage. On both tracks, the vocals are very muffled. I need to bring them up a tad, without sacrificing the rest of the stuff on it. I messed with the channel EQ a bit, messing with the mid's and high's, and I could only get the vocals up while making the rest of the mix sound like I recorded it on a cell phone. Are there any techniques used to fix this a bit, or do I just have to accept what I already have?
Hi,
I am confused.
First you state that you recorded 7 separate tracks.
Then you state that you have 2 tracks.
How many tracks do you have to work with?
Do you have a separate vocal track?

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In iTunes, find the song or group of songs you wish to edit and right->click on them and choose "Get Info." You will be prompted to confirm that you want to multiple items at once. Go ahead and click Yes.
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Hi,
The following has worked for people experiencing similar problems:
"Hello everybody,
I have found a solution for my problem, I hope it can help you guys too. I found this following link to get my ipod open:
http://www.answerbag.com/q_view.php/30180
When I opened it I discovered that the connection to the little print (?) where you plug in your headphones was loose (it is a piece with both the headphone plug and the hold function). So I simply reconnected it, and voila, my ipod was fixed! Good luck!"
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Mine had worked it's way partly out. I pushed this plug back on securely and the headphones now work. Hope this helps. You can find the instructions for changing the battery by googling changing the battery on a mini IPOD."
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http://discussions.apple.com/thread.jspa?threadID=1087159&tstart=75
http://discussions.apple.com/thread.jspa?threadID=1071888&tstart=90
This seems to be a pretty common problem. Hope this helps!

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I have recordings of a couple songs a friend of mine performed live and was hoping there was a way to enhance the recordings using Garage Band or another software program. At the time I recorded the songs, I only had a tape recorder and was not able to sit very close to her as she was performing. So, the piano and vocals are both pretty soft and it's probably only because I know the words that I can decipher what my friend is singing. I tried setting the volume to max and the Equalizer to Vocal Boost in iTunes and that does help some. Any other ideas? Thanks!

There are specific frequencies that can be boosted or cut with an EQ in GB that may make the vocals or piano stick out, although if they are in the same range (similar frequencies) there's probably nothing that can be done, besides re-recording the performance with individual tracks for each instrument.

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Should I have my equalizer set on one particular setting? Do I have to optimize sound for each song based on its category, ie: piano, vocal booster, treble reducer, etc...??
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The Doors doesn't sound good

Some of you might be thinking Doors don't make sound or something like that. The Doors is an old band I listen to. They don't sound as good as the other downloaded music stuff I have like Black Rain. It's sort of hard to hear their voices... The Equalizer Vocal Booster doesn't sound good either. On Pandora Radio it sounds good.
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.m4a files are regular AAC format which is one of the formats you can use to rip your own CD's into iTunes. Any hardware that is compatible with unprotected AAC format can play that time of file. I'm not sure, but I don't think that AAC is compatible with WMP which is what I think you mean. WMA is another type of format that is PC compatible only. If you are talking about store purchases, there are 2 types of files, protected AAC format, .m4p, & purchased AAC format which is also a .m4a file. The purchased AAC is the new DRM free format that is available from EMI records in the store. Hope this helps.

ITunes Equalizer - Presets, Explaination of

@$#!@@!!!!
Is there a place that explains what each Equalizer setting does? All I could find in Apple (so-called) Support is a list with no explainations.
Specifically, I want to know what the "Loudness" Equalizer setting does. Adjusts loudness to what?

The name of the preset is to give some indication of what frequencies the sliders are set increase/decrease.
They could name the preset a, b, c, d or 1, 2, 3, 4 but that wouldn't do anything for the user. You'd have to memorize how they are set or try them all to get the sound you want.
"Loudness" is used on stereos when the volume is very low.
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Follow Up...Vocal Mixing Approach

I've been kicking around possibilities in a different thread with some very helpful people
http://discussions.apple.com/thread.jspa?threadID=2386425&tstart=0
Now, I'd like to implement what AT THIS POINT, I think may be my best way to approach the issue of getting my vocal mixes good.
First, I am going to go back to using my mic the way I had in previous recordings. That is, using the large windshield that came with my SM7, that helped with a lot of plosives etc. Also, I will apply the bass roll off and NOT the presence boost. Presence boost seemed to give too harsh highs. I can EQ later if need be. Flat will be easier to start with. As far as pre tracking, this is about all i can do, since I know my recording levels and all are good, and i don't have any other equipment besides the SM7 and the DUET.
Next, I would like to know y'alls take on "NORMALIZE". I usually have not ever normalized my vocal tracks. The last one I had issues with a lot, I actually DID normalize, So, perhaps I WON'T in the future. I'm gonna open up a meter for monitoring. Prolly the Multimeter. I'm going to go in and for the sake of time, only do some manual edits to the volume envelope for the REAL bad guys, those that stand out clearly in my ears. Maybe do a quick check for anything that is REAL quiet too, boost that a little manually. Problem is I don't know how much to boost or lower. Can I see with the meter what the overall average db is, and see if I have a loud part that hits, say -6db and the average is around -12db, so I'd just lower that part by 6db?? and vice versa for quieter parts.
Now, the fader is controlled by the volume envelope so if I do automation I will lose control of the fader for my levels, so should I insert GAIN plug or just use an output gain on one of the inserts I'm gonna use anyways. Either way, at this point I will set the relative levels. Just a quick setting to start off with.
Now I believe I can apply this plugin
http://sounds.wa.com/audiounits.html
Thanks Ericksimon!!
Looks like a nice tool, similar to what I was looking for but not too cumbersome. I have not gotten a chance to try it out or see how to use it properly.
So at this point, I think I should have a really steady volume level going on.
Now I am not sure about the whole compression thing. I have come across several options. First though, do I want to do any EQing at this point??? before I add compression or after?? There are two points I would want to use EQ, one is to tame any out of control frequencies and 2 would be to shape the overall tone of the vocal. I suppose I could EQ for any bad frequencies first, then do compression and whatnot, then EQ at the end to slightly shape the sound if need be.
Anyways, compression. The Multipressor worries me a bit. I've used it with nice results on instruments and sampled audio, but not on vocals. Also, the downward expansion looks cool. I don't usually have any problem with too much noise, but I guess that's a problem i just never knew I had!!! I just try to track with as little gain as possible while still achieving a usable recording level. Then I get increase the gain later without having a lot of noise on the recorded track. Also, the multipressor would address my Highs in my voice jumping out at times. If I could just compress the Highs and not so much the lower frequencies. That might give me better results than JUST compression the whole spectrum equally.
The OTHER option, maybe, would be to use the DeEsser. I can compress a specific frequency range, but I don't think it has multiple bands. So, I couldn't really get any compression going on for the other bands. But I was thinking about the DeEsser in tandom with a Noise Gate instead of the Mulitpressor. This may be a little easier, but I think I might want to have a full spectrum compression, but be able to compress certain "trouble" frequencies more or less.
So I think I should be done at this point as far as levels and all that go, perhaps if I was to use EQ to color my track a bit, but that is gonna fall in with applying REverb and Delay or whatever else I want to add flavor. WHICH IS A WHOLE nother thread. After mixing about 13 tracks in logic now, I still can't find a setting that I'm comfortable with for my voice. Every recording seems different so every time i have to do something quite different. And every time i feel like it's the first time!!!
Anyways, how does my approach at this point look??
Holy crap,.....I didn't realize I had written that much. My god, If anyone replies you are truly a saint.

Bee Jay wrote:
Next, I would like to know y'alls take on "NORMALIZE".
Never do it. Absolutely pointless.
I think if it doesn't hurt anything I WILL because I think it helps me when doing manual edits so that I have a point of reference that is somewhat consistent throughout multiple audio regions
Now, the fader is controlled by the volume envelope so if I do automation I will lose control of the fader for my levels,
This is a good point - in general, send the output of a channel to a bus/aux channel. You can now automate one, and use the fader on the other to offset the levels - doesn't really matter which, although I prefer to automate the channel fader to smooth out the signal before hitting the aux wher the compressor is.
I am not real familiar with aux channels, I've tried using them but didn't understand the send amounts and how it was affecting the signal. If I put the send amount at 100 does 100% of the signal get passed to the fader then. So in your example, I would definitiely want to set at 100. As of now I simply used the gain control on the compressor or whatever plugin was last in the chain, I think that should not be any different in the sound....
The Multipressor worries me a bit. I've used it with nice results on instruments and sampled audio, but not on vocals
I wouldn't use it unless there is a definite reason to use it. At this point, you don't sound sure why you are using, and thus are unlikely to use it effectively. So don't over-complicate and use something simpler - there are plenty of good sounding compressors around, if you don't like Logic's.
well what I did is looked at the problem frequencies that I had corrective EQ'd and made that one band,,,,from say 700-1200, then made the other two bands as 0-700 and 1200-18000 or whatever. I didn't touch the low band, but I applied compression slightly different for each one of the other bands. I think it turned out much better than I expected, but I really don't know that I needed much compression anyways......the manual automation, rider plug and EQing had the signal going to the compressor pretty good already. It's amazing how much better a compressor sounds when the signal coming in isn't pure garbage!!!
I just try to track with as little gain as possible while still achieving a usable recording level.
What levels do you record at?
I believe the settings on my Duet are at about 56-58 usually when I record. This puts the input signal usually bouncing around between -24 to -12 db. I heard that was a good range and leaves lots of headroom. I use Ind. Monitoring level to crank it up so I can record at this level, otherwise it's too quiet to hear over the beat. I like to perform with lots of volume. These settings seem to work well, and NO i don't have a noise problem. Actually after alll the compression and everything was said and done. The "silent" parts between phrases or words were actually pretty much dead silent. So that seems to tell me my gainstaging is correct?
Also, the multipressor would address my Highs in my voice jumping out at times. If I could just compress the Highs and not so much the lower frequencies. That might give me better results than JUST compression the whole spectrum equally.
Maybe, but I still think it's overcomplicating things, although it's hard to say without knowing the recordings. if you have particular sections which are harsh, the common technique employed by the big guys is to split the vocal ("mult") into multiple channels for the appropriate parts, so you can EQ and treat the parts separately. Some producers will even go so far as to automate or mult individual syllables in a vocal phrase, although that is extreme.
yeah, haha, It already took something like 4 hours last night to do what I did. I broke down and manually automated nearly every phrase/syllable in the song!!! Boy, that was work. But, the results were quite apparent. Even taming the out of control stuff, it gave life to the stuff that used to get kind of lost in the mix. I been reading the manual to get some easier shortcuts and stuff for editing automation, so that should cut some time a bit. Also, I'm not gonna be recording much more backing tracks I don't think. If I do, I will probably just copy the automation from the first "Lead" track to the backing track. I have gotten a little more comfortable using reverb to help fatten up my vocals.
So I used manual automation edits. Rider Plugin. Corrective EQing. Multipressor. "Color" Eqing. And Finally SilverVerb.
Sounded much better than before. And really I only spent about an hour or 2 more than what I had originally spent battling with plugins that couldn't correct a bad input. So good in good out and you know the rest. And like I said. I accidentally erased most of the automation I did, then saved then quit. Didn't realize I did that. Oh well. I'm learning

Problem with Vocals PLEASE READ

okay so im using logic with my g5 all the mics are going straight into a presonus firepod, i recently just bought the antares avox vocal bundle the effects are great but im now looking through what othe audio units logic it self has because i cannot seem to get the recorded main vocals to sound warm and placed well, the vocals just seem to stand out no matter how loud or how low i make them, so please if anyone has any idea how to get the vocals to sound warmer are more "a peice of the song" please tell me what i can download buy or do with what i have.
thanks
johnpaul
Dual 2.7GHz PowerPC G5 Mac OS X (10.3.9) logic and eating souls

As far as getting the vocals "warmer", there are about 50 things you could do. Software EQ, compressor, tube sim, or hardware EQ, compression or tube, even the proximity effect on certain mics has a real warm character. The list goes on. My one general tip if you go the software route is if you are EQing, be subtle (dont boost and cut it like crazy) and use wide bandwidth to keep it natural.
Placement is a different story. This is where how you recorded it really comes into play. If your vocalist was way up close to the mic, the resulting vocal will sound too "forward" in the mix and sound out of place with the rest of (a common problem I describe as the vocals being "bluescreened" onto the music) . To fix this mess around with VERY subtle, short delays (20-100ms). It will give the illusion of depth and space, which is what you want if its all dry and close. Most vocals rarely ever go without at least a little delay treatment to "sit" them in the mix. You can also use Space Designer for this kind of thing. I have a few settings that literally just place the vocals for me. On the flipside, if you recorded too far back, you'll have a distant vocal that sounds like its in a different space. The best you can do here is try to EQ it, but I would say you are just polishing a turd at that point, so just rerecord if possible. Once again, the biggest thing is mic placement.
G5 dual 2.0 Mac OS X (10.4.3)

Tips for Analyzing a Vocal Audio Problem?

I am having the most incredible bad luck with an audio quality issue that is, 99% of the time, VERY easy to deal with in AA. I have a female lead vocal track recorded last year that sounds, just on the louder notes, like it has a brittle, high-frequency rattle (for lack of more specific terms). It isn't likely to be distortion, since I carefully tracked any clipping issues at every stage (though I certainly am not the world's expert on distortion/harmonics).
I thought it would be a 30-second treatment with the EQ...find the offending frequencies and lower them. But I can't seem to find them! I have swept a sample of the file through what seems like hundreds of frequencies in the AA parametric EQ, and tried all the filter tools I could find.
Can anyone suggest a better way in AA3 to analyze this file?
I'm not necessarily looking for how to fix this particular problem, since my description of "brittle, high-frequency rattle" is really fuzzy. I'm just hoping there's some tool in AA3 that I have missed or zoned on.
Thanks!
Ken

>I thought it would be a 30-second treatment with the EQ...find the offending frequencies and lower them. But I can't seem to find them! I have swept a sample of the file through what seems like hundreds of frequencies in the AA parametric EQ, and tried all the filter tools I could find.
>Can anyone suggest a better way in AA3 to analyze this file?
In practice there's only one reliable way to do this - and it involves the parametric EQ. You select one band only, and a relatively high Q value; at least 15-20 usually. You then set this band to about 20dB
boost, and sweep it up and down over the offending material. When you find one of the trouble spots, it's going to shriek out at you. But at least then you will know which frequency to cut, and with a bit of experimentation, you should be able to come up with suitable settings. It's always worth experimenting with the Q values when you do the cut as well - you want the lowest value and shallowest cut you can get away with - but if you can manage to pinpoint just one offending frequency, you may well get away with less cut and more Q - you have to experiment.
It's very rare that any other method of analysis is good enough to do what's required - spectral response graphs often don't have the resolution, and if you set the FFT size high enough, then they can't operate in real time - or quickly enough at all, in fact. So the EQ 'boost' method remains favourite...

How to add fullness to vocals

im having trouble adding fullness to my vocals, and need to learn how to do this in audition. what im talking about is the vocals sound really "airy" like spaced out. not upfront and thick. ive tried eqing and compression but im not really that good at it yet. ill list a link to the song so you have an idea what im talking about. im looking for a more upfront full sounding vocal. not the background aired out type. i need sum suggestiovns on what to adjust like how to compress it, or ideas on where it could be eq'ed ect....so far ive only been able to get it so that the vocal volume itself is louder..but it still sounds aired out. ive also tried stacking the tracks....like having 3 of the same vocal and panning to the left and right of 2...but it only increases the volume...and stills sounds aired out.
www.soundclick.com/stevestals
thats a link to my soundlcick page. the song im talkin about is the one marked preview
im using a MXL genesis tube mic, with a presonus audiobox interface and a sony vaio laptop.
im not to concerned about the quality bcuz the room is treated, and i also have the mic enclosed in a homemade soundproof box.
any suggest would help, please thoroughly explain tho, i also have waves diamond bundle if anyone is familiar with it and has any plugins you know that might help

Well, I should start by saying that Hiphop isn't a musical style I often deal with so perhaps I'm the wrong person to comment, but a few ideas for you.
First off, I wonder if your "homemade soundproof box" might be part of the problem. Enclosing a mic in a box (or even partially enclosing it) actually makes voices sound (believe it or not) boxy--and that's something I hear in your recording. Don't be mislead by things like the SE Reflexion filter and assume that you can surround the back of your mic any old way--things like that have to be carefully designed to leave enough "air" in the system.
Second, EQ might help you a bit. A subtle amount of boost in the 200-300 Hz range should accentuate the fundamental frequencies of your voice and make you sound a bit more "chesty" and the recording a bit warmer. The trouble is, this same boost might well make the boxiness I mentioned worse--another reason to consider not using the box. Another bit of subtle boost in the 3-4k range should help your consonants and make you sound a bit closer to the mic.
I'm not sure you need any more compression.
Anyhow, hope this helps or at least gives you some ideas.

Why can't I remove vocals?

If I open itunes, right-click a song, get info, options, equalizer preset, I am able to select an option to boost the vocals of a specific track. However I cannot reduce the vocals, why not?! And why can't I remove the vocals completely? I want more options Apple!

This may fix it. Open Terminal in Utilities and Copy/Paste -- don't attempt to type this in. This will set the correct Permissions on your Home Folder. (Disk Utility Permissions Repair won't touch these.)
sudo chown -R `id -un`:`id -gn` ~
Then hit return.
If you've never used the sudo command before, you will get a warning and then be prompted to enter your admin password, which you won't see on the screen as you type it in.
Wait until you get a new $ sign prompt and then close the window.

Level to record vocals at?

Hey guys, so I'm running a cheap dynamic microphone into an M-Audio Fast Track Pro. I'm recording my singer currently, and I wanna use the compressor in gb, bare with me, I'm not very experienced with how to use it with vocals. Basically, I don't want the signal to clip but for garageband to pick up his signal I've had to turn his track volume up all the way as well as bringing the compressor's gain level up pretty high, thus clipping the signal. In addition, when I have the gain and volume level at good level where it's not clipping the signal, I can't hear him in the monitors/he can't hear himself singing in his headphones. Can anyone point me in the right direction? Sorry if this was super unorganized and all, I did my best to describe the situation haha

The important thing about GB's built-in compressor is that, like all effects, it is applied non-destructively after recording the track. So while a compressor that you use in your signal chain before the computer can help you boost the silent passages of the recording while avoiding clipping, GB's compressor doesn't change the original signal at al. So you might just record dry without any effects and set the level so that it is in the red but doesn't clip, and apply the compressor and/or other effects later - as I said, it's all non-destructive, so you can change the effects any time.
If your singer's signal varies so much, it might be a result of bad microphone technique - in a song with a high dynamic range, you just can't sing all the passages at the same distance from the microphone, you'll have to get closer for the soft passages and back away for the screaming parts. If the singer applies this "human compression" technique, he/she makes it a lot easier to mix the vocals later without having to kill it with compression.

Recording vocals for so-so singers

I'm trying to write R&B music myself, but will have to rely on singing on my own tracks until I find myself a "real" singer. My voice isn't terrible and I am certainly not tone deaf, but the workpace I have requires that I don't spend all day trying to get vocals perfect. I'd much rather work on the song. That said, what do you guys think the best way is to record vocals fo a so-so singer, so that it sounds decent on playback? What effects to use while recording and post-recording? Throw on some compression and reverb while recording and then compress, EQ and more reverb after? Ultiamtely I will have to record harmonies, so I just want things to sound thick anyway. Any help is appreciated, thanks!

Hey,
First off, everyone and their next door neighbour wants to be a singer - try your local (music) colleges, the internet (there will be someone in your area, trust me), local talent nights (I know these happen, for example, in London), local press, music shops, your friends, your friends sister, your friends sister's friends... you'll be surprised what you can get.
I had a singer come down Spring 04, and I knew nothing about compression. Did a few mixes, vocals sounded a bit thin, a bit uncontrolled - when compared to anyone elses vocals sounded RUBBISH : 0 ( . I spend some time playing with stuff, thinking about stuff and reading some stuff. I take a look at the session a year later, and with
- Hi pass filter (as a standard on every track except bass and kick drum) to filter any hums or stray frequencies
- Space Designer (Vocal Reverbs>Extra Body)
- Silver compressor to get body and to rein in the loudest parts
- Touch of Multiband compression to catch certain frequency bands and compress them ("in your face" presence)
- touch of delay to add to 3D presence if needed (choruses/ad libs etc)
- Pinch of eq (they say the human voice benefits from boosts around 4k - try playing subtly with eq around this area
- Space designer (Vocal Reverbs>Golden) - adjust wetness to taste
I get pretty close to a nice sounding vocal... and I used a pretty (less than £50) cheap microphone - to be honest the difference is in the "last 5%" of the sound - if you play a track to your mum or your sister or 10,000 ravers in a field they won't stop dancing and go "man that mic sounds cheap" (guess my point is not to worry so much about it - if you do get something signed, you can always re-record it - whilst wanting your stuff to sound as good as it can, very few record labels (IMHO) listen to records with a "frequency" ear on). Obviously if your song has an "acccapella" section then people may notice the difference. Experiment with a cheap mic and maybe rent/borrow a good one for the final mix would be my advice....
I'd record them all dry (no need to affect signal chain when recording, if you apply effects post recording the effect will be the same) and then cut 'em up, pick the best bits and try variations of the above, try chorus effects, odd eqs, hi pass filters, even things like reverse reverb...
Harmonies - most important thing is being in tune and in exact time. Make a few different ones and play around with them, cut them up, compress them more than any others to get that tight "backing vocal" that's so warm and sits perfectly with your lead vocal.
My best advice would be to search the net for tips on making "professional sounding vocal", read and re-read the articles and experiment from there. I know a few producers who think they have a grasp on compression but don't really understand it... read and re-read until you get it!
Good luck with 'em!
Best,
Mickey.

Vocal Boost

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