OMG! Man! I'm so glad I saw that! I'm actually an arranger. But last week I had to mix vocals with a lot of harshness. I didn't learn that anywhere. Even though I went by feel, I came up with the same algorithms. First compression, then attempting de-essing, and finally manual editing of the 'ess'. Then splitting into verse and chorus and separate equalization with automation. And of course some reverb and delay. I came to it the hard way through trial and error. I felt like a squeezed lemon. I wasn't sure I wasn't doing something crazy) And now I'm happy to have confirmation that my mixing is adequate. Thank you)
excellent this video, thanks for the pro tips Billy. I never think about put automazitation in the eq of the lead vocal. Really useful. And thx for the Be Unique advice too. I will be for the next vid of bass and ac guitars. Cheers. Gracias 👌
Thanks for another great video! Going through each word like that seems so tedious but when I listen to the final mix it’s definitely worth it. Thanks for using using as ISD track. Watching a mix on music I know, I think, helps a lot.
By the look of your vocal wave forms you could do with pushing them through iZotope RX and letting it correct your phase rotation so that your threshold trigger point is more even and won’t skew your output levels and LUFS values. This is really powerful tool to keep levels and metering, it is, for example the absolutely first step by mastering, after learning how powerful it is on masters I began doing this on basically everything that I have the feeling my track doesn’t seem to be as loud as what my metering is showing……
To be honest I didn't understand everything you said. Not that I'm doubting it, but I pretty much do this by listening and going with what I like. The only time I get into analyzing levels and such is when mixing for a film score.
This is gold mine. One question tho: How do you suggest one learns to hear frequencies that need to be EQed? Or what do you suggest to train your ears to hear harsh frequencies for example
Play with the EQ. Boost a frequncey as high as you can with a narrow bandwidth. Sweep it around. Then do the same but pull that frequencey down all the way.
"I Didn't Use Reverb On Vocals For 10 Years" - ua-cam.com/video/YfpLnvfw3GQ/v-deo.htmlsi=RUkHNgqZPipxi8DV "How I Use Reverb On Vocals" - ua-cam.com/video/oEuKwnYX2Ls/v-deo.htmlsi=79pIwBS210Y7kt57 "How To Use 2 Reverbs On Vocals" - ua-cam.com/video/SUohmVkYhOg/v-deo.htmlsi=Dg1AFNeZUBLLBgkf
Hey Billy, very pleased to have found you on here. You have an engaging presentation style I am enjoying. On the ‘harsh’ vocal component you talk through here, I think this touches on a particularly compelling idea in relation to end listeners. So much discussion around analog hardware or comparing cheap microphones to high end, makes the assumption that end listeners, non-engineers etc, would not notice such marginal differences. Once the U47 copy or the Neve plugin has been mixed into the song - the end listeners won’t notice. I think, this is a poor assumption and a rather disrespectful assessment of the music buying public, who, might not be able to tell if an SSL plugin was used over a real console, but instead do intuit something being off. They might not say the mix is bad - they just won’t buy it. I personally believe, when making music for public consumption - especially if you want it to be broadly accepted, attention to detail is everything, and respecting the end listener should be paramount. If one syllable, is poking out, it can be enough to trigger a lack of confidence in the production. I find this an interesting topic to explore more. All the best - GRiFF
Thanks Jon! You are so right. The public doesn't know about frequencies and the technical details. But they definitely sense when they don't like it. Glad you found my channel.
OMG! Man! I'm so glad I saw that! I'm actually an arranger. But last week I had to mix vocals with a lot of harshness. I didn't learn that anywhere. Even though I went by feel, I came up with the same algorithms. First compression, then attempting de-essing, and finally manual editing of the 'ess'. Then splitting into verse and chorus and separate equalization with automation. And of course some reverb and delay. I came to it the hard way through trial and error. I felt like a squeezed lemon. I wasn't sure I wasn't doing something crazy) And now I'm happy to have confirmation that my mixing is adequate. Thank you)
Billy Hume is the Mix engineer wizard!!!
thank you Sir!! I have learned so much from your channel. Your teaching style really connects with me.
Absolutely about the harsh vowels with different energy when singing. Love that idea of different EQ for different parts. Great stuff.
This video is great.
Different eq foe sections but I really liked how you pointed out how sometimes what we call harsh may only be breif sections.
thanks for sharing your technique, Billy
Thank you for the info! Love the details
Love your mix videos (so much better than many others). Which makes yours . . . unique! Thnx
Thanks so much!
Nice stuff would love 2 see more details on your vocal effects
Check out these videos I made: ua-cam.com/video/SUohmVkYhOg/v-deo.html. and. ua-cam.com/video/YfpLnvfw3GQ/v-deo.html
excellent this video, thanks for the pro tips Billy. I never think about put automazitation in the eq of the lead vocal. Really useful. And thx for the Be Unique advice too. I will be for the next vid of bass and ac guitars.
Cheers. Gracias 👌
Very well done!
Thank you!
Great and super informative video!
Thanks for another great video! Going through each word like that seems so tedious but when I listen to the final mix it’s definitely worth it. Thanks for using using as ISD track. Watching a mix on music I know, I think, helps a lot.
You are the one man. Master of it! ⭐️
Thank you!
Still love that Massey Limiter (many years later!).
This was so helpful! Thank you! what a great song too!
Thank you!
By the look of your vocal wave forms you could do with pushing them through iZotope RX and letting it correct your phase rotation so that your threshold trigger point is more even and won’t skew your output levels and LUFS values.
This is really powerful tool to keep levels and metering, it is, for example the absolutely first step by mastering, after learning how powerful it is on masters I began doing this on basically everything that I have the feeling my track doesn’t seem to be as loud as what my metering is showing……
To be honest I didn't understand everything you said. Not that I'm doubting it, but I pretty much do this by listening and going with what I like. The only time I get into analyzing levels and such is when mixing for a film score.
@@FreakingOutWithBillyHume do you have RX?
I think I might.
Yes
This is gold mine. One question tho: How do you suggest one learns to hear frequencies that need to be EQed? Or what do you suggest to train your ears to hear harsh frequencies for example
Play with the EQ. Boost a frequncey as high as you can with a narrow bandwidth. Sweep it around. Then do the same but pull that frequencey down all the way.
Is there a video you have made where you go into picking delay and verb choices for vox and how you apply them?
"I Didn't Use Reverb On Vocals For 10 Years" - ua-cam.com/video/YfpLnvfw3GQ/v-deo.htmlsi=RUkHNgqZPipxi8DV
"How I Use Reverb On Vocals" - ua-cam.com/video/oEuKwnYX2Ls/v-deo.htmlsi=79pIwBS210Y7kt57
"How To Use 2 Reverbs On Vocals" - ua-cam.com/video/SUohmVkYhOg/v-deo.htmlsi=Dg1AFNeZUBLLBgkf
Awesome! Thank you a ton.
Hey Billy, very pleased to have found you on here. You have an engaging presentation style I am enjoying.
On the ‘harsh’ vocal component you talk through here, I think this touches on a particularly compelling idea in relation to end listeners.
So much discussion around analog hardware or comparing cheap microphones to high end, makes the assumption that end listeners, non-engineers etc, would not notice such marginal differences. Once the U47 copy or the Neve plugin has been mixed into the song - the end listeners won’t notice.
I think, this is a poor assumption and a rather disrespectful assessment of the music buying public, who, might not be able to tell if an SSL plugin was used over a real console, but instead do intuit something being off. They might not say the mix is bad - they just won’t buy it.
I personally believe, when making music for public consumption - especially if you want it to be broadly accepted, attention to detail is everything, and respecting the end listener should be paramount.
If one syllable, is poking out, it can be enough to trigger a lack of confidence in the production.
I find this an interesting topic to explore more.
All the best - GRiFF
Thanks Jon! You are so right. The public doesn't know about frequencies and the technical details. But they definitely sense when they don't like it. Glad you found my channel.