MacMusic  |  PcMusic  |  440 Software  |  440 Forums  |  440TV  |  Zicos
vocal
Recherche

5 Tips for Mixing Crispy Hip-Hop Vocals

lundi 12 avril 2021, 14:00 , par Sweetwater inSync
When it comes to hip-hop, vocals reign supreme. After all,
hip-hop is poetry set to music; and, as a mixing engineer, it’s your task to
ensure that the vocal is crisp and clear so listeners can delight in the clever
wordplay, catch every punch line, and lose themselves in the complex cadences
generated by skillful MCs. In this article, we explore five tips for mixing
impactful hip-hop vocals using plug-in processors and effects. From EQ and
compression to parallel processing and time-based effects, we’ll check out some
great ways to make your hip-hop vocals extra crispy!

Clean Up the Vocal Before ProcessingEQ for Clarity and IntelligibilityKeep Your Dynamics TightUse Parallel Processing for ImpactAdd Dimension with Delay and Reverb

1. Clean Up the Vocal Before Processing

Modern hip-hop vocal mixing tends to involve layers and
layers of processing from basic tone and dynamics shaping to saturation,
distortion, spatial effects, and more. While these layers are necessary to
achieve a vocal sound that can compete with what you hear on the radio and
streaming services, they can also accentuate any problems that might be present
on the original, unprocessed signal. Therefore, prior to shaping a vocal with
said processors, you’ll want to perform some initial cleanup to avoid any
unwanted effects that may be imparted down the chain.

First, eliminate any unwanted background noise that may have
been picked up during the tracking session: low-end rumble, headphone bleed,
electrical hum, or things like HVAC and outside noises that may be present if
the performer was recording in a space that lacked thorough acoustic treatment.

To eliminate low-end rumble, try applying a highpass filter
at 50Hz. This should mitigate the rumble without altering the performer’s tone.
Some producers and mixers are even more extreme when it comes to highpass
filtering with settings that can creep up to 150Hz or even 200Hz. Though this
can make it easier to fit a vocal on top of heavy bass elements like 808s and
thumping kick drums, it can take away some of the intimacy and immediacy of a
performance. The human voice can resonate in the chest at frequencies as low as
80Hz. So, to preserve the organic tone of the performer, try to avoid cutting
any higher than that. Of course, context is everything. So, this isn’t a hard-and-fast
rule, but it’s a good place to start.

If you need to eliminate background noise, especially electrical hum, the sound of a computer fan, or an HVAC fan, then the Waves X-Noise noise removal plug-in is a simple and efficient solution. For more complex repair work, try iZotope RX 8 Standard; it’s a comprehensive audio restoration editor with goal-specific settings to clean up clicks, pops, plosives, and more. Plus, it uses AI-assisted technology to expedite the process of prepping your vocal track. Other noise, such as headphone bleed, can be removed by using a gate. And, for most applications, any stock gate plug-in will do.

Waves X-Noise Noise Removal Plug-in

2. EQ for Clarity and Intelligibility

When approaching EQ to create clarity and intelligibility in a hip-hop vocal, try to think about it in two steps: subtractive and additive. Subtractive EQ is exactly what it sounds like: clearing away problem frequencies. Here, almost any parametric EQ will do, though it can be helpful to use an EQ with a built-in spectrogram that will let you see where unwanted resonances are poking out. The FabFilter Pro-Q 3 EQ and filter plug-in is a great choice for applying subtractive EQ. It provides a spectacular visual interface and a solo mode for isolating a filter band to let you zero in on ugly frequencies. Additionally, you can set each band to function dynamically, meaning that frequencies will only be attenuated once they exceed a set threshold. Why is this helpful? Because some frequencies will only become problematic at certain points during a performance. For instance, an artist’s voice may take on a nasal quality during louder passages with excessive energy around 800Hz to 1kHz. But, if you make a fixed cut in this frequency range, you might lose some midrange punch necessary for more quietly delivered passages to stand out. Dynamic EQ, like that available on the FabFilter Pro-Q 3, allows you to fix the problem without having to make a sacrifice on the rest of the mix or going down the road of automating your EQ plug-ins.

FabFilter Pro-Q 3 EQ and Filter Plug-in

There are some common guidelines on which frequencies to
attack with subtractive EQ. Muddiness typically lurks in the 200Hz to 400Hz
range. Harshness resides around 2.5kHz to 4kHz. And, of course, we already
mentioned nasality at 800Hz to 1kHz. That said, each performer is different,
and the environment they recorded in is going to contribute its own potentially
problematic frequency blooms. On top of that, the microphone and preamp
combination they used will also have an impact on the frequency profile of the
vocal recording. Referencing any of the numerous EQ mixing charts online is
fine for understanding which frequencies equate to the common terminology. But,
when it comes to an actual mix, it’s much more important to rely on your ears
and your artistic intuition.

Once you’ve wrangled all of your problem frequencies, now you can start EQing for character and flavor with additive EQ. This is the point where you might want to break out your favorite hardware-emulation EQ plug-ins. For hip-hop vocals, any EQ plug-in based on the SSL 4000 large-format mixing console’s EQ section, including the Solid State Logic Channel Strip native plug-in and the Waves SSL E-Channel plug-in, will serve you well. The SSL sound was ubiquitous on hip-hop records in the 1990s and remains so today with a clarity and edge perfect for the genre. However, it’s good to experiment with different flavors of hardware EQ emulations. They each have their distinctive sound, and one of them might be just what you’re looking for in a particular mix.

Solid State Logic SSL Channel Strip Native Plug-in

When choosing where to focus your energy as you apply
additive EQ, trust your ears! But, for some general advice: intelligibility is
generally between 1kHz and 3kHz; the fundamental frequencies — the anchor of
the voice — hang out between 100Hz and 300Hz; and, to open up the vocal’s
top end, try a gentle high-shelving EQ around 10kHz. In terms of the signal
chain, it’s generally recommended to place your additive EQs after your
dynamics processors since you don’t want your compressors to counteract the
tonal changes you’ve made.

3. Keep Your Dynamics Tight

While rock ‘n’ roll, folk, and indie mixes can get away with
varying vocal dynamics, hip-hop mixes require tight, consistent vocal tracks
that get up in a listener’s face and stay there. So, when applying dynamics
processing to a hip-hop vocal, don’t be afraid to get aggressive. It’s not
uncommon to have 15dB of gain reduction on a hip-hop vocal to keep things laser
focused. That said, it’s wise to spread your dynamics processing across two or
more compressors in order to avoid overworking a single compressor and
imparting too much of its sonic signature on the vocal track.

Here is an example of an effective hip-hop vocal dynamics-processor
chain. Start out with a de-esser to manage any unpleasant sibilance in the
vocal. Be subtle here and set the de-esser so that it’s only clamping down on
the most obvious offenders: extremely harsh esses, tees, and so forth. After
all, in order for the vocal to remain intelligible, you’ll want a certain
amount of sibilance to remain intact. Any de-esser will do for this task.

Next up, you’ll want to choose your primary compressor — the one that will be doing the bulk of the compression. The UAD Empirical Labs EL8 Distressor Compressor plug-in (available as part of a UAD Plug-in bundle) excels in this role. It allows for high levels of compression without significant coloration of a signal — unless that’s what you’re after. In that case, the UAD EL8 Distressor includes two distortion circuits, like its hardware counterpart, for adding some extra grit. Renowned mixing engineer Lu Diaz, who specializes in hip-hop, recommends the Distressor’s “opto” setting for vocals. With its 10:1 ratio, it can easily hold a vocal in place. When setting your attack and release times, start with a slow attack and a fast release, and adjust them to suit. Keep in mind, the point isn’t to smash all the life out of the vocal, just to hold it in place so that it’s always front and center in the mix. Additionally, take advantage of the highpass setting on the Distressor’s detector circuit. This prevents the lowest frequencies (those all-important fundamentals) from triggering the compressor and shifts the emphasis of the compression to the midrange, which is most responsible for clarity and crispness.

For an alternative to the UAD EL8 Distressor, check out the FG-Stress plug-in from Slate Digital.

After you’ve dialed in your primary compressor, apply a secondary compressor for additional tone shaping and to get a little more juice out of the vocal. The Waves CLA-2A compressor plug-in works wonders as a secondary compressor, but any compressor set to a medium attack and medium release with a ratio under 4:1 will do the job. Remember to keep the gain reduction low, around -3dB. You might find it necessary to apply a second de-esser after your primary and secondary compressor and additive EQ to tame any harshness that resulted from the processing. Don’t fret! That’s a relatively common need on a heavily processed vocal track.

4. Use Parallel Processing for Impact

Parallel processing is another way to add impact to a
hip-hop vocal. If you’re unfamiliar with the term “parallel processing,” it
simply refers to mixing a dry signal with a wet signal. If you’ve ever used a
blend knob on a plug-in, then you’ve performed parallel processing. In a mix,
you can also use parallel processing by setting up a send on your vocal track
and routing it to an auxiliary channel equipped with any number of processors:
compressors, distortion, modulation effects, etc.

Hip-hop vocals particularly benefit from parallel compression and parallel distortion. By mixing in a hypercompressed signal underneath the main track, you can fortify the low end and add some midrange excitement — even more so when you pair the compression with EQ, as is done with New York compression, an East Coast hip-hop mixing staple. NY compression is described in detail in the article “Boom Bap! Re-creating ’90s East Coast Hip-Hop Beats in the Home Studio.” That article discusses New York compression as applied to drums; however, you can use the same technique on vocals by tailoring the compressor and EQ settings in your parallel signal chain.

Eventide CrushStation Distortion/Overdrive Plug-in

Parallel distortion is set up exactly like parallel compression except with a distortion plug-in rather than a compressor plug-in on the auxiliary channel. The Eventide CrushStation distortion/overdrive plug-in is superb for processing vocals; it offers a comprehensive selection of distorted tones along with high and low octaves if you want to get creative. Generally, parallel distortion should be used sparingly when employed as a vocal sweetener. Mix it in with the original signal until you can just start to hear it then pull it back a little — it’s an effect that is meant to be felt more than heard.

For more information on how to use distortion in a mix, please read “Tape, Tubes, and Iron: Why Distortion Sounds Good and How to Use It in a Mix.”

5. Add Dimension with Delay and Reverb

By and large, hip-hop vocals are mixed dry, relative to
vocals in other genres, since effects like reverb and delay can negatively
impact vocal clarity. Yet, when employed judiciously, reverb and delay can give
hip-hop vocals a subliminal sense of space and weave them into the instrumental
arrangement.

When selecting a reverb for hip-hop vocals, it’s best to avoid reverbs with long tails. Since hip-hop vocal delivery is rapid and staccato in nature, you’ll need a reverb that gets out of the way quickly. Algorithmic room reverbs, such as those found on the Relab Development LX480 Complete reverb plug-in, with a length set under 500ms are ideal.

Relab Development LX480 Complete Reverb Plug-in

Tempo-synced stereo delays mixed well below the vocal are useful for adding width to the vocal. The Waves H-Delay hybrid delay plug-in has a grimy character well suited to hip-hop. Additionally, it’s equipped with a highpass filter and a lowpass filter. The highpass filter lets you cut out low-frequency information that can muddy the mix, and the lowpass filter is great for darkening the delay so that you don’t hear sharp transients echoing in the background. Again, the point of the delay is to produce a sense of space and ambience. Once mixed in, you shouldn’t be able to hear the delay, per se. However, if you remove the delay, its absence should be felt.

Waves H-Delay Hybrid Delay Plug-in

When it comes to ad libs, there are no rules governing the
use of reverb and delay. It is completely appropriate to have ad libs swimming
in effects. In fact, the contrast between the dry main vocal and effects-laden
ad libs will serve to reinforce the dominance of the main vocal in the
listener’s mind. So, when you’re designing the sound of the ad libs, go nuts!

Trust Your Instincts

While the conventions around hip-hop vocals may differ in some respects to other genres, they share the same essential mission to serve the song and convey emotion and energy to an audience. Hopefully, these tips help you move closer to the crispy hip-hop vocal sound you’re chasing! But, when you’re mixing hip-hop vocals — as with all artistic endeavors — trust your instincts. Hold on to the advice you find useful and discard the advice you don’t. Write your own rules and then break those rules! And, if you want to find out more about any of the plug-ins mentioned here, please reach out to your Sweetwater Sales Engineer at (800) 222-4700. They’re here to match you with the tools you need to be your most creative!
The post 5 Tips for Mixing Crispy Hip-Hop Vocals appeared first on inSync.
https://www.sweetwater.com/insync/tips-for-mixing-crispy-hip-hop-vocals/
News copyright owned by their original publishers | Copyright © 2004 - 2024 Zicos / 440Network
126 sources (21 en français)
Date Actuelle
jeu. 28 mars - 16:06 CET