Mixing vocals
Lesson time: (14min 53sec)
Goetz Botzenhardt shares his approach to mixing vocals - de-essing, volume rides, delay and reverb - so the lead sits clearly on top of the track.
Course preview
This lesson is part of the course Mixing Commercial Pop Music
Watch a preview of the full course below.
Lesson transcript:
Mixing Vocals: Key Techniques and Tips
Our next chapter is going to be about vocals. I'm going to share some insights on mixing vocals, focusing on the groove and the music.
Importance of Vocals
- Central Role: The vocal is the most important element in most tracks.
- Time Investment: Spend a good amount of time on the vocals and ensure the singer sounds as good as possible.
The Star of the Track
Think of solo artists like Adele or Amy Winehouse. In tracks featuring such vocalists:
- Make sure all lyrics are audible.
- Listeners should feel inspired to sing along, understanding the lyrics.
Mixing Process
When I start mixing vocals, I follow these steps:
-
Listen for Tuning: Ensure the vocals are tuned correctly.
-
Compression:
- I often use the Distressor.
- Popular plugins for vocals include:
- LA2A: Known for its slow attack, great for vocals.
- R Vox: Easy to use; a highly efficient plugin.
-
EQ:
- Don't be afraid to make the vocals bright.
- Brightness helps the lyrics cut through the music.
Managing Sibilance
- Understanding Sibilance: Sibilance refers to the harsh sounds of "S" and "T".
- Control Tools:
- Use a De-Esser (e.g., Waves Renaissance De-Esser).
- Set your threshold and range to manage these sounds effectively.
- Utilize presets for male and female voices for easy setup.
Volume Control
- Breathing: Watch for the volume spikes when the singer breathes, as compression can emphasize these sounds.
- Editing Breaths: Zoom in on breaths and draw them down without making them disappear completely.
Adding Effects
Reverb & Delay
- Reverb: I usually like to apply a bit of plate reverb.
- Delay:
- A short delay (e.g., 16th note) or a slap delay at around 250 milliseconds can enhance the vocal sound.
- Special Effects:
- In this track, we wanted a special reverb inspired by Empire of the Sun, incorporating a lush plate reverb with pre-delay.
Riding the Vocal
- Spend time riding the vocal levels to ensure:
- The vocal is always present.
- Syllables are audible and not lost in the mix.
Throwing in Delays
- Use throw delays on the end of syllables or musical gaps to maintain interest.
- Example: A throw channel with EchoBoy set to a quarter note delay creates engaging repeats at the end of phrases.
Different Vocal Sounds
- Vary the vocal sound in different sections (verse, bridge, chorus) to create distinction.
- In this project, I added phasing for a different vocal texture in the second verse.
Additional Techniques
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Phasing:
- Create texture variation throughout the mix.
- Experiment with multiple delay and phasing plugins for interest.
-
Backwards Reverb:
- A personal favorite effect: take your vocal, reverse it, add reverb, and then reverse the audio again. This creates a buildup effect as the reverb precedes the vocal signal.
In conclusion, mixing vocals is all about attention to detail. Spending time on every aspect from tuning and compression to effects can lead to a polished and engaging result. Happy mixing!
About the instructor

In the early nineties, Goetz Botzenhardt trained at Swanyard Recording Studios, assisting top producers like Flood, Alan Moulder and Tom Lord-Alge, and cut his teeth recording and mixing the dance and Acid Jazz bands of the 90s - Incognito, Galliano, Soul II Soul and many others.At Swanyard he met Rollo Armstrong and the two quickly formed a creative partnership, leading to many big dance records and remixes and, soon after, to recording and mixing the first two acclaimed Faithless albums and Dido's multi-platinum 'No Angel'.Ranging across genres, he recorded and mixed the Sugababes' debut album 'One Touch', including their first hit 'Overload', and has mixed for The Cardigans, Bjork, The Cinematic Orchestra, Craig David, the Pet Shop Boys and Hikaru Utada, one of Japan's most successful artists.More recently he expanded into film and TV, working extensively with composers Christian Henson, Martin Phipps and Anne Nikitin, and mixing Daniel Pemberton's Golden Globe-nominated score for 'Steve Jobs', directed by Danny Boyle. Away from film he produced Tanita Tikaram's 'Closer to the People', mixed tracks for Sigala, Ella Eyre, Breton, Planet Funk and Tito Jackson, and in 2016 mixed Peabo Bryson's album with Jimmy Jam and Terry Lewis. A full list of his work is on his discography and filmography pages at goetz-botzenhardt.com.Goetz works from his own studio and mix room, built around an SSL E4044 console, Adam 5.1 surround monitoring, a 48-channel Pro Tools HDX system and choice outboard gear. In his courses he takes you inside that room to show how he mixes across two very different worlds: in Mixing for Film & TV Score, how he balances and shapes orchestral and hybrid scores to serve the picture; and in Mixing Commercial Pop Music, how he builds punchy, radio-ready pop mixes from the multitrack up. read more




