Mezclar las voces

Goetz Botzenhardt
Goetz Botzenhardt

Lesson time: (14min 53sec)

Goetz Botzenhardt comparte su enfoque para mezclar voces —de-essing, ajustes de volumen, delay y reverb— para que la voz principal destaque con claridad por encima de la pista.

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This lesson is part of the course Mezclar música pop comercial
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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:

  1. Listen for Tuning: Ensure the vocals are tuned correctly.

  2. 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.
  3. 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

  • 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

Goetz Botzenhardt
Goetz Botzenhardt

A principios de los años noventa, Goetz Botzenhardt se formó en los Swanyard Recording Studios, asistiendo a productores de primer nivel como Flood, Alan Moulder y Tom Lord-Alge, y se curtió grabando y mezclando a las bandas de dance y acid jazz de los 90: Incognito, Galliano, Soul II Soul y muchas otras.En Swanyard conoció a Rollo Armstrong y ambos formaron rápidamente una asociación creativa que dio lugar a muchos grandes discos de dance y remezclas y, poco después, a la grabación y mezcla de los dos primeros y aclamados álbumes de Faithless y del multiplatino 'No Angel' de Dido.Moviéndose entre géneros, grabó y mezcló el álbum debut de las Sugababes, 'One Touch', incluido su primer éxito 'Overload', y ha mezclado para The Cardigans, Bjork, The Cinematic Orchestra, Craig David, los Pet Shop Boys e Hikaru Utada, una de las artistas de más éxito de Japón.Más recientemente ha ampliado su trabajo al cine y la televisión, colaborando ampliamente con los compositores Christian Henson, Martin Phipps y Anne Nikitin, y mezclando la banda sonora de Daniel Pemberton, nominada a los Globos de Oro, para 'Steve Jobs', dirigida por Danny Boyle. Al margen del cine, produjo 'Closer to the People' de Tanita Tikaram, mezcló temas para Sigala, Ella Eyre, Breton, Planet Funk y Tito Jackson, y en 2016 mezcló el álbum de Peabo Bryson con Jimmy Jam y Terry Lewis. Una lista completa de su trabajo está en sus páginas de discografía y filmografía en goetz-botzenhardt.com.Goetz trabaja desde su propio estudio y sala de mezcla, construidos en torno a una consola SSL E4044, monitorización surround Adam 5.1, un sistema Pro Tools HDX de 48 canales y equipo outboard selecto. En sus cursos te lleva al interior de esa sala para mostrar cómo mezcla en dos mundos muy distintos: en Mixing for Film & TV Score, cómo equilibra y da forma a bandas sonoras orquestales e híbridas al servicio de la imagen; y en Mixing Commercial Pop Music, cómo construye mezclas de pop contundentes y listas para la radio desde la multipista. read more

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