Mixer les voix

Goetz Botzenhardt
Goetz Botzenhardt

Lesson time: (14min 53sec)

Goetz Botzenhardt partage son approche du mixage des voix — de-essing, automation du volume, delay et reverb — pour que la voix principale ressorte clairement au-dessus du morceau.

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This lesson is part of the course Mixer la pop commerciale
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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

Au début des années quatre-vingt-dix, Goetz Botzenhardt s'est formé aux Swanyard Recording Studios, assistant des producteurs de premier plan comme Flood, Alan Moulder et Tom Lord-Alge, et a fait ses armes en enregistrant et en mixant les groupes de dance et d'acid jazz des années 90 : Incognito, Galliano, Soul II Soul et bien d'autres.À Swanyard, il rencontre Rollo Armstrong et tous deux nouent rapidement un partenariat créatif, à l'origine de nombreux grands disques de dance et remixes et, peu après, de l'enregistrement et du mixage des deux premiers albums acclamés de Faithless et du multi-platine 'No Angel' de Dido.Naviguant entre les genres, il a enregistré et mixé le premier album des Sugababes, 'One Touch', dont leur premier tube 'Overload', et a mixé pour The Cardigans, Bjork, The Cinematic Orchestra, Craig David, les Pet Shop Boys et Hikaru Utada, l'une des artistes les plus populaires du Japon.Plus récemment, il s'est étendu au cinéma et à la télévision, collaborant étroitement avec les compositeurs Christian Henson, Martin Phipps et Anne Nikitin, et mixant la musique de Daniel Pemberton, nommée aux Golden Globes, pour 'Steve Jobs', réalisé par Danny Boyle. En dehors du cinéma, il a produit 'Closer to the People' de Tanita Tikaram, mixé des titres pour Sigala, Ella Eyre, Breton, Planet Funk et Tito Jackson, et en 2016 il a mixé l'album de Peabo Bryson avec Jimmy Jam et Terry Lewis. La liste complète de ses travaux figure sur ses pages de discographie et de filmographie sur goetz-botzenhardt.com.Goetz travaille depuis son propre studio et sa salle de mixage, articulés autour d'une console SSL E4044, d'un monitoring surround Adam 5.1, d'un système Pro Tools HDX 48 canaux et d'un outboard de choix. Dans ses cours, il te fait entrer dans cette pièce pour montrer comment il mixe dans deux univers très différents : dans Mixing for Film & TV Score, comment il équilibre et façonne des musiques orchestrales et hybrides au service de l'image ; et dans Mixing Commercial Pop Music, comment il construit des mixes pop percutants et prêts pour la radio à partir du multipiste. read more

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