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Playlist of Mixing Vocals to Sit Properly in the Mix

  • Mixing Vocals to Sit Properly in the Mix - Warren Huart: Produce Like A Pro


    Plugins used:
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    Warren shows how to mix vocals so they sit properly in the mix. He shows the automation he is doing, all of the plug-ins, and some extra tricks to get the vocal to stand out and always be present.

    Produce Like A Pro is a website which features great tips to help the beginning recordist make incredible sounding home recordings on a budget.

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  • How to Help Vocals Stand Out AND Sit in the Mix using Two Compressors


    Watch how to easily give your vocals an in-your-face sound while making them sit in the mix using two compressor plugins, H-Comp and Kramer PIE.
    Kramer PIE Compressor:
    H-Comp Hybrid Compressor:

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  • Mixing Vocals To Sit On Top -


    ►► Create radio-worthy songs from your bedroom. Download my FREE Radio Ready Guide and learn my 6 step process →

  • How to get Lead vocal to sit in the Mix


    Join me as i take you through easy steps to get your lead vocals to POP in the mix

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  • Sitting Vocals in your Mix - Mixing with Metal


    A tip for making vocals sit better amoung all the instruments in a hard rock or metal mix



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  • Mixing Vocals To Sound Upfront -


    How to get your vocals to sit up front in your mix every time.

    Learn the SMART way to start your mix:

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  • Andrew Scheps Vocal Mixing Trick | Get Your Vocals To Cut Through The Mix


    In this video I go over one of Andrew Scheps parallel vocal mixing processes using 3rd party plugins, then teach you to achieve the same effect with stock plugins. This technique will help your vocals cut through even the densest of mixes.

    Explanation - 1:03
    Raw Mix - 3:09
    Scheps Process with 3rd Party Plugins - 3:49
    Scheps Process with Stock Plugins - 6:07

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  • How To Mix Vocals Like A Pro


    Vocal mixing 101 - An easy way to mix vocals for all genres. Full walkthrough from start to finish! New videos every week so make sure you subscribe and click the bell if you're cool!!


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  • How To Compress Vocals To Sit In The Mix | Mixing Vocals Tips


    Part 3 of my 'How To Edit Vocals Like A Pro' series

    I show you how to use a compressor to add some punch to the vocals and push them forward and sit nicely in the mix

    You can use any compressor you're comfortable using. I chose the Logic stock compressor to make it easier for you to follow what I'm doing

    My go to is normally UAD 1176 and LA2A to get the vocals sitting nicely :)

    Drop a comment below and let me know what is your go to compressor on vocals



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  • How To Mix Vocals Over A Mastered Beat


    How To Mix Vocals Over A Mastered Beat. Im using Pro Tools 12 but you can use the same plugins and techniques in Ableton 10, FL Studio 20, or Logic Pro X. In this tutorial Reid Stefan Realest Puppet In The Game demonstrates mixing a vocal with a stereo track of a finished and mastered beat. Plugins used:

    Waves F6

    UAD Distressor

    UAD Precision Maximizer

    Massey L2007

    Standard Clip

    How To Master Vocals Over A Mastered Beat

    How to make the vocal chain in this tutorial

    Using Return Tracks In Ableton

    Hear The Finished Song: FAR OUT - On My Own (Ft. Karra)

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  • 5 Steps - Mixing Vocals to the Beat


    Learn how to pick the right EQ every time in this free 4 step course.

    In this video, I cover 5 steps to mixing vocals to a stereo beat.
    1. Setup a reference track
    2. Get levels and groups
    3. DeEsser, EQ, Compressor, Vocal Rider
    4. Reverb
    5. Mastering

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  • Mixing Vocals: Finding The Right Fit in Your Mix | LANDR AskAnEngineer


    LANDR’s senior audio engineer Al Isler loves to talk mixing. So we opened up our P.O. box to the LANDR community and asked you to send Al your most burning mix-related questions.

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    Today's questions: How to make vocals fit in the mix more nicely and naturally? — from @kevinvillt


    How to get the vocals to mix with the rest of the song using effects and EQ? — from @coburn_larsen

    Subscribe to #AskAnEngineer on YouTube to learn more about mixing!

    Need help with your mix? Post your question in the comments below!


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  • 3 Vocal Reverb Tips - Warren Huart: Produce Like A Pro


    ➡️➡️Download the 3 Vocal Reverb Tricks cheat sheet here:

    ➡️➡️Watch Mixing Vocals to Sit Properly in the Mix:

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    I've put together a Cheatsheet of a few vocal reverb tricks that I use.
    Try some out for yourself, have a blast, and let me know what ideas you have and share some really good tips and tricks!

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  • 5 Quick Vocal Mixing Tricks - Warren Huart: Produce Like A Pro


    ➡️ ➡️ Before you start mixing vocals, make sure you download this FREE Mixing Vocals cheatsheet right now:

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    Mixing vocals can be tricky! They’re usually the loudest thing in a mix, which means it’s easy to notice any imperfections. If you’re having trouble with your vocals, these 5 quick vocal mixing tricks will get you started!

    1. Saturation
    2. Slap Delay
    3. Lower Octave
    4. Brighten Vocals gradually with DeEssers and EQs
    5. Use Different Effects for Different Sections

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    Produce Like A Pro is a website which features great tips to help the beginning recordist make incredible sounding home recordings on a budget.

  • Should vocals pop out of a mix, or simply blend in? | FAQ Friday


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    Happy Friday! Today’s featured FAQ Friday question is: Should vocals pop out of a mix, or simply blend in?

    This is a simple question, but a great one! The answer to this comes in which genre you are mixing, and where your song will be played.

    When it comes to radio mixes, the first things the label would want to do is take the vocal up mix, so the vocal is sitting far above everything else. This is the same in the world of Spotify, today. The reason it works on radio is because a lot of radio stations would run limiting across their output. So, with the vocal sitting that far above, even with that limiting, the vocal would be pushed in, but it wouldn’t destroy it completely. The vocal would still be pretty vocal and up front.

    Another reason to have the vocal sitting up front is that you want people to sing along! You want people to be able to hear your lyrics, remember them, and sing along. This is something that I carry through to this day. I tend to mix songs a little vocal centric.

    On the other hand, if you want a more classic 70s rock sound, you may take a different approach. For example, in a lot of the Rolling Stones’ stuff, the vocals are really buried in there. This is an interesting sound, because it can feel more like a band. Rather than having the vocals clearly in the front, they are tucked more into the other instruments. So, if you are going for this feel, then you might want to tuck the vocals into the mix a bit more than if you are mixing for radio or Spotify.

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  • Mixing Vocals - Warren Huart: Produce Like A Pro


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    Listen to the full song here

    How to mix vocals in Pro Tools using stock plug-ins: EQ, Compression, and Limiting. Part 1 of 3

    Produce Like A Pro is a website which features great tips to help the beginning recordist make incredible sounding home recordings on a budget.

  • Advanced Vocal Mixing Techniques - Warren Huart: Produce Like A Pro


    Learn advanced vocal mixing techniques to achieve a full, gritty and up-front lead vocal sound.
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    Hi Friends,
    When it comes to making a great record, vocals are one of the most important things to get right. They are what the listener is drawn to and convey the emotion & message of the song like no other instrument.

    This video shows you advanced vocal mixing techniques achieve a full, gritty and up-front vocal sound. I mixed this vocal mainly in the box and I'm going to show you the some advanced tricks you can use to make your vocals cut through the mix and grab your listeners emotionally.

    This video is an excerpt of the mix breakdown I did for Produce Like A Pro Academy. Produce Like A Pro Academy is an amazing online community full of talented artists, musicians & engineers eager to improve their recording and mixing skills and take their music to the next level. – If you feel the same way, we would love to have you!

    Inside, you will get to watch my complete mix breakdown of this song, download the multitracks and mix it for yourself. You'll also receive mix feedback from me personally, instant access to over 50 hours of in-depth recording & mix training and a lot more.

    I'm looking forward to seeing you in there!

    Have a marvellous time recording & mixing,


    Artist: Alaina Blair - Love It Or Leave It

    Produce Like A Pro is a website which features great tips to help the beginning recordist make incredible sounding home recordings on a budget.

  • Tips for Vocal Clarity


    Vocals are a critical element of your song, but it's often quite difficult to get them to sit in the mix properly.

    In this tutorial, you'll learn some useful techniques to carve out space in your mix for your lead vocal.

    ADSR Instructor Stephen Ellestad demonstrates how to make space with frequency notching, sidechain compression and using compression and predelay to create separation from other elements that share frequencies and real estate in the mix, such as backing vocals or pads.

    As a matter of fact, these same techniques are commonly used for just about any other element that needs priority, especially kicks, basses and lead lines.

  • MIXING VOCALS TO A 2 TRACK: Make Room For Your Vocal


    TUTORIAL: a lot of us as engineers are trying to mix vocals to 2 track instrumentals. A common issue is getting the vocal to mesh well with the 2 track. Here is a quick video on what I do to open the beat up a little bit.

  • Mixing Vocals To A 2 Track Beat


    Many of you have trouble mixing your rap vocals to already mixed instrumentals. Here are a few approaches I've found helpful!

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  • Mixing Modern Pop Vocals - Warren Huart: Produce Like A Pro


    Download the multitracks of this song for free:
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    In today's video, I'm showing you how to achieve a modern lead vocal sound that stays present throughout the song and cuts through a dense mix. We discuss Compression, EQ, parallel processing and automating multi-effects throughout the song to keep the listeners interest and help the song to build and progress. I hope you enjoy the tutorial!

    Have you missed our previous two videos? You can watch them here:

    1. Mixing Drums:
    2. Mixing Bass:
    3. Mixing Guitars, Keys and Synths:

    Produce Like A Pro is a website which features great tips to help the beginning recordist make incredible sounding home recordings on a budget.

  • Mixing Vocals: My 3 Plugin Chain For Pro Vocals -


    ►► Get complete mix breakdowns, fresh multitracks, and live coaching with my membership program. Start your 14 day free trial here →

    Let's be honest, a lot of home recorded vocals sound rough.

    But that doesn't mean we can't make them sound professional in the mix! Today I'm going to show you how.

    I have a simple 3 plugin vocal chain that I use just about every time I mix vocals and it helps give you that clear, polished, and up front vocal sound every time.

    Oh - and you can do this with your stock or free plugins!

  • Mixing a Pop Rock Vocal to Sound Upfront & Clear


    Watch me take a dull, muddy vocal recording and turn it into a radio-ready pop-rock vocal sound that's polished and sits properly in the mix.

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    Waves SSL Channel -
    R-DeEsser -
    L1 Limiter -

    ☛ Grab your FREE mixing cheatsheet for quick reminders of these EQ and compression settings for vocals:

  • Mixing Basics: Vocal Compression - Warren Huart: Produce Like A Pro


    ➡️➡️Learn more about Vocal Compression here:

    Today, we will be going over the basics of mixing vocals. Earlier, we balanced the mix using just panning and volume and got the mix to a place where we could start making better decisions. In this video, we are going to look at some really subtle ways you can make your vocals sit better in the mix using just compression and automation. In Pro Tools, this automation could be “clip automation”, but it could also be volume automation in your DAW.

    Most people will use compression to color the sound, and to make sure it is always in the front of the mix. There are three ways you can do this: using compression or serial compression, clip gain/volume automation, or using a limiter, which can help bring out the personality in the track as well. Be careful when you are using clip gain or volume automation, as you want to make sure you are not exaggerating things that you will have to edit out later!

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  • How To Mix Vocals -


    ►► Compression can make or break your vocal mix. Download my FREE Compression Checklist →

    Trying to figure out how to mix vocals so they sit perfectly in the mix without sounding harsh or amateur?

    In today's video I break down two powerful (and simple) strategies you can use on every vocal mix you do to give your lead vocals clarity, presence, and an upfront sound.

    The beautiful thing about these two methods is that you can do them in any DAW with the plugins you already own!

  • 6 Vocal Mixing Tips


    ???? Get better mixes by this weekend. Plug this FREE 5-Step Mix process into your system and get ready for great results ????

    #mixing #vocals

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  • How to Mix a Smooth Lead Vocal


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    An overview of how I got a smooth lead vocal sound on The Stone by Goose & Fox.

    - Avid Pro Tools
    - SoundToys Decapitator
    - Waves CLA-76
    - Waves API-2500
    - Waves API-560B

    Song: The Stone by Goose & Fox



    Today, I'm going to be showing you how to mix a smooth sounding lead vocal.

    I'm going to be using the song, The Stone by the band Goose and Fox. Please allow me to preface with the fact that this song is really well written. The lead singer has a beautiful voice. It was recorded in a great studio with great microphones and equipment, by really great engineers. As a mix engineer, that will make your life a lot easier. Sometimes as mix engineers, we receive things that were recorded in a bedroom. Maybe the lead singer shouldn't be a lead singer. Poor microphone technique. Could be anything. But in this case, every link in the chain was really good. And that helped me a lot.

    Regardless, we have a pretty dense arrangement. A lot of tracks, you can see. It took a good amount of work to get the vocal to sit right. I'll show you how we did that.

    So, I'm going to play the final mix with all of my effects on the lead vocal right here, engaged.

    [music and vocals]

    Let's fast forward to a more dynamic part of the vocal performance.

    [music and vocals]

    All right. So, let's mute that and any effects on that vocal, and play the raw vocal in context. You're going to hear, especially at the louder parts of the performance, it's a little bit harsh, and it doesn't sit quite right.

    [music and vocals]

    So, I started with compression. I don't always start with compression on the lead vocal. There are different schools of thought, but in this particular case, since the lead vocal was a little bit harsh and needed some taming, I used the CLA-2A. As you can see, we've got a good amount of compression here.

    [music and vocals]

    So, there's compression throughout, but especially on the latter parts of the performance. After that, I used the EQ-3, which I think is really great for subtractive EQ. Works really well because it allows you, if you hold down Shift+Control to solo a band. That allows you to find unmusical and unwanted frequencies really quickly. Let me show you how I work. Some engineers will say, Never solo anything. I'm not one of those engineers.

    [music and vocals]

    So, 425.

    [music and vocals]

    851. That's a pretty harsh frequency.

    [music and vocals]

    1400. And then lastly, a little bit above 5 kHz, I wasn't liking too much. Every song is going to be different, but this plugin helps a lot and of course, get rid of... Most of the time, you're going to want to get rid of these sub-y low frequencies that don't add much.

    After that, this wonderful plugin, called The Decapitator, I use for distortion. Not distortion in the way that you would think, but more to just help it sit in the context of the mix. You can get pretty crazy with this plugin if you turn up the wetness.


    In this instance, I did not want that.


    So, it's mostly the dry signal, but it helps pull forward the vocal a little bit and lets it sit better. After that, this API compressor is really great. I've got a pretty fast attack and relatively slow release. It's just a general compression throughout, about 3 dB.


    A little bit more on the louder parts. After that, to add some air, I always use, not always, but most of the time, the API 560, because I find that the 16 kHz is excellent. Let's take a listen.


    So, don't go overboard with this plugin, but I find cutting a little bit of mids and adding some 16 kHz really helps with air.

    After that, because I have so much compression and EQ and stuff going on, I find that de-essing is really important. I like this de-esser right here. Sometimes, I also manually de-S by bringing down the volume automation. But in this case, just this regular de-esser with a range of -1.4 dB.


    So, once again, let's go back a little bit and find how the vocal sounds raw.


    Then after all of these effects.


    Now, these effects that I've used, I will never use the same signal chain twice. Probably, you can go through every session I've ever worked on, and you're not going to see these exact settings right here and these particular effects in this order. It's all about the song and finding what the lead vocal needs to get the story across. In this case, it just ended up being these particular plugins.

  • Mixing Vocals Advanced Tricks - 3D Positioning Mixing Pro Tips


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  • A Minimalist Approach to Mixing Vocals -


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    One of the hardest things to overcome in the mixing world is learning when not to do things. Now since mixing is very subjective so is the practice of minimal mixing.

    In this video I show you how I was able to listen to a vocal part and determine that it sounded very good. I decided that there wasn't much there for me to do. All I had to do was try and not mess it up. I added a little bit of compression, some EQ, and finally some dynamic EQ just to get the vocals more into the pocket. But once you watch the video, you will see that there isn't much going on with all those plugins.

    Let me know your thoughts.

    Check out the article on Modern Mixing

    For Beginners...

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  • Mixing Vocals In the Box - Warren Huart: Produce Like A Pro


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  • Recording and Mixing Vocal Stacks


    Learn more from Ian Vargo in his debut course ➥
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    A video on recording and mixing gang vocals for the new Ugly, Ugly Words record.

  • Mixing Vocals for Metal & Hard Rock


    Here is my tutorial glossing over how I process vocals to sit in a large aggressive mix and some of the techniques I've picked up over time! Since this is such a long winded topic I decided to keep it brief and I plan to be very specific in future videos!

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  • Mixing Masterclass: Secrets of the Mix with Chris Lord-Alge


    In this webinar, producer & mixing engineer Chris Lord-Alge (Green Day, Bruce Springsteen, Muse) opens up a session and shares some of his mixing secrets while taking questions from live viewers. Watch more from CLA:

    0:00 Intro
    2:26 Prepping your mix and ‘setting it up for success’
    15:34 Mixing vocals; first 5 things to do to get the vocal to sit in the mix
    32:34 Mixing drums; getting the drums and the bass to sit together
    40:52 Gain staging: how to balance your tracks before processing

    Song: IVO, “Peace & Freedom”

    This masterclass originally streamed live Oct 28, 2017 as part of the Waves #OpenSessions series.

    Watch more Open Sessions:

    Special thanks to White Noise Lab studios:

  • How to Give Vocals a Smooth Console Tone


    Hip hop mixer Sean Divine demonstrates using the Waves V-Series plugins to provide vocals with that silky flavor and give them the unique analog color of the 3 classic Neve EQ and compressor models. Learn more:

    1:51 A/B Test
    2:39 EQ color and smooth compression processing
    4:43 V-EQ3 and V-EQ4: mid boost and silky high end

    Plugins used by Sean Divine in this video:

    Music written & produced by Sean Divine.

  • Mixing 101: How to Quickly Get a Rough Vocal Mix


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    A tutorial on getting a rough vocal mix going with iZotope Nectar 2.

  • Mixing Vocal Doubles with EQ & Multiband Compression


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    Learn compression:
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    Mixing tips:

    How to mix female vocal doubles using EQ and multiband compression.

    Software Used:
    - Avid Pro Tools
    - FabFilter Pro-Q Equalizer
    - FabFilter Pro-MB Multiband Compressor


    Two questions I've been getting a lot lately is how do I process ad-libs/background vocals, and should I/how do I use multiband compression to do? So I'm going to show you an example of both in one tutorial.

    So I have this female lead vocal which already sounds pretty nice, and I have three exact unison doubles of that vocal, meant to sort of thicken it up and sound like a group.

    The thing is, when all the vocals are playing, it sounds a bit unpolished and sort of has a chorusing effect between the two vocals. They just don't quite tonally match up, and there's also something going on in the presence range which is a bit too much.

    So the first step is to find a level for the vocal that makes sense. But even set at the right level, it blends nicely, but loses a bit of vibrancy. If the vocal was meant to just thicken the main voice, I'd probably leave it right there, or maybe just treat some of that presence peakiness, but this is actually supposed to sound like a controlled group of vocals, so the first thing I'm doing is add the presence bump — the same presence bump that I'm using on the lead vocal — and that's going to add a bit of vibrancy back in, even at a lower level.

    But as soon as I do that, you start hearing that separation again, and that's where the multi-band compression comes in. I have the main band at 3.6 kHz, which is where the peakiness is coming from. So i'm using the multi-band compression just to tame it back a little bit. I'm not totally killing the vibrancy, except when it gets to be too much.

    The other band I have is for some of the S's that get a bit overwhelming. One thing I tend to think you don't need much of from background vocals is S's. You can pretty much completely kill the S's off background vocals, and just have the S's in the lead vocal. This is usually enough to let the ear know that there's an 'S' in the phrase.

    So the end comparison is subtle, but when you listen to it, the sound shouldn't sound like it's changing very much, but the feel of the two vocals playing together should become more cohesive. That's what are ear should be on. While the difference is subtle, you also hear other things in the mix a bit more clearly, such as the snare release with the reverb which jumped out a bit more. Just because these little subtle things are being kind of tucked in and molded together, and that's a good example of where multi-band compression can be useful. When you want to change the tone without losing the tone.

  • How to mix vocals like Juice WRLD | Mixing Tutorial


    If you don't want to copy all settings you can purchase the vocal preset for $10 here:


    instagram: @valious
    twitter: valious14
    soundcloud: Vxlious
    spotify: vxlious

    Check the key of the beat:

    Stream the song that has been played (I'll be fine):

    edited by: @lukexiofficial

    juice wrld vocal tutorial
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  • Mixing Vocals with Waves - a Webinar with Yoad Nevo


    In this webinar, mixer, producer and mastering engineer Yoad Nevo (Bryan Adams, Sugababes, Pet Shop Boys) shares some tips and tricks about how to integrate vocals in a mix, make them sit on top of the music and sound loud and clear. At the end of the webinar Yoad answers questions from the live webinar participants.


    Visit for more info.

  • Mixing Vocals with Bob Horn Course Excerpt


    // An excerpt from the new Anatomy of a Mix course from Bob Horn and Warren Huart.

    In this video, Bob Horn shows you how he mixed the vocals.

    Transcript Excerpt:

    Alright, guys. So we're moving on to vocals now.

    A fair amount of vocal tracks in this. A few different leads and a handful of background vocals.

    Let's start with the lead vocal. One thing about me and vocals is that I always want whatever I hear in my head, the way I think that vocal should sound, I'm not going to stop until I achieve it, or give up after I've failed.

    But I use a lot of processing on vocals and it might seem crazy to some people, but yeah. It's like, de-essing, compression, multi-band, whatever it takes to get that vocal to sound to me like a million bucks. I mean, that's what we're selling. The vocals. It's the thing. It's the king of the song, it's what we're selling to the public.

    So I do a lot to vocals. A lot of crazy fader rides, a lot of everything I have to. So here we go.

    Start with the lead vocal.


    Okay. So I have the music kind of turned down, or I'm going to. I'm going to turn the music down so we can just hear the vocals. A lot easier.

    [vocals, music quiet]

    So I have the lead, I have a doubler, a reverb, and a delay. That's kind of everything that encompasses our effects.

    I'm going to mute those for the moment and just show you my processing on the vocal itself.

    Start with an 1176 compressor. Fastest release possible, and kind of a medium/slow attack. The fast release is going to help the vocal just pop right in front.

    Let me see if you can hear the difference here. Watch what happens when I go from a slow release to a fast release. You should hear that vocal move physically a little bit more forward.


    So I prefer a fast release, because it just gets that vocal up in your face. It's a lot easier. I get that question all of the time. How do you get your vocals up front and present? That's how you do it. Fast release.

    I hear a lot of rock mixes where the vocal is kind of buried, and it's just gripped by compression and held really tightly. That's usually slower releases. The fast release is what's going to get it up front.

    Now, the problem with doing fast release, if you do a lot of gain reduction, as soon as that — they're done singing a word, anything afterwards — mouth noises, breaths, they're going to come up in volume drastically. So we're doing...


    On the verse, we're doing 5-7 dB of reduction. When she starts singing louder, it will probably get up to like, 10 dB of gain reduction. Things like breaths and mouth noises aren't triggered by compression.

    A breath is going to get right through compression, so when that compressor is done holding onto that vocal and it releases, and then you have a breath happen, that breath is now 10 dB louder than it was originally because of your new compression and your fast release.

    So it actually — to make sure she doesn't sound like she has asthma, we need to go through here and use automation and kind of dial the breaths down. Some singers more than others, but you might see this kind of thing.

    Then when that compression releases, you won't hear that breath extra loud.

    Interesting thing about her — this singer — is that she didn't — her breaths are actually really low to begin with, so I didn't have to do all of that tedious fader work, but typically when you do fast release compression, a lot of singers you're going to start to hear all of that garbage, but to me, it's worth the extra work to get the personality that you get out of compressing this way.

    So next up, we have a de-esser. Let me bypass all of these and kind of put them in as we go.


    So all of the t's and s's, we're grabbing them fairly hard. 3-6 dB. I prefer to over de-ess and brighten the track later to make up for it. I just want those esses really controlled so they're never offensive. They're never biting your head off.

    You know, you're listening loud in the car, or if it's a club song, listening loud in the club. You never want those esses jumping out of the speakers and hurting peoples' ears.

  • Panning Basics - Warren Huart: Produce Like A Pro


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    Warren opens up a session and discusses the basics of panning. He shows how he pans each instrument and how the use of clever panning can drastically improve your mixes.

    Produce Like A Pro is a website which features great tips to help the beginning recordist make incredible sounding home recordings on a budget.

  • Mixing Nashville-Style – OpenMix® Session with Joe West


    In this session, producer/mixer Joe West (Keith Urban, Justin Timberlake) walks you through his mix of the song “Apologize” and shares his personal mixing techniques. Download Joe’s original session and stems for free:

    00:00 – Intro and mix listen
    03:30 – Recording the tracks
    08:32 – Drum processing
    17:36 – Bass processing
    18:38 – Pads and arps
    19:33 – Guitar processing
    22:46 – Lead and backing vocal processing
    28:47 – Reverbs and chamber processing
    31:45 – Master buss processing
    35:19 – Conclusion

    Watch more mixing masterclasses:

    “Apologize” written by Terry Hicks & Joe West
    Produced, recorded & mixed by Joe West
    In collaboration with Joe West Mentoring:

  • How to mix vocals in Cubase 7 - Tutorial


    How to mix vocals in Cubase tutorial. Techniques for mixing vocal with EQ, compressor, reverb and delay-plugins from Waves, Universal Audio and Steinberg. Here we look at paralell compression, delays and use of reverb!

    Get the track - The Music Is You in Spotify: iTune:

    Follow me on

  • Mixing Beats & Vocals with Renaissance Plugins: MarioSo DeJesus


    7x Grammy-winning mixer MarioSo DeJesus (Wisin & Yandel) displays the power, simplicity and great sound of the Renaissance plugins while using them to mix hip hop beats and vocals. Learn more about Renaissance:

    (0:56) Kick Drum
    (2:37) Snare
    (3:34) Drum Buss
    (4:09) 808 Bass
    (7:14) Toms
    (8:18) Drum Reverb
    (9:02) Vocals

    Music: “Ride” by 2AM Once Again

    Waves Plugins used in this video:

    Renaissance Maxx bundle:
    Renaissance Equalizer:
    Renaissance Compressor:
    Renaissance Vox:
    Renaissance Bass:
    Renaissance Channel:
    Renaissance Reverb:

  • How to: Mixing Vocal Harmonies


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    (It will 100% make your mixes sound better)
    Click here:

  • Mixing Vocals In Logic Pro X Tutorial


    How To Mix Vocals in Logic Pro X using Logic Plugins Only.In this tutorial a puppet creates a vocal mix template in Logic Pro x by processing a dry vocal with compression, reverb, delay, flanger, chorus, bit crusher, pitch correction and EQ plugins that come stock with logic. Producing vocals can be very easy once you've set up your mix template with your favorite vocal chain effects. Logic has way more features specifically for recording vocals such as the pitch correction plugin which I use in lieu of Antares autotune. Logic also has a brilliant vocal comping mode which I will cover in a future tutorial! Even tho we are mixing reggae style vocals in this tutorial these effect chains will also sound great on hip hop vocals, pop vocals, rock vocals, and r&B vocals.

    How to record expensive vocals with cheap gear:

    How to Mix vocals with Stock Ableton Plugins Only

    How To Mix Vocals With Waves Plugins

    Lead Vocal Chain

    Follow Reid

    Follow Whole Loops

    #Logic #Mixing #Tutorial

  • Tutorial: How To Mix Vocals from Start to Finish


    Conquer vocal mixing from start to finish with a comprehensive walkthrough of the prep and mixing stages of vocal production using the production tools in Music Production Suite 2.

    Learn more about the production plug-ins available in Music Production Suite 2:

  • Mixing Rap Vocals for Consistency


    // // A video on mixing a rap vocal towards consistency.

    Instant access to every in-depth mixing tutorial from Matthew Weiss:

    Transcript Excerpt:

    Hey folks. Matthew Weiss here —,, and

    This is going to be a tutorial on how to get Drake-like vocals. So this is something that's come up a number of times, but I've sort of refrained from trying to answer it for a number of reasons.

    The first being that I'm not Drake's engineer, so the only way I can answer this is by attempting to reverse engineer it. Second thing is that in order to have vocals that sound like Drake, you kind of have to sound like Drake. That's part of the equation.

    He has a very consistent voice. His natural delivery fits the way his vocals sound on record, and if you don't believe me, just check out any of the stuff he's done where he's hosted Saturday night live, and just listen to his speaking voice, and you'll hear that there's a lot of similarities in how he speaks versus just how he shows up on record.

    All of that said, I've decided that I do think that there's value in explaining a few of the things that I associate with the sound of Drake's vocal processing, and the main one is the word, “consistency.” If I could say that there's anything that's really unique about Drake, it's that he is super, super consistent sounding.

    Tonally speaking, he's exactly in the same place when he wants to be, dynamically speaking, he's exactly in the same place. It's like a line of vocal where it's just locked right in, and I think there's a lot of value and exploring how one might want to do that if you're going for that result.

    So here, I have a vocal that is extremely dynamic, both tonally and in terms of amplitude, so let's give that a listen, and then I'm going to put on my processing, and I'm going to try and walk through it.

    This is going to be a little bit abridged, because the concepts are going to be more important than the exact settings that I used, but I think you're going to get a lot from it.

    Alright, here we go.


    Now, the first thing I'd like to point out is that this vocalist is definitely not Drake, the style is not necessarily Drake, but I'd also like to add that very frequently, I'm getting requests to make that vocal sound on records with people who sound nothing like Drake, on records that sound nothing like a Drake record. So I still think it's pretty applicable.

    Alright, so let's breakdown what's going on here.

    So the goal here is going to be to get a super consistent vocal without getting all of the crazy artifacts that come from just slamming a limiter, or slamming a compressor, because that's going to sound really pumpy, and there's going to be distortion and things like that.

    So what I find is the key to doing this is to sort of let multiple compressors and multiple processors bear the weight of what's required in order to lock things down that tightly.

    So my first step is going to be sort of a maintenance kind of thing. I'm going to be doing some EQ to kind of correct the vocal tone, as well as some light limiting to just keep the peaks down, because if those peaks are spiking and I do compression down the line, the compressor is going to be reacting very differently to different parts of the signal, whereas if I sort of start with some compression to kind of pull things together and then apply more compression to get the compression that I want, I get a very even compression action, and I can really tweak the settings in a way where it's going to be very consistent throughout.

    So first step, taking out a lot of that 900Hz range in his vocal.

    [vocals, adjusting EQ]

    I think that difference is pretty apparent right there.

    Next thing, a little bit of limiting to just kind of ease those peaks up.

    [vocals with limiter]

    And even just in that one move here, you can start to see where this is really going, because now we have something that's already much more consistent.

    Alright, a little extra corrective EQ.

    [vocals with EQ]

    And now, the next step, and this is something where I feel like if I was mixing Drake, I wouldn't have to do this, but because the rapper is a very naturally dynamic performer and tonally very dynamic, I need to use a little bit of multi-band compression here to kind of lock things together.

    [vocals with multi-band compression]

    So what I'm doing here is I have my mid-range band, which is just making sure that the body of his voice stays consistent, which is around that 400-500Hz range. Sometimes it gets a little bit too much, so I just want to hone it in and lock it in, but I don't want to permanently remove it, because sometimes, it's going to — it needs to be there in order to feel full.


  • How to Mix Vocals in a Song - Mixing Tutorial in Pro Tools


    How to Mix Vocals in a Song - Mixing Tutorial in Pro Tools (Part One)

    This is a two-part video series on how to mix a song and make it sound super professional. Make sure to watch part two after this.

    ► Link to Part Two:

    ►► The Indie Music Academy:

    ►► Get My Free Spotify Guide:



  • How to Mix Acoustic Music — Part 1: Acoustic Guitar


    Free access to premium courses from David Glenn ➥
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    The first in a four-part series about mixing acoustic singer-songwriter music. In the first video, we'll take a look at how to mix an acoustic guitar.

    Song is 'Chosen' by Jeris Haulbrook

    - Avid Pro Tools
    - FabFilter Pro-Q
    - Waves CLA Guitars
    - Blue Cat's PatchWork
    - UAD LA-2A
    - UAD UA 610 Tube Preamp & EQ Plug-In Collection
    - UAD Studer A800 Multichannel Tape Recorder


    Hey guys, David Glenn of and Today we're going to kick off a brand new four part series on how to mix an acoustic, singer-songwriter track.

    This song as got an acoustic guitar that's picked, an acoustic guitar that's strummed and a lead vocal.

    The song is called Chosen. It's by one of my best friends, Jaris Cole. We're in the process of recording his debut EP right now. And I kind of pulled these in from the radio version we're working on so we can have some acoustics and a vocal.

    We're going to cover the acoustic. Video 2 I'm covering the lead vocal. Video 3, I'm showing you the EQ technique. Mid-side technique for sweetening up the acoustic. And then in the 4th video we'll go over the stereo bus, and how I'm treating that with multiple plug-ins.

    You'll notice I've got the lead vocal just kind of sitting at the forefront. And then I just wanted the acoustics to support the lead vocal. To give some music, and to be foundational.

    This acoustic is pulled this from a Pro Tools session for the radio version, but I've got multiple acoustic parts. These are all the picked parts, and we did it in sections for a reason, but those are going to an Oxford ACS pick. And that goes to my all music.

    All these acoustics parts are routed through here. And the strumming part I handled differently. I treated it with different EQ and compression and that kind of stuff. So, let's hear the picked acoustic. Let's actually bypass everything.

    We track this with a 414 on an older Martin. I can't remember the model, but stuck that in the, in the booth and tracked it. Let's see through the UAD Apollo, and no plug-ins to tape. So, this is dry.

    It's dry. Just the mic. Maybe 5 or 6 inches off the guitar. I like to aim for that sweet spot just above the sound hole where you don't get so much of the boomyness. If this were an acoustic guitar it would be the section right up in here. Kind of aim the mic right there.

    Maybe show you guys a picture of that, but the sound, one more time so we can A/B it.

    First step was to remove some of the low mid, some of the mud, and to make sure I didn't get any of the rumble or anything. You can see right there I'm pulling out a little bit, actually quite a bit. 9 dB at 163, 400. And what I did is I would just sweep through. If you guys aren't familiar with the FabFilter Pro-Q EQ let me show you what this can do.

    I can zone in on the frequencies that I want to remove. I've done that with low mids. Then let's play quickly the Studer, love the UAD stuff. And the Studer is beautiful. We've got the acoustic preset. Looks like I just turned off the noise, and dialed in the input.

    It's more of a character thing. And it just feels good to run it through tape. So moving on to the Chris Lord Alge acoustic. The CLA acoustic plug-in.

    This is going to be quite a bit of a volume difference here, but this brightens it up and gives it some clarity.

    You can already tell it's much clearer. I lost a little bit of the bottom end in that so I used LA-2 to kind of add some oomph back it. Let's before and after that.I'm liking the vibe on the picked acoustic guitar. Uh, you'll see I've run that through the UAD EMT plate. Just puts that in a space. Then I put the vocal in the same exact space.

    It just gives it a sense of space. That's the picked acoustic guitar. I'll show you real quick the strummed acoustic guitar. I wanted to mix that differently.

    Nice and clear. And for those of you guys using too many plug-ins let me show you a quick little tip. I'll sometimes take the aux tracks or the tracks themselves and scoop them up like this. If you click and drag to try and limit my view of all the inserts.

    We've got the the low mids coming down. The Studer once again with the acoustic guitar. Looks like we did not go with an LA-2.

    I used the new Universal Audio 610B. Love the tone of that. In the track with the vocal I liked what that was doing. I actually added that on the back end. And then you can see similarly we're routing this strummed acoustic to the EMT vocal plate again. Let's here that without it.

    I didn't want to overdo the room sound on this for demo sake. Just to keep it somewhat dry, but still give it a feel and that's video one. There's the acoustic guitar.

  • Mixing Background Vocals with EQ, Delay and More


    Free access to premium courses from David Glenn ➥
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    A video with tips for mixing layers of background vocals.


    Alright, welcome to the last video in the vocal module. For now. I'm going to be updating all of my courses throughout the next several months, and when I do, you get the updates for free to any courses that you purchase.

    So kind of a cool announcement that will be coming out publicly soon, but this one we're going to talk about background vocals. Now, depending on the style of music you're working in, you may or may not have this many layers of background vocals, but I was just given these for this song and the church is going to be re-recording a ton of different layers like this for all of the songs we're doing, but – and so when I get those, I'll update your multi-tracks – definitely for the mix contest.

    But anyways, the layers from Vic, the producer, usually come to me Left, Center, and Right for every singer or every part. So Alto 1, Alto 2, Alto 3 will all do a left, center, right. And then they'll typically record the group, depending upon – actually, I did Vic's sister's record. Her solo EP, and actually, it was a full album, and for that, she did her own background vocals, and she did left, center, right for every single part.

    That can be a bit crazy. Sometimes the center works if the lead vocalist isn't singing at the same time, and so I'll leave the center in the mix sometimes, but whenever the lead vocalist is singing at the same time, the backgrounds, I'll automate the center vocal takes to come down five, six, ten dB to make room for that lead, but anyways.

    In a situation like this, I've got a lot of stacks, but I still feel like I could've used a little bit more of a larger than life hyped sound for this song, so I'm going to hit play in solo and show you the vocalist without any of the effects, and then I'm going to bring these effects in to help you hear the difference.

    So here's with nothing. These are dry. Well, with the EQ and compression, but they're dry with no effects.


    Okay, and these still need to be edited for breaths and that kind of stuff. Some clip gain action, but you'll get the point.
    The first effect on these backgrounds is my Dimension D, and that's just a stereo chorus type effect that's going to add some smoothing out and some fullness, and it's also going to help widen these vocals a little bit.

    Here's before, and then I'll bring the effect in.



    [vocals with chorus]

    Cool. Nice effect sound to it.

    Then, I'm going to bring in a little bit of reverb. This is nothing fancy. Sending it to the Recaste Samplicity Samples with the Sunset Chamber.


    Got a nice decay to it. Sounds really beautiful. Next up, and this is where things are going to start to sound really large and hyped, in solo, it may not sound the best, but I'll go over and show you in context as well.
    Here's before, and then I'll bring in the effect.


    Pretty sweet. That vocal slap delay is just a stereo slap adding a little bit of action, and I felt like I could get a little bit more, so I went to my delay left and right, which is essentially a couple of sets of Echoboy, which again, could be your stock delay. I don't even think I'm using anything fancy about this, but for the delays I'm using a little bit of filtering, EQ, I'm hitting it with de-essing, and then that's going into Echoboy, which again, could be your stock delay, and I just set them different.

    The most important thing about this is that your left and right delays are different. The first delay is a 143 millisecond delay. No science to that, I just dialed in something above 120 or so, and then the second is something under 200. About 180 there. 100% wet, left and right, and they sound like this.

    Here's before.


    And in.

    [vocals with delay]

    Pretty cool, right? So, the thing that's going to happen here is you're going to lose a little bit of definition or articulation in the phrases. It's going to kind of muddy up the sound, but it is going to make it feel bigger, and that's what I wanted here is to make it feel bigger, and then you can do that in varying amounts.

    Let's check this out. This is the background vocals with no effects, and then we'll bring the effects in.


    Let's get those last two lines. For the first one, I'm going to leave the effects in, the second one, I'm going to take it out.


    There's a volume difference, but I think you can tell it also sounds a little bit thinner and it doesn't sound as big, so.

    Big track like this, lots of rockin' tracks, drums, bass, keys, everything is just going at the same time, and I needed to give them a little bit more life.



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