![]() ![]() Of course we love to use our hardware units like to use Thermionic Culture’s Super 15 or Fat Bustard. Watch the Culture Vulture Super 15 in action in our video below: A great plugin on Cubase to apply that kind of distortion – in a very selective way – is Quadrafuzz V2. You can use tube saturation (real or virtual) to add distortion, or even better, parallel distortion to great effect. In the plugin world you can happily use whatever 1176 or LA-2A emulation – Waves and Slate Digital provide some great options, but even Bomb Factory from Pro Tools can be pretty effective.ĭistorting vocals by driving a nice compressor hot can be a great idea, but sometimes you might want to push things a bit further. If you feel that compression is somewhat compromising the dynamic movement of the vocals you might choose to use compression in parallel instead. Great compressors to use are the UREI 1176, LA-2A, and the Empirical Labs Distressor you can drive these compressors quite hot and obtain good results. This bestowed the beautiful texture that we all know from that record. ![]() Famously the vocals of the first album of the White Stripes were mixed through a Universal Audio LA-2A Teletronix driven extremely hot to obtain distortion. Generally speaking rock vocals like a bit of saturation and in some cases distortion. It is of course worth remembering to keep the guitars out of the way of the vocals by panning them wide and allowing the vocals to sit centrally. ![]() One of the solutions is to side-chain the vocals to a compressor (or multi-band compressor) on the guitars, so that the guitars are slightly reduced in volume (or amount of mid frequencies) when the vocals come in. Often you will find that the vocals and the guitars are fighting for space due to the fact that they cover very similar frequency ranges. Pop and other genres may use a lot more low end, but with rock… usually not so much. This means you can be more severe with your filtering, easily high passing from 150Hz, especially with the higher screamed types of vocals. Most of the time rock vocals don’t need much low end, the most important part is the tone especially in the mids and high mids. This is especially useful for backing vocals, which when also panned wide, make space for the lead vocal in the centre. An alternative to this is to duplicate the track and then to delay one of them. If you do not have a recorded double to work with, vocal doublers such as Waves Doubler can create a simulated double. DOUBLE TRACKINGĭouble tracking vocals can be a great way to add more power to the vocals, which can be especially useful in the chorus. Clarity during recording is therefore vital.2. The number one priority is to have great clarity so we can still understand the words in the song even when we push those vocals in the mix up against the guitars with compression. ![]() This is the favourite mic and pre-amp combination for the Red Hot Chili Peppers for example. A very popular vocal chain is to use a Shure SM7b and Neve 1073 pre-amp. There are always exceptions, but the common trend is to have the vocals to be very dense and very powerful, in order to cope with the power of the other tracks in the arrangement.Īchieving a great vocal sound begins at the recording stage. Usually the groove is principally being driven by the combination of guitars and drums. Having said that, there is a general trend for rock vocals to be mixed somewhat quieter than pop vocals, due to the increased importance of the other instruments. Rock music commonly has a thick wall of guitars which the vocals must cut through, and yet still be intelligible with very aggressive mixes. Mixing rock vocals is inevitably linked to the tradition of rock music in general. ![]()
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