Grammy winner and 10x Grammy Nominated Recording Engineer and Mixer Miles Walker, whose credits include Rihanna, Katy Perry, Usher, Britney Spears and Beyonce, is here to answer your questions on recording and mixing female and male pop vocals.
To learn more about Miles, read the feature here.
How to ask Miles your questions:
1) Log in to Transport (Or subscribe if you haven’t yet done so)
2) Use the comments field below to ask your questions
3) Miles will pick several of your questions to answer and those answers will be posted below.
Q&A period will close by Jan. 4, 2011.
Are you using the Apogee Preamps for recording Vocals, or do you prefer others? Also with which plugins do you work most when mixing pop vocals? Thanks
Hi Miles, Give me a hint on the frequencies… do you usually have to boost highs, or even then? I am wondering, bc many modern mics have a tendency to already have lot of high frequency by design.
Thanks
Do you ever mix in headphones? And if yes, what headphones would you suggest for mixing?
What three tips would you give to someone who is producing from their bedroom? I mainly use Logic and an Apogee duet for vocals and guitar.
What is your typical vocal chain when recording female pop vocals?
When you start mixing a song, do you start with the lead vocal and get it to where you want it and then mix everything else around the vocal or do you concentrate on the instruments first and then fit the vocal in later?
What is your favorite vintage vocal mic? What is your go to vocal mic that’s currently produced?
Thanks to everyone for All the questions…i’m going to try and do as many of them as I can…so I’ll start going down the line:
QUESTION: “What is your favorite vintage vocal mic? What is your go to vocal mic that’s currently produced?”
ANSWER: I really love my Vintage Telefunken U47 Mic. It’s all original, power supply, capsule, and tube. Sounds super warm and smooth. For pop stuff, I also really love my Brauner VMA. It’s similar in sound to a Sony C800, but has a really cool alternate Bias on the power supply that gives it a different sound, if you go for that setting. Occasionally, I’ll throw a U67 into the mix, but from those two base mics, by varying up my pre and compressor combination, I can dial in a sound that is right for the vocalist I’m working with at the time….
QUESTION: “What is your typical vocal chain when recording female pop vocals? Also with which plugins do you work most when mixing pop vocals?”
ANSWER: My vocal chain and favorite pre:
I have and use Neve 1073s, API 512s, and Crane Song Flamingo.
For Compressors, it’s usually a Crane Song Trakker, or Tube Tech CL-1B….
Those go into my new Symphony I/O…but before that it was my Rosetta 200 and Big Ben…with the Soft Limit on while recording. That soft limit (which the Symphony I/O also has) is really helpful in dialing in a consistent good level without having to over compress….random spikes can be caught by it, instead of a consistently lower threshold on the compressor, and squeezing too much.
After that it’s into the DAW (which is usually Protools….but MAYBE logic, depending on what we are doing)….from there, I’ll record…and when it’s time to touch up the sound, I’ll go for a few eq plugs that I like…such as the Waves SSL E Channel, or the UAD trident A range to put a little bit more shine on top of the vocal.
Okay!! so that gets our vocal signal going and started up….let me look through more questions and see what else you guys wanna talk about…
QUESTION: “Do you ever mix in headphones? And if yes, what headphones would you suggest for mixing?”
ANSWER: I typically don’t work in headphones…though I have to admit…sometimes they are a nice reference for bass levels. You can feel how the overall low end is shaping up if you have a balanced pair of headphones that you like and trust. So occasionally if I’m feeling lost in a mix, I might try out some cans for perspective.
People asked about some mix approaches, and I usually always mix all the vocals accapella before working in the beat. It’s something I learned from a great mix engineer….”get the vocal right first”…otherwise you are just making Karaoke music. For pop records, i’d rather make adjustments in the music, than have the track PERFECT, and compromise the vocal sound. This isn’t a right/wrong approach, it just how I like to work on stuff.
I see from the photo you’re mixing on an SSL G (or maybe E?), my preference as well. Do you tend to rely on the SSL, outboard or plug-in EQ & compression?
Thanks you for the question Bob. I tend to approach every mix and process thinking whatever you would do, and make sure I’m doing EXACTLY that…That is my complete mix process/ lifestyle decison process. In all seriousness, I’m quite across the board in the format I mix in. While my favorite option is to be on a 4000 G, a lot of times I’m stuck in the box. However, with my new Symphony I/O, I’ve got enough outs to use a Summing amp (the SPL Mixdream) and fake the headroom and summing of the 4000 G that I love so much. There’s lots of really great plugins for EQ and Effects that I love, like the Waves SSL , or the UAD Neve stuff….But I don’t have as many favorite compressor plugs….a lot of the UAD stuff sounds best, but it’s still a shade under the real thing. I actually do most of my EQins in the box, even with an SSL present, and really use it for the headroom and summing qualities. My mix style is still a work in progress, but the combination of these things has it moving in a direction that is hopefully ever closer to some Clearmountain sonics
Take care
Hey Miles. I would like to know what’s the better way to record acoustic voice and guitar in the same time. Must I plug my guitar in my interface or just use my mic (blue bluebird) for the both.
How do you record when you do a simple song with only voice guitar and drums or an acoustic song?
Thanks for your answering.
Thanks for the question Alexis…to better give you a solution, I sort of need to know what interface you have, and it’s I/O spec. If you had the Apogee Duet, you’d be all set to go. For instance, what you can do with that, is have your vocal mic set up on a stand, with some kind of sound isolation around it. This is preferable in case you decide you want to comp takes, maybe of say the vocal, but not the guitar….you MIGHT be able to get away with separating and just recutting the poor take. Using the other input, you can also mic your guitar (i’m assuming it’s acoustic), perhaps around the 12th fret.
This is a way of getting an “all- in – one” take. I know a lot of singer/ songwriter performers prefer this method of playing, but if I get my way, I’d have them track the guitar separate from the Vocal. That way, I can try some alternate mic ing placements for the guitar (maybe like up at the bridge or further back stereo room mic), and have a nice clean isolated vocal for punch ins or tuning or whatever. If it’s important to you to play them together, try that “dual input” method of one vocal mic, and one acoustic mic, arm 2 corresponding tracks in your DAW and let it rip.
As always, try to take advantage of the best sonics you can, using whatever mic pre or compressor you have in your chain, or if just rolling with the Duet, maybe you can give it some squeeze inside your DAW with plugins. Just make sure to tune your guitar before you start, and try and put on fresh strings after several takes. It can really make a difference in the sound, especially if the instrumentation is very light, as you mentioned. Thanks for the question….if it wasn’t specific enough for what you had in mind, let me know more about your interface and guitar type, and i’ll come up with some more
can you please tell me some good tips for equalize and compressor in mixing special on vocal.
thanks
sona
Hi Miles,
). Toby Wilson, Shine Recording, Staffordshire, UK.
I have just ordered an Apogee Duet. Moving from a Yamaha 01V Adat setup which I have been comfortable with for years. Whilst I am looking forward to the pristine quality of the duet, I am apprehensive about not having a compressor in the chain. I predominantly record acoustic folk/roots so don’t need the ‘in your face’ radio ready vocal sound……but I usually track vocals with a little gentle compression. The chaps at Apogee said I shouldn’t worry cos I can add the compression in the box. I am not 100% comfortable with this concept. What is your take on this? and, if you suggest a compression device being aded to the chain, what would you recommend for the budget studio? Thanks in advance for picking my question to answer
Thanks Sona…I think the biggest thing to remember about eq-ing and compressing a vocal, at least for pop music, it’s really just about helping the lyric be present and tell the story of the song. Every vocal is going to have it’s own different set of “problem frequencies” as well as “sweet spots”. The trick it to listen while you are sweeping for them, and settling in there when you find whats working for that particular voice.
Another good EQ tip, is when you find the frequencies that you boost, try cutting the amount you increase the gain by half, and see if it still gives you the same sound you are looking for. (as in if you boosted 4.5k by 3db, try dropping it down to a boost at 1.5db and see if you still feel good about the coloration). This way, you’ll have less phase shift in your vocal sound, and that’s important in not creating ear fatigue for the listener.
I usually try and use subtractive EQ first, instead of boosting frequencies, for the same reason, it tend to create less phase shift for my ear. Using a good quality EQ (either hardware of software) will also lessen the apparent phase shift and make the change more “natural”.
For compression you have to decide what you want to use the compression for….sonic coloring, or general volume leveling. If you are just looking to do some volume leveling, try and use the most transparent compressor you can, so as not to alter the color of the vocal, just help you out on having it sit in the mix a bit more. The Tube Tech CL1B is one of the best compressor’s I’ve ever heard for this…as well as the Crane Song Trakker on the “air optical” setting. In software land, Waves old classic the RCompressor is my go to for this practice….great simple operation and very transparent if used lightly. Love it.
If you are going for more of a hard color compression, as in adding low end energy to a dull vocal or maybe trying to round off some harshness in the high end of that voice, try a more agressive compressor. If you hit them hard, the Distressor can do some unreal things with vocals. I also love the Chandler LTD and TG series….they both add some round darkness, but in a cool way to vocals. In the box…I like Waves CLA-2A and also the UAD fatso or Neve 33609 models…both sound pretty rocking, depending on what you are going for.
As far as ratios and thresholds….all those are kinda program dependent, but I’ll usually start with a 3 or 4 to 1 ratio and medium fast attack and pretty fast release…to at least dial in the color, and fine tune depending on the tempo and style of the song after that. Waves H Comp has a really cool release feature on it’s compressor that syncs with the BPM of the song you are working on…which can make for some cool slopes on the vocal compression, it rhythm of the song. Great stuff!! Thanks for the questions….keep them coming. Peace!!
Hi Miles! What sound equipment would you advise for small project studio with budget up to $ 10 000 (mic, preamp, audio interface, software, monitors, etc.) Thank You!
Miles- When do you choose small diaphragm condensers over large diaphragm condensers? Is it according to frequency or transient content?
Thanks,
friendly guy
Thanks for the question friendly guy. Choosing a different sized diaphragm mic can have a lot to do with what you are recording. While there is no right/wrong choice, what mic I pic is usually based on how it’s going to compliment the sound. If we are talking about recording vocals, the size of the diaphragm can shape the frequency response in a way the that is helpful to the vocal sound I’m going for. For instance, if you were to look at the Neumann U87 and the U89 (which is a smaller diaphragm), the 89 has a slightly flatter frequency response and therefore, could be a better choice if I’m looking for less coloring of the vocal. There are also other factors that make that mic that way (as compared to the U87), but basically when looking at my choice of diaphragm selection it’s mostly based off of frequency response.
Thanks Ustoz…this is a great question with about A MILLION different answers. As a super disclaimer, everybody’s recording needs and style are different, so there’s many ways to set up a project studio with a budget of around 10k. It’s MOST important to have a set up that you are comfortable with, and still meets your sonic goals, so switching out ProTools for Logic or vice versa is obviously “end user” specific. With that in Mind, there’s a few overal questions to help tailor this studio set up to your needs.
Are you planning of producing music of your own? or Recording other peoples productions? Are you looking to do full orchestration (as in drums, guitars, piano, strings, etc) or mostly sequenced based music and vocals? Do you want to have a strong room for mixing? or focus mostly on tracking?
Let me know these goals, and I”ll give you what I think will be best suited for your budget. Thanks
Thanks Toby-Wilson. I’m excited for you to check out your duet…I think you are going to love it for any number of reasons. Thinking about your set up and recording goals, software compression might not be that bad….and there’s even ways of using it, “to tape” so it will still feel like how you record. If you are using Protools HD, you can set up you mic to input on and Aux track that has a software compressor on it. Then route that aux to a fresh audio track and arm it. That way, the compression will be recorded onto the signal, giving you your “compression to tape” feel you’ve done before. I’ve actually recorded this way when I’m been on the road and in a studio that didn’t have a compressor. It’s not my favorite way to work, but there are some tasty software compressor emulations that really do a great job….like TC Electronic’s CL-1B TDM emulation. Wow. Now..if you are using an all native based DAW, like logic or cubase, then you could do the same thing, however, you are introducing some latency into the signal which might end up being more trouble than it’s worth. For that instance, I’d say just record off your pre amp a little quieter than usual, and make up for it afterward, so you don’t accidently distort to tape. If you are looking for a better hardware solution for the a low budget, I’ve actually been really impressed with the RNC (really nice compressor) line. They are great half space solid state units that sound smooth if you are looking for a mild tracking compression. Super portable and really inexpensive for their function. When used subtly for tracking purposes, you can make something nice and even on the way in. I hope that gets you going. Take care
I understand that Tube Tech CL 1B compressor is one of your favorite. Please give me the setup option that you think is best for recording male voice.
Ratio:
Treshold(or compression in db):
Atack:
Release:
Manual or Fix/Manual:
As I use a Sony C 800G/Neve 1084 preamp and this compressor is new for me.
What is the ideal maximum input level from the preamp to the compressor (max db pick level)?
Thenks! Hapy new year!
Alin Oprea
Miles.. I’m a fan of your work and I just got on question for you bro. Apart from the easy work flow that analog mixers (or perhaps consoles) provide, whats the other advantage(s) of mixing on consoles over mixing inside the box?
Thanks in advance bro
Sorry for the Delay writing back…I didn’t know I was still getting questions, but happy to answer them. Alin, the tube Tech is one of my favorite tracking compressors for vocals, it is true. With your vocal chain of 1081 and C800 (a great choice I might add) start with the threshold down (as in off) and gain at 0db and have the meters looking at input (you could also accomplish this balanced setting by not engaging the compressor…have it bypassed). Then looking at the VU meter, have the average level come in a bit under 0db. That’s one of the great features of using a CL-1B with a preamp like the neve…you can use it’s input metering to look at the level straight off the pre. I love that. Once you have a nice level set there, engage the compressor, by starting to dial the threshold until you see a reduction at the peaks of the program. I usually use a 3:1 compression while tracking, and a medium fast attack and a pretty fast release with the fix/manual engaged. This is fine tuned depending on the style of the song (pop vs R&B) and also based on the tempo of the song….usually faster attacks/releases on faster songs, and longer/slower on ballads. Hope that gets you started….just a note about the CL-1b..the knobs are a bit delicate and you can get some might big changes while turning, as they aren’t stepped…slowly sweep until it’s sounding good, then maybe mark your favorite spots so you can find them again later.
SteveJoe…thanks for the question, i appreciate you comment. For me, the main element of working on consoles that I miss over mixing in the box is the headroom available during the mixdown. Try as I might…I always feel i’m topping out the stereo bus inside of protools very quickly, and having to adjust down my music levels, when on a desk…I can just keep pushing the faders higher and still have plenty more to go. Of course it’s nice to have the ease of patching and routing on each channel, like you mentioned, but I’m pretty comfortable with that in ProTools too…but it’s the summing of the stereo signal that I feel gets a bit cheated in the box. It really isnt’ a SONICS thing, as I think the summing sounds okay…but it’s all about that headroom. A lot of my favorite mix engineers I really look up to are hybrid style mixers, and their smashing beats they mix sound great not only because of their eq choices, but I KNOW having that headroom of a desk is really putting it in my face. If budgets allow, I’m always trying to work on an SSL (4000g has the best headroom in my opinion! I love that console) so I can bring the best out in my mixes. There is a sonic difference too when working on the board….and each desk has it’s own thing about it. A lot of that is the eq color and choice…and how repeated use of that across many channels with color you mix accordingly. Also the overall feel of a desk. For my money, the Low end is a bit smoother and rounder on SSL 9000js, with there is a great mid range energy that occurs on SSL 4000g desks. All these things go well together to make up a great mix….but first and foremost, if the song isn’t great, it doesn’t matter what desk you are mixing on! Hope that clears it up a bit. Take care and thanks again for the comments.