This works well if you want your vocals to cut through a dense mix. It will change the overall frequency spectrum of the signal, control the peaks and reduce harsh frequencies. This way, the compressor will be sensitive to the frequencies that I boost. The reason is simply because I want to EQ into compression. Just enough to get the old tape effect.Īfter adding some analog sonic characters to the vocal, the next thing I did was equalization. The goal is to add a small amount of saturation just to generate some overtones, you don’t want the effect to be too obvious or distort the signal. This also gives the vocals some analog warmth so that it doesn’t sound too digital.īasically, this effect simulates the saturation and compression of recording on analog tape machines. The first thing that I did was to add the Magneto II tape emulation plugin to add some sonic character to the vocals. Mixing Vocals In Cubase Using Stock Plugins Saturating The Vocals With that said, I want to give you a case study, instead of giving you a general tutorial I’m going to show you how I mixed the vocals for one of the projects I’m currently working on. So, always remember that if you put garbage in, you get garbage out. That is why I always stress that you should spend a lot of time in recording and sound design, the rest of the process will be a whole lot easier. One more thing, the one thing that could be preventing you from getting a professional sounding vocal is if you didn’t get the right sound straight from the source. Some people think that they’ll understand the process better if someone explains it using stock plugins, that’s not true at all. What matters is whether the end results sound awesome and if the mix can compete on a commercial level. One thing that everyone needs to understand is that the listener or music consumer is not going to be able to tell if the music was mixed with analog gear, stock or expensive UAD plugins. Or am I missing something here? Let me know in the comments below.Īnyway, I finally decided to just do the tutorial to show everyone who sends me a message how to professionally mix vocals in Cubase, using stock plugins only. The last time I checked, 500Hz on a stock plugin is still the same as the 500Hz you get on a third-party plugin. So, this means that there’s a lot of people who still believe that mixing vocals with stock plugins is different from using third-party plugins. “We are very proud as a small Munich software house to be granted such a notable international recognition for our work,” said Neubäcker, receiving the award together with his three partners in Los Angeles.One of the questions I frequently get these days is “can you please do a tutorial about mixing vocals in Cubase …” He also thanked the Recording Academy, the Celemony team, the company’s many friends and, of course, all the users of the software Melodyne. In his acceptance speech, Peter Neubäcker alluded to his philosophical and mathematical background, explained his own, singular vision of music, and described the beginnings and the spirit of the company. After all, Celemony has blazed open a radically new avenue of access to musical editing that for ten years now has made it impossible to imagine music production without it. Host and Grammy manager James McKinney opened with the legendary question posed long ago by Melodyne inventor Peter Neubäcker: “What does a stone sound like?” A truly philosophical approach to the world of sound technology, far away from the purely technical thought-processes that typically prevail in the industry, and yet it is for precisely that reason Celemony was chosen to receive this year’s Technical Grammy. The first of the Special Merit Awards to be presented went to the Munich software house Celemony. And perhaps also the strangest,” commented Melodyne inventor Peter Neubäcker. I believe our company is the smallest ever to have received a Technical Grammy. “This is an honor none of us ever expected. The highest award in the music business is given in recognition of “contributions of outstanding technical significance to the recording field” and is equivalent to an Oscar in the film industry. On February 12, 2012, we have been honored by the Recording Academy as the first German software manufacturer with a Technical Grammy.
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