More control over vocals

2m 40s

Mix with the Masters

Parallel distortion: Making vocals cut like The Strokes

Ben Baptie employs parallel processing to give The Strokes' vocals more character and aggression, making them cut through the mix. He duplicates Julian's clean vocal track in Pro Tools, applying Isotope Trash for distortion and thinning out the sound to emphasize the mid-range. Baptie uses a Waves C6 and a FabFilter Pro-Q to control the low end, followed by an 1176 compressor to manage dynamics. This processing occurs in the box, before the hardware main vocal chain, ensuring the vocal retains its dynamic quality while adding a distinct edge. Baptie creates a parallel 'mult' with plugins like the SansAmp and L1 limiter to further drive and limit the vocal. This approach crafts a middle ground that enhances the vocal's presence and clarity, resulting in a signature sound that is both aggressive and clear. To ensure accurate phase alignment, Baptie instantiates the same plugins on the original track but bypasses them. This serves as a safety measure against possible inaccuracies in the DAW's automatic delay compensation, maintaining the integrity of the combined vocal sound.

3m 20s

Mix with the Masters

Automate the vocal level before hitting compression

Chris Lord-Alge emphasizes the importance of automating vocal levels before applying compression to achieve a more consistent and polished sound. He prefers to manually even out the peaks and valleys in the vocal track, making it easier for the compressor to work effectively without distorting the sound. This preparation allows him to use his preferred Urei 1176 Bluestripe compressor, either as hardware or a plug-in, in a way that is less concerned with leveling the dynamics and more centered on enhancing the vocal tone. Additionally, Lord-Alge highlights the need to pre-EQ the vocal, rolling off some bottom end and adding top end before compression. He also addresses the issue of loud breaths by manually reducing their volume to prevent them from being overly amplified by the compressor. This meticulous preparation ensures a smoother vocal performance running into the compression, giving more creative freedom in how the compression is used.

2m 3s

Mix with the Masters

Using two compressors in series on the vocal

Tom Elmhirst demonstrates using two compressors in series on rock vocals, employing a UREI 1176LN for fast, aggressive compression and a Tube-Tech CL 1B for slower, more controlled dynamics. This combination allows for maximum flexibility and control over the vocal's presence in the mix. The signal path includes a Neve 1081, which provides subtractive EQ and occasional high-end boosts, with low-end filtering at 47 Hz. The UREI 1176LN compresses quickly, achieving about 3 dB of gain reduction, while the Tube-Tech CL 1B offers a slower release, akin to a Fairchild 670 on a slower 3 release setting.