Make sure you know the key of the song before you start. Right now I'm loving Vallahala Vintage Verb and SoundToys Echo Boy for my effects. You can then dial them in to taste as you get up and running with the first few takes. A good place to start is with a great vocal plate setting, a long spacious reverb, and a medium delay. I always have effects sends on the vocal buses preset and ready to go so there’s no wasting time loading up plugins. See below for how to achieve this in Pro Tools. Make sure to link your plugins for each vocal track so that If your tweaking one instance that same plugin on all the other channels will change aswell. The high band will also act as a de-eser. I am also using this to add a little top end from 5k up. This is a high energy area that can sound harsh and piercing. C4: I start with the ‘Pensado Vocal’ preset (thanks Dave) and pull the high-mid band down slightly to around 1.5k to 4.5k.Compression is really important for tracking so the singer can get a great vibe in the headphones. RVox: This is a no-nonsense compressor that just works.This will all change depending on the singer and microphone but this is a good place to start. Taking out some honky 500hz and some harsh 2k. Pro-Q2: Filtering out any low rumble, air-con noise, foot stomps from 50hz down.This is really subjective and my vocal chain changes all the time but you can't go wrong with the basics, eq and compression. These tracks go to their own bus corresponding to each section of the song so you can easily have separate control. As for the adlibs, these can vary on the type of music your recording but they often require different treatment again and you can get really creative with the effects here. I tend to like wider and airier and will sometimes have their own set of effects. Verse, Pre, Chorus, Bridge…īV’s will get slightly different treatment from the leads vocals. Logic has a similar feature but can create playlists automatically, it does organise them quite well, although you cannot name them as easily as Pro Tools.Įach section of the song has its own set of tracks and stereo bus e.g. This is useful for comping vocals quickly and keeping your track count down. The playlist feature in Pro Tools allows you to have multiple takes on the same track. This way, once you create a new playlist that will increment to 01 for take one, 02 for take two and so on. I will usually prefix each record track with the artist's name and suffix with 00. Here are my Verse tracks Stereo buss at the top with sends to FX. You’ll need to have your vocal tracks pre-named, your vocal chain assigned, and your sends ready for effects. I like to go with the 128 default busses and then start to create my own busses after that so they appear in the next layer of the buss menu.Īs you can see I have some dummy buses inserted to split between Master, FX, Vocals, this makes the menu much easier to navigate. This walkthrough is Pro Tools specific however, concepts and workflows shown here can be applied to any DAW.įirst things first, get your IO set up, this can take a while but you’ll only have to do it once. I’m going to share a few tips I’ve picked up from over the years and guide you through my vocal template. By having your vocal template in the bag you’ll be ready for anything they can throw at you and be one step ahead of the session. The key to running a smooth vocal session is the speed in which you can react to and implement the artist's instruction. This article is for anyone who is looking to refine their vocal tracking technique and take their vocal production to the next level. In this article, I will be running through my vocal tracking template and some tips and techniques designed to enhance your speed and efficiency while engineering a vocal session. Welcome to the first post in this series focussing on speeding up your DAW (Digital Audio Workstation) workflow.
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