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Thread: Recording and mixing vocal - Help!

  1. #11
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    ye i think by 'hand' is the best option...in Reaper theres awesome opportunity for it...and then you will (maybe) do or udnerstand compression in differente way

  2. #12
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    Hal Leonard's book Mixing and mastering suggests also writing mutes (a gate does that to some extent)

    I'm not fond of de-essers for some reason.

  3. #13
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    Quote Originally Posted by jocasrb View Post
    ye i think by 'hand' is the best option...in Reaper theres awesome opportunity for it...and then you will (maybe) do or udnerstand compression in differente way
    The compression point is good - after all, the humble compressor is so often very misunderstood...when it really is just an automatic volume fader (one that does things you couldn't really do by hand, but anyway...).
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  5. #14
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    maybe we should tell guys to look at compressors sort like of a eq ? i mean, im starting looking that way, cuz its changing the shape of a sound not a volume (talking bout vocals, cuz im more into it now, but can be associated with everything else probably)

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    What is the point of making a BUS for the delay and reverb? I understand that when you BUS delay you can sidechain the delay so that it sounds cleaner delay sound, but what is the point for the reverb? Why not just put reverb on the vocal channel itself?

  7. #16
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    Quote Originally Posted by Shirnak View Post
    What is the point of making a BUS for the delay and reverb? I understand that when you BUS delay you can sidechain the delay so that it sounds cleaner delay sound, but what is the point for the reverb? Why not just put reverb on the vocal channel itself?
    When mixing vocals it's something worth considering if you're after an eerie sort of vocal sound.

    For drums etc I personally wouldn't because you risk losing some of the transients in the process versus using a reverb bus.

    I believe there's a historical reason to this approach since drums were considered a single instrument back in the day (and still in some genres such as jazz) whereas in today's productions they're usually close-miked and mixed in their respective channels, so most engineers are trained to use a reverb bus (stuff was outboard back then) whenever it's possible.

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