How do you mix vocals to sound similar to Party Next Door and Bryson Tiller? HELP

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TheStudentAlejandro

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I really like how they mix their vocals to the beat. Does anyone know how to achieve something similar to this?

The vocals sound in your face and alive. How do you mix an artist to sound like this? Do you Layer the vocals? If so, how many times?
What would u do with EQ and Compression? Reverb and Delay?

I'd appreciate any input on this, thanks!

References :
Bryson Tiller - Don't
PND - Right now
 
Also interested in this, particularly with regards to Bryson Tiller's vox. In his song "Exchange", you can tell its only one voice but there something about how it is processed that makes it seem like there is some secondary timbre added to the voice or something to make it sound like 1 and a half voices singing the song. My first thought is maybe there is something with overdrive and delay going on but I'm really not sure at all. Or maybe the same takes overlapping with different EQ settings? I'm curious as to what people think. Thanks.

 
TheStudentAlejandro said:
I really like how they mix their vocals to the beat. Does anyone know how to achieve something similar to this?

The vocals sound in your face and alive. How do you mix an artist to sound like this? Do you Layer the vocals? If so, how many times?
What would u do with EQ and Compression? Reverb and Delay?

I'd appreciate any input on this, thanks!
References :
Bryson Tiller - Don't
PND - Right now
Click to expand...


I can't tell you exactly what they use but i will say its EQ and Compression as well as will as some saturations plugins. Most engineers start off by using hi pass filters. I'd say pull up the eq and compression as well as the reverb and delay and experiment. possibilities are endless with the technology today !

Best Wishes,


YOung Fizz | Free Listening on SoundCloud
 
YOung Fizz said:
I can't tell you exactly what they use but i will say its EQ and Compression as well as will as some saturations plugins. Most engineers start off by using hi pass filters. I'd say pull up the eq and compression as well as the reverb and delay and experiment. possibilities are endless with the technology today !

Best Wishes,

YOung Fizz | Free Listening on SoundCloud
Click to expand...

Thanks brah. Found a great vid just today that some guy did for this. Wanted to share it with y'all. Anyone got ideas of what equivalent plugins to use in logic to match up with what homeboi's showing here?
 
Hi all! His vocals sound pretty clean and upfront and I can offer only a few tips.
1. Most important tip: always fit the vocals into the mix early on. Add the kick and bass, and then add the vocals. That way, every instrument you add on after can be melded to not interfere with the vocals and the vocals (the most important part) will have its own ground.
2. Parallel compression is key for full sounding vocals. Basically, you send an unprocessed vocal signal to an auxillary track and add some HEAVY compression to this signal. You want it super squashed (roughly 15-20 dB of gain reduction) and you subtly add this signal into the mix to a level you can't really hear it but feel when it's muted. This will give it a ton of substance and weight without impeding the sound at all.
3. It sounds like he has a layer going on with this. This works WAY better than just copy and pasting the main vocals. Again, I would compress this more than the main vocal in order to have 1 main vocal part have the nuances and sound like the most upfront signal.

Let me know if this was any help! I have a few guides up on this site that you find helpful! Best of luck

My other guides:
EQ
Dynamics 1
Dynamics 2
Reverb
Delay, Chorusing, Flanging
 
Have you got an A/B example of that compression blended weighting to a vox with and without the trick you discussed in step 2?

Edit* Also I'm still not sure if he is using layering or not. It's one of the things I've been trying to figure out for more than a minute now.
 
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A lot of the technical stuff in the video tutorial was off, but he essentially used EQ (the parametric eq & the Fruity filter), a chorus effect (most likely in Logic), compression (soundgoodizer = a multi band compressor, limiter, and saturation with one knob and 4 presets. Logic has a multi band compressor), a de-esser (basically a multi band compressor for reducing sibilance. Spitfish is also a free plugin. Not sure if it's available on a mac though), and reverb.
 
thanks for sharing this info, everyone. I'm starting to work with vocals and I'll use this. Big ups. lol
 
Adrian-MarQ said:
A lot of the technical stuff in the video tutorial was off, but he essentially used EQ (the parametric eq & the Fruity filter), a chorus effect (most likely in Logic), compression (soundgoodizer = a multi band compressor, limiter, and saturation with one knob and 4 presets. Logic has a multi band compressor), a de-esser (basically a multi band compressor for reducing sibilance. Spitfish is also a free plugin. Not sure if it's available on a mac though), and reverb.
Click to expand...
Thanks A-Marq,

So yep Logic has a parametric eq but I'm not sure what the equivalent to a fruity filter would be. What kind of EQ is the fruity filter if you know? Check for the chorus effect, I can get that too in Logic. The soundgoodizer though sounds like the most important part and if it is essentially 3 plug ins in one, it seems like it might be hard to replicate. Is the soundgoodizer a FL exclusive plug in or can I get it too?

Also, just for my own knowledge's sake, what is saturation? I keep hearing about saturation on vox and I have no idea what type of plug in this refers to...my best guess is saturation means overdrive...is that correct or nah?

Luckily, there is a Spitfish for mac as well. They have vst and au plugins on their website. That said, regarding the reverbs, do you think it's more likely to be a plate reverb, or a hall reverb, or some other type (i.e. is it possible to be able to tell the difference just b from listening to it in your view?). Thanks.
 
Yeah, it might be a chorus effect they put on an aux track and add it subtly to the vocal.
 
D-toks said:
Thanks A-Marq,

So yep Logic has a parametric eq but I'm not sure what the equivalent to a fruity filter would be. What kind of EQ is the fruity filter if you know? Check for the chorus effect, I can get that too in Logic. The soundgoodizer though sounds like the most important part and if it is essentially 3 plug ins in one, it seems like it might be hard to replicate. Is the soundgoodizer a FL exclusive plug in or can I get it too?

Also, just for my own knowledge's sake, what is saturation? I keep hearing about saturation on vox and I have no idea what type of plug in this refers to...my best guess is saturation means overdrive...is that correct or nah?

Luckily, there is a Spitfish for mac as well. They have vst and au plugins on their website. That said, regarding the reverbs, do you think it's more likely to be a plate reverb, or a hall reverb, or some other type (i.e. is it possible to be able to tell the difference just b from listening to it in your view?). Thanks.
Click to expand...

The Fruity Filter is just a simple EQ. Honestly, there isn't a good reason for him using it. The filter just boosts the high end (very high lol). You could save your time by just using one of the peak filters (the one with the bell-shaped curve).

Soundgoodizer isn't doing anything complicated. It's just compressing each frequency band and raising everything a bit. The main thing I see from its settings is that the high end (3 kHz +) is getting boosted more than the low and middle bands. Unfortunately it is a native FL plugin. If the multiband compressor in Logic has presets, you could probably scroll through them until you find something close to what you are looking for. Also, the mix level of Soundgoodizer is pretty low, so it isn't doing too much.

Saturation is similar to overdrive. Can't think of a concise way to accurately explain it.... It's like compression and distortion that becomes more audible as the signal input increases.

The reverb is more of plate. The primary characteristics of it are that the room is fairly small, there is a short decay, and there is a good amount of high frequency content being output. If the decay time were longer and the room were bigger, it would be more of a hall.
 
Im sure the raw vocals where tracked very well also. I achieve this level every record. You just have to train your ear for what is and what is not needed. The high end on the exchange record is sizzling so there is most definitely a high end boost after some saturation. Nothing to complicated in those mixes at all. The vocals are upfront because everything is mixed perfectly. Examples of a similar mix with sizzling high end.

 
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Adrian-MarQ said:
The Fruity Filter is just a simple EQ. Honestly, there isn't a good reason for him using it. The filter just boosts the high end (very high lol). You could save your time by just using one of the peak filters (the one with the bell-shaped curve).

Soundgoodizer isn't doing anything complicated. It's just compressing each frequency band and raising everything a bit. The main thing I see from its settings is that the high end (3 kHz +) is getting boosted more than the low and middle bands. Unfortunately it is a native FL plugin. If the multiband compressor in Logic has presets, you could probably scroll through them until you find something close to what you are looking for. Also, the mix level of Soundgoodizer is pretty low, so it isn't doing too much.

Saturation is similar to overdrive. Can't think of a concise way to accurately explain it.... It's like compression and distortion that becomes more audible as the signal input increases.

The reverb is more of plate. The primary characteristics of it are that the room is fairly small, there is a short decay, and there is a good amount of high frequency content being output. If the decay time were longer and the room were bigger, it would be more of a hall.
Click to expand...

You always give great info A-marq. Thanks. When you discuss boosting high end, I always associate that with a boost past 10khz, are there frequencies below the "air" region that can also result in more high prescence? I might experiment with more regions if that is the case (like the 3kHz region you mentioned).

Also I think I know what you mean by saturation. I'll try to construct a preset of my own manipulating overdrive and compression to build a sound I like for this sound. I
I'll tinker with multi-band as well. You'd advise putting the multiband at the end of the channel strip right?

Jotted down what you mentioned about plates vs halls for future reference. Cheers.

rickpolo said:
Im sure the raw vocals where tracked very well also. I achieve this level every record. You just have to train your ear for what is and what is not needed. The high end on the exchange record is sizzling so there is most definitely a high end boost after some saturation. Nothing to complicated in those mixes at all. The vocals are upfront because everything is mixed perfectly. Examples of a similar mix with sizzling high end.

Click to expand...
Oh no question haha Bryson Tiller is an amazing singer. That said, what would be an example of what is not needed in a vox? Obviously things like being near perfect on pitch is needed but what isn't by contrast? Do you think besides the boost in the high end that the vocals were touched much more on the EQ side of things or that it's pretty raw? I hear what you mean with that sizzling high end on your own track (which is a nice track btw). How much of a boost is that? 4db around 14khz or even more than your standard modest boost?
 
Hey,

Just wondering what type of retune speeds you guys feel artists like PND and Tiller are using on their pitch correction softwares?
 
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TheStudentAlejandro said:
I really like how they mix their vocals to the beat. Does anyone know how to achieve something similar to this?

The vocals sound in your face and alive. How do you mix an artist to sound like this? Do you Layer the vocals? If so, how many times?
What would u do with EQ and Compression? Reverb and Delay?

I'd appreciate any input on this, thanks!

References :
Bryson Tiller - Don't
PND - Right now
Click to expand...

It all start with the recording. First of all the recording needs to be great. You should check out their credits and see if you can find out who recorded the vocals on the songs that you really like the vocals on. Then see if you can find this person online and shoot him a message and simply ask what he used on the recording of that song. If you can´t find this person or if he doesn´t respond to you maybe you can find an interview or article from him. Maybe on Pensado´s Place or so. On the other hand you don´t know if this recording set up works with your artist if he go a total different tone and voice, so you might be better off to test a few different mics and pre- amps on him till you find what sounds the best for him.
Do the same for the mixing engineer. Check the credits and try do reach out or research to see if you can find out what they used exacly on that particular song. Don't just copy them but use that knowledge to create your own techniques and sound. Pensado's Place and Audio School Online got a lot of great interviews and tutorials from the best engineers in the world so def check that out.

My personal go-to chain on vocals to get them "in-your-face" is: Waves LA2A or LA3A compressor > FabFilter De-esser > Fabfilter EQ (rolling of the low end and boosting some of the highs to make up for the de-esser) > SSL Duende channelstrip (Slightly compress first, then EQ), Waves C4 (multiband compressor to kinda smooth things out) and finally Waves RVox compressor and then I create a few busses for reverb and delay if I think it needs it. Depends on what kinda sound I'm going for and what the song needs. This is just a starting point, use this to help create your own techniques.

Peace

Shroom
BeatPlugBlog.com
ProducedByShroom.com
 
Pretty sure my engineer and I have hit the spot yo. Parallel compression, reverb, blending multiple takes into one sound. Takes a lot of work basically on both the singer and the engineer's part, but it's worth it in the end. Evidence of my hard work:



Just keep at it and you can achieve the sound you're after is the moral of the story.
 
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