Tips for Tracking/Mixing Rap Vocals, Part 2: Mixing the Lead

In case you missed it, check out Tips for Tracking/Mixing Rap Vocals, Part 1.

The other day, Shane from http://www.platinumgoldstudios.com/ and I got to sharing some techniques we use when tracking and mixing rap vocals/ad libs, and we thought we should make them public so you all could benefit as well. We’re not trying to be comprehensive here. We just want our share of the theoretical millions available for bloggers :-)


Okay, so you’ve tracked clean leads, now what do you do with them? In this post we’re going to addressed mixing techniques for standard leads only. We’ll talk about the doubles, ad libs, and special effects in later posts.


EQ
Slap on a High Pass filter to get rid of any low end rumble that may have been captured during tracking and/or to make room for the kick/bass. Just don’t kill the warmth and natural bottom end of the voice. Try somewhere between 75-120Hz. If the voice is too “thick” or “boomy,” a dip with a peak filter around the 150-300 Hz zone will probably be more effective than rolling off a bunch of low end. If there’s competition with a double, try pulling out around 300Hz to eliminate some of the thump. You’ll probably want to slap on a high shelf at about 8kHz or higher to bring out some clarity and presence (“air”). Sometimes you’ll need to dip as low as 4kHz. This can also make sibilance worse, however, so apply carefully and use a de-esser as needed. EQ other areas as needed to cut out junk and/or boost goodness. Be careful boosting around 2-4kHz. It’ll add presence, but at the expense of being harsh over time.

New York
Parallel processing the lead is a great way to make it fatter while also preserving the dynamics that contribute to emotional impact. Try pulling out the lows on the squashed version so it doesn’t accentuate any mud or boom. Also try boosting the highs after the compressor on the squashed copy to bring back the clarity you might have lost after compression. If that’s not “in your face” enough, try out this “Vocal Exciter” trick courtesy Ill Will from http://www.phatassmixes.com/ (@IWStudios): http://www.youtube.com/watch?v=lYPdJjDg7UA

Reverb/Delay
Spit is usually dry, but try adding a tiny bit of short plate or medium-room reverb to help make the voice sound fuller. We’re talking percentages under 15%. A little goes a long way. Roll off the lows up to 700Hz if needed, and trim the highs down to as much as 8kHz. Long stereo delay (1/8,1/4, 1/2) has found its way into many current rap/pop hits and can be affective at times. To add interest, make the right side delay different from the left side (for example, an 1/8th note on one side and a 1/2 note on the other). Don’t overdo it, or it will sound comical or just confusing. Roll off highs if the delays compete with the lead. Go as low as 1kHz if needed. Roll off the low end of the delay if it’s muddying things up. Sending the delays to the reverb helps soften their impact as well. Adding a short delay (under 40ms) can also add some more weight to a voice. Just mix in the delay lower than the lead and try rolling off the highs so it doesn’t fight the lead in the clarity zone. Longer delay times (between 40-200ms) can also imitate a doubled sound as well, but is pretty static sounding after a while. Hard panning a delay or reverb in mono can be fun but isn’t very common. Whatever you do with delay, play with feedback time and adjust to the needs of the track. One repeat can work, but several are sometimes needed.

Heavy Metal
Blending in (parallel processing) some mild distortion can also liven up a voice and make it more interesting. Exciters can also work wonders. Limit the bandwidth of the hyped processing, however, so it doesn’t dominate. The goal is to add subtle texture, not deep-fry it into oblivion. Avoid adding too much crispiness or your listeners will unconsciously recoil halfway into the verse. Re-amping the original signal to a distorted amp can produce cool results as well, especially if you feel like you need some more "air" (in the mic sense, not in the EQ sense) around the distortion part.

Panning
Keep the lead panned dead center. There are times when you want the hard left/right doubled sound, but we’ll talk more about that when we get to hooks and doubles.

Style
Work with the producer and artist to determine what their vocal processing style should be. Your work may determine the sound of every other recording they make in the future. Many artists think there is something wrong with the mix when they just aren’t confident hearing the sound of their own voice. If they sound solid, supportively argue for less “cover-up” processing. If they really do suck, some kind of signature processing might be what they need to feel less embarrassed about their abilities. However, don’t process just for the sake of processing. A single dry line might be all that is needed (“Toot it and Boot it” anyone?)


The tips offered here are just possibilities. The strength of these tips depend on what’s currently in style and how “pop” the artist wants to be. Apply them only if needed, but don’t be afraid to experiment.


Happy Mixing!

Cory & Shane



Check out Cory on Twitter @CreateMusicPro or online at http://www.createmusicproductions.com/

Check out Shane on Twitter @Gilligan204 or online at http://www.platinumgoldstudios.com/

Tips on Tracking/Mixing Rap Vocals, Part 1

The other day, Shane from http://www.platinumgoldstudios.com/ and I started sharing some techniques we use when tracking and mixing rap vocals, and we thought we should make them public so you all could benefit as well. We’re not trying to be comprehensive here. We just want our share of the theoretical millions available for bloggers. :-) In this post we focus on tracking. Part 2 will be dedicated to mixing.

Tracking (in no particular order of importance)

• On the pre-production side, we recommend matching the bpm of the backing tracks to the DAW grid. This will give performers an accurate click as well as make it easier to do on-the-spot things like timing delays, cutting/pasting parts, etc. Also make sure to map your session with markers so you can quickly navigate from one part to another without doing the old where-am-I? routine.


• It’s a given that you have a talented rapper, a decent microphone matched to their voice, and a quiet, acoustically treated tracking environment. Padded closets don’t necessarily sound the best, and could make the performer feel cramped. Used close-backed cans to avoid headphone bleed and don’t crank the playback for the same reason. Also, tell all the hoodlums in the background to keep it down during takes. If the performer has to rely on a lyric sheet (which we highly discourage), affix it somewhere stable as to avoid the crinkly-paper syndrome. You would think cell phones might solve the problem, but a) looking at anything divides focus and could hinder the performance, and b) the mobile might make an old tube mic cranky.


• Use a pop filter. Use two if you have to. Turning the mic slightly off axis will “smooth out” some voices as well. Play with the distance from the mic. You usually want a close, intimate sound, but there are times when you need the artist to back off the mic. Folks that move all over the place can benefit from backing up a little further, as their movements won’t cause as many dramatic fluctuations in volume.


• If you’re working in 24 bit, keep input levels conservative with the average hovering around -18dBFS and peaks hitting -12dBFS every once in a while. (If you’re working in 16-bit, slap yourself and move into the 21st century.) Digital clipping is evil. If you have a hardware compressor, set it to catch any stray peaks when (not if) the artist gets excited and delivers a line 15dB over their average. Keep the ratios on the low side, 2:1 – 4:1.


• Try using a different mic for the leads than the doubles/ad libs. Again, play with mic distance for ad libs, especially for the “in the back” effect. It’s easier to make this sound legit when tracking than tweaking during mixdown.


• Sometimes you gotta ask the performer to over-enunciate with clear projection. “Stylistic” slurring may sound good to the artist inside their heads but the mic could be “hearing” marbles-in-mouth. We’ll let it slide if you’ve been shot in the face like 50 Cent. :-) The point is that clearly articulated, energetic performances usually sound the best.


• Ad libbing is an art. If the performer doesn’t have a clue, it’s easy to make suggestions and capture takes in the name of experimentation (just don’t be annoying). Some styles need a bunch, others need very little. It depends on what’s currently in. If there is a producer, let him make the suggestions.


• For doubles, make them as tight as possible. Tight doubles should be almost identical in delivery, inflection, and length. The editor will hate you if they’re not. If you want that “on purpose” sloppy double for effect, then over stylize the performance. You don’t want it to sound accidentally sloppy.


• After tracking a take of ad libs/doubles, listen to them in solo to make sure they’re clear and confident. Too many times the buried and unprocessed ad lib will sound passable under the lead but is really an incomprehensible garble when soloed. Processing will reveal this fact, so catch it at the tracking stage before it’s too late.


• We recommend having the artist track a double and lots of ad libs. It’s way better to give your mixer options than none at all (just let them know that’s how you tracked). It’s easy to mute an unwanted double or excessive ad libs. It’s harder (and time consuming) to create ad libs or doubles out of the lead vox (not impossible, just annoying).


• Having a different voice on the hook can provide needed contrast to the main rappers on the verses. If one of the rappers is also delivering the hook, consider separating it somehow from the verses. If the artists/producers aren’t open to adjusting the arrangement, talk to them about mixing it up sonically. It could be as simple as changing tracking rooms (verses in small room, choruses in big room). You can wait until mix time to play with effects, but it’s more fun to get creative during the tracking stage when everyone’s in the zone. Experiment.


• For the hook, try capturing anywhere from 3-6 tracks to give it that beefy “I’m the chorus” sound. Add a double, possibly a triple. Sing it an octave above or an octave below. Throw in some harmonies and maybe even double the harmonies. Experiment with whispers, spoken lines, and lines delivered with more attitude than the others. Again, it’s easier to hit mute than to try to pull stuff out of thin air.

The strength of these tips depend on what’s currently in style and how “pop” the artist wants to be (if at all). Totally dry spit over a single sampled loop can be just as effective as an over-the-top pop production. Just because something’s possible, doesn’t mean it has to be done. Decide at the pre-production stage what the goals of the track are.

If you've got some tips we've left out, leave 'em below in the comments.

Happy Tracking!

Cory & Shane

Part 2: Tips for Tracking/Mixing Rap Vocals, part 2: Mixing the Lead

Check out Cory on Twitter @CreateMusicPro or online at http://www.createmusicproductions.com/


Check out Shane on Twitter @Gilligan204 or online at http://www.platinumgoldstudios.com/