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/