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What I want to do first is add harmonics and some unique coloration to the vocal. With our frequency spectrum balanced, sibilance tamed, and our dynamics balanced, we can now begin to amplify aspects of the vocal.
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This preset uses program dependent distortion for a more realistic effect. Insert 5: FabFilter Saturn 2, Saturation The Saturn 2 adds pleasant sounding harmonic distortion. To learn more about compressing, check out a video on the topic which uses the FF Pro-C 2: The lower your sampling rate, the more likely it is that oversampling will be needed. Whether or not you use this function will depend on the sampling rate at which you recorded your vocal. Lastly, to avoid any additional distortion from aliasing, I’ll use 2x oversampling. I’ll also set a faster attack, and turn on very mild lookahead to avoid distortion. Using the vocal setting, we’ll lower the threshold until we get about 6 to 7dB of attenuation.įurthermore, we’ll use the automatic make-up gain function and the autorelease to make the setting more program dependent and dynamic.
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The settings we’re going to use with the Pro-C 2 should, if done correctly, add a lot gain, character, presence, and truly balance the vocal’s dynamics. It compresses and adds a fair amount of clean gain.
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Insert 4: FabFilter Pro-C 2, Compression The Pro C 2 does a lot in our chain. When using this plugin, I’ll use the ultra-resolution mode to minimize the effect of phase cancellation and unwanted artifacts.Īdditionally, I keep the attenuation pretty minimalistic – which I monitor using the delay function to ensure too much isn’t being cut out.įurthermore, using the bands available I make sure I’m only allowing the plugin to affect the high-frequency range, somewhere around the sibilance of the vocal. I like using this plugin in tandem with the de-esser to pick up anything that it might have missed. It dynamically attenuates the signal in particular areas to reduce any harshness it may have. Insert 3: Oeksound, Soothe2 This unique plugin helps dynamically attenuate sibilance. If your vocal doesn’t need to be de-essed, then of course skip this step, but it’s included here since most vocals will need it. How much you attenuate will depend on the vocal performance and content however, I like to avoid compressing more than 5dB if possible. Taking care of this now ensures that you don’t need to use aggressive processing later on. Next up, it’s time to attenuate any additional or unwanted sibilance. Insert 2: Weiss Deesser Using a deesser helps control sibilance before it gets amplified by saturation or additive equalization.
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You can also subtly amplify aspects of the vocal, but keep in mind that this is going to cause more aggressive subsequent processing.Īdditionally, as we stated earlier, feel free to use a different clean equalizer here instead of the Pro-Q 3. Subtractive equalization is a great first step – with it you can attenuate any aspects of the frequency response that you don’t want to be amplified later on. Insert 1: FabFilter Pro-Q 3, Subtractive EQ Equalization is a powerful tool – use it early on to shape the vocal. I like to utilize the range of a gate to attenuate the signal if it falls below the threshold, but not cut it out completely.Īdditionally, it’s a good idea to use gating first in your signal chain if you do intend to use it since this ensures that breathes or other unwanted sounds don’t get amplified by other forms of processing. Although it’s best to edit out any parts of the vocal that you don’t want to be present, gating can save you some time, or make the vocal sound a little more natural. Optional: Gate Gating is optional, but can be helpful for quickly cutting out unwanted background noise.īefore we start getting into the signal chain, we do have one option step – gating. We’ll master it for you and send you a sample to review.