Better Vocals In Logic

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Better Vocals In Logic

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Recording Vocals in Logic Pro X – Logic Fiends

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There may be a better compressor for you based on your vocal style, but this is a decent place to start. Turn off the Compressor for now, and make sure your fader is set to 0. The one in the diagram below is pulled down slightly to You want to avoid clipping, which the channel strip will show as red. In the image below, the signal peaked at 0. When it does clip, this will turn red and the highest value will be stored there. A good rule of thumb is to shoot for a peak of -6 db.

If you are using something like the 2i2 , each channel has a gain knob. You want to make sure the input level is set correctly on the way in, and only adjust the fader down to avoid clipping if you have no other option. But as a general rule, turn the threshold until the needle is just hitting -1 dB, and set the ratio to 2 or 3. If the signal is still too hot, adjust that down. That will force the signal to not go over -1 dB and you should see in the meter on the channel strip that it never goes above that.

TIP: Click on the value in red over the meter to reset it. On the channel strip, underneath where the compressor is, click and go to Reverb, ChromaVerb.

When mixing vocals in Logic Pro X, some people like to start with vocals first, others like to do vocals last. Always use your ears though. That about wraps up our Logic Pro X voice recording tutorial. Firstly, hang up some acoustically absorbent material, such as a duvet or some heavy blankets, behind and to either side of the singer. This will help prevent sound bouncing from the room surfaces back into the microphone. Then set up the mic well away from walls, but avoid putting it exactly halfway between any two sets of walls, as this may exaggerate any room coloration — a couple of feet from the dead centre of a room is generally fine.

Always use a mesh pop screen between the singer and the mic, and leave at least a couple of inches between this and the mic — it won’t work properly otherwise. As far as singer-to-mic distance is concerned, start with a gap of around six inches, as this is far enough away to avoid the worst of the proximity bass-boost effect, but close enough to give a good ratio of direct sound to room reflections.

Finally, provide the singer with a comfortable headphone mix, and don’t record in the same room as your computer setup unless you really have to, otherwise you’ll probably pick up some fan and drive noise. If you have no alternative, face the mic away from the computer and try to keep as large a distance as is practical between the mic and the computer.

If all has gone well, you should now have a clean recording of what was hopefully a good vocal performance. To turn this good recording into a great one, you can use Logic ‘s Expander or Gate to remove low-level noise between phrases, you can use Compressor to add density and to even out the vocal level, and you can add EQ to fine-tune the tonality of the sound. The final touch is to add reverb, but if the vocal pitching needs a little work, there’s always Logic Pro 7 ‘s new Pitch Correction plug-in to help you out.

As a matter of course, I usually get the singer to do at least two complete takes of each part, as well as revisiting sections that might need patching up. The complete takes can be handled on separate tracks, muting the first before you record the second. If you’re lucky, you’ll be able to use the scissors tool to compile the best sections from each to produce a definitive take, but more often than not you’ll need to retake specific sections.

Pressing Record will then start the process, playing from the current cursor position. Logic will play what’s on the existing track right up until the punch-in point whereupon it will monitor the new recording source the voice and record it. When the system punches out, you’ll hear the original track again. If the new section was OK, you can snip a hole in the original vocal track and then slide the new take into its place, holding down the shift key to prevent the start time of the insert from being accidentally moved.

Once in place, you can use the crossfade tool to avoid glitching if you’ve cut in the middle of a phrase, but most times it’s best simply to arrange the edit punch in and out points in the pauses between phrases. During this compiling and optimising process, you may also find that some chorus sections or other repeated phrases sound better than others, in which case you may wish to copy them and replace the less good ones.

Using Logic ‘s new Marquee tool, you can identify your source section without having first to cut the sequence into pieces using the Scissors tool and then copy it using the usual Alt-drag procedure after first switching back to the normal Pointer tool. Once you’re happy with the quality of the vocal part, you can start to process it. Logic ‘s Gate is perfectly adequate for removing low-level noise between words and phrases, and its side-chain filters are useful if there’s any other very low- or very high-frequency sound present that might otherwise trigger the gate and open it when it should be closed.

The gate should be the first process used, so it’s best to put it in the top Track object insert slot.

If you set the side-chain filters to Hz and 6kHz respectively, the gate should trigger reliably on vocals while ignoring things like traffic rumble or fan whine. For vocals, it’s usually best to set the gate to open as fast as possible, but to close over a period of around a quarter of a second, so that naturally decaying notes aren’t cut off too abruptly. You can see if this can be improved upon by trying faster release times, as a lot depends on the performance and the level of noise present.

Here is how the Noise Gate plug-in might typically be set up for vocal processing. Threshold control would have to be set up by ear for each individual track so that the gate only operated during gaps in the singing. While gates can apply almost infinite attenuation when closed, you may get a more natural sound by setting the gate range to around 12dB, which should still be enough to hide any noise unless your recording is really noisy.

I’ve tried Logic ‘s own noise-reduction plug-in, but found it rather disappointing, and though an Expander will work just as well as a gate in this application, there’s no real advantage under normal conditions. Once you’ve gated the vocal track to clean it up, you can then compress it by inserting Logic ‘s compressor in the next available insert slot.

The ratio can be somewhere between and , depending on how assertive the compression needs to be. A fast attack followed by a ms release time usually works well, but if you like your compressors to audibly pump, then try a shorter release time. That leaves the Threshold control, the setting of which depends on the level and dynamics of the vocal recording.

A good rule of thumb is to adjust it until you get around 6dB of gain reduction on the loudest peaks if you are being subtle, or up to 16dB or so if you’re after an obviously compressed rock vocal sound. However, be aware that for every decibel of noise reduction applied, any background noise and room ambience on the recording will come up by exactly the same amount between phrases, which underlines the need to capture a clean recording in the first place.

That’s another good reason to gate the track, even though it may not appear noisy prior to adding compression. A useful general vocal compression setting is shown above, although again you’ll need to adjust the Threshold to taste.

Logic ‘s Pitch Correction plug-in can be placed before or after a compressor and, intuitively, I feel it has a better chance of working properly if it comes afterwards, as it will receive a more constant level.

Having said that, this plug-in is so good that it copes with all normal vocals, compressed or not. Normally I only use pitch-correction where I really have to, and you can slow the rate of pitch-correction right down between the phrases that need treatment, using Logic ‘s automation, which has the effect of reducing the amount of processing applied — only long, sustained notes are then corrected.

You can also automate the plug-in bypass button if you prefer to do it that way. A common mistake when attempting vocal tuning fixes using the Pitch Correction plug-in is to set the response time too fast, which can remove the expressive inflections in the performance, making the voice seem lifeless and mechanical.

An alternative approach is to split the audio part over two tracks with identical plug-ins and track settings, then insert the Pitch Correction plug-in on one of them. By moving just the parts that need correcting onto the track with the Pitch Correction plug-ins, you can easily control where the processing is and isn’t applied without having to use any automation. If you’ve yet to upgrade to Logic v7.

You can fix this manually using a negative track delay if you’re really short of processing power, but under normal circumstances, duplicating a gate, a compressor, and possibly an equaliser won’t add significantly to the processing load. As with most pitch-correction plug-ins, the most natural results are obtained by setting the response time as slow as possible commensurate with still controlling any obvious pitch wandering.

If you set it too fast, natural inflections start to get ironed out, and the result becomes somewhat robotic. Although this misuse of pitch-correction has been successful as a special effect on a number of pop records, it’s not the way to go if you want a natural-sounding vocal performance. EQ is best applied after pitch-correction, and what you need to do, as always, is emphasise the positive aspects of the source sound while reducing any unpleasant characteristics.

Often a sizzle is added to the high end by applying a broad boost around two octaves wide at anywhere from 8kHz to 12kHz using Logic ‘s Channel EQ the standard version, not the new linear-phase option. It’s also worth setting up a fairly narrow band half an octave or so and then sweeping this through the mid-range to see if it picks out any nasal or boxy artefacts that need suppressing.

More experienced users will be able to estimate the problem frequency and then try the cut without having to sweep first, which can help maintain a better sense of perspective. Which approach you prefer is up to you — I still tend to be a bit of a sweeper! EQ seems to be a very personal thing, where some people use hardly any and others pile it on. Different musical styles demand different approaches, but if the end result sounds right, then it is right.

However, never judge the result of EQ in isolation — it’s essential that you hear the part in the context of the complete mix.

Another tactic for getting natural pitch-correction results is to process only the relevant sections of a vocal track, rather than the whole thing. You can do this by setting up an adjacent pair of tracks in the Arrange window, only one of which feeds the Pitch Correction plug-in. That way you can simply move regions between the two tracks to dictate which sections of the vocal performance are to be processed.

Until very recently, the majority of native-powered software reverbs have been, frankly, rather disappointing. Logic ‘s Platinumverb used to be top of the Logic reverb range, but it’s really not that great. It is fine for demos, and it suits some instruments, but it’s not a classy vocal reverb by any stretch of the imagination.

 
 

 
The ratio can be взято отсюда between anddepending on how assertive the compression needs to be. The less you have to do to a vocal to get it sounding right, the more natural the end result is likely to be.

 

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What happens when you record vocals and realize in the studio that the microphone placement was off? Not exactly. Vladg Sound and Tokyo Dawn have created a free solution to this problem, called Proximity. How can you solve recording with the wrong microphone placement in the studio?

Well, different microphone placements have specific sound characteristics. For example, a greater distance away from the mic gives a loss in low frequencies. Proximity understands all surrounding psychoacoustic and corrects the faults to restore your sound accurately. Simply set the original distance of your microphone and tell Proximity what you want to achieve.

And just like that, the sound is now bright, clear — as it should be. This plugin also works to emulate the opposite. Your microphone placement might have been perfect, but now you’re looking to change things up. Proximity does that, too, with ease. Vocal doubling is a vital technique for any producer dealing with vocals. Luckily for us, iZotope, one of the most prolific plugin creators, has released its Vocal Doubler for free.

The technique stems from doing double or sometimes more takes of the same vocal in a recording session. By treating each vocal track differently, you can achieve vocal layers that add emotion and pack more of a punch with different panning and effects.

But doing multiple recording is time-consuming. With an intuitive, clean interface, doubling your vocals to perfection has never been easier. Simply drag the slider up and down for stereo separation or left and right for human variation. While many mostly do the same thing, different plugins offer different reverb algorithms and produce varying results. Oldskoolverb features 18 different reverb presets, ranging from small drum rooms to school gyms, and five extra reverb modes. These modes are where things get very interesting for a free vocal VST plugin.

Combining the reverb settings with the modes, you can create any vocal reverb you can imagine. How about a haunting reverse echo, a crunchy old-style reverb, or a slapback reverb to let your vocals breathe? Did you know that both Ableton and FL Studio has all the effects necessary for proper vocal mixing? It’s true — within your DAW, you have access to everything you need to mix vocals to perfection. And by learning that, you can use free and paid VST plugins ten times better than before, as a nice bonus.

The vocals sound pretty good, right? We can replicate the exact same result in Ableton, meaning no extra VST downloads or purchases are necessary to make killer music. In our Advanced Hard Trap Courses , we show you the whole process of how to make professional trap music, step-by-step. Only for New Subscribers.

From powerful recording and editing tools, easy loop workflows, and groundbreaking cloud collaboration, to top-notch effects and automated mixing, Pro Tools enables you to sound your best.

The first version of Logic Pro was called Notator Logic, and it was released all the way back in It was developed by a company called C-Lab, who later became Emagic.

The first five versions of Logic were available on both Mac and Windows. However, in , Apple announced that they had bought the software, and starting with Logic 6, it would only be available on Mac OS. Power your sound with the tools that power the industry. Pro Tool first appeared as Sound Designer, created by two Berkeley graduates in The following year — — they were offering downloadable features for the software.

It became Sound Tools in , and was renamed Pro Tools in How much is Logic Pro X? There are no other pricing options. There were no discounts for individuals upgrading from the previous version, which is unusual in DAW version progression and pricing. You may have noticed that I only mentioned the Mac App Store? Avid now offers three different pricing tiers, but unfortunately, they have done away with their freemium model.

They do offer free trials for each tier, however. Their new tiers are Artist, Studio, and Flex. Pros Tool Arist is a brand new product perfect for aspiring music creators, songwriters, and producers.

Pro Tools Studio was formerly known as Pro Tools Studio and is geared toward professional creators that need both variety and quick access. This tier is geared towards professional music studios. It provides the highest track count, advanced features that help you take on the most significant projects, and Dolby Atmos workflows are integrated into the software. Soundbase makes it a snap to browse, search, audition, explore, and experiment with loops, samples, and sound effects from nearly any sound library.

Sonnox Oxford DeNoiser 6. This article will explore the best rompler plugins for and what a rompler plugin is. Rompler plugins are a great way to get out of a creative rut since they come equipped with loads of inspiring sounds and require no time spent on sound design. Pitch shift is one of the most popular sound effects. The idea is that it lowers or raises …. When you search for the best PC for anything, you will see at least one gaming PC. No matter what you need it for, gaming PCs are always there.

The reason is that modern video games have very high system requirements, and they have high-quality, powerful parts. One of these tools is a pitch shifter. A Pitch shifter is an excellent tool and can be used in many different ways. The use can be minimal, or it can dramatically change the sound or mood of the song.

 
 

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