Something about this statement has me laughing.Professor wrote:I mean if he sounds like Tiny Tim and wants to sound like Elvis, about your only choice is going to be some kind of weird gender-bender algorithm from something like the TC VoicePro.
How to "thicken" a thin vocal?
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well i gotta say my namesake is pretty unbeatable on vocals. i almost always roll a bunch of the treble off, so when it's mixed with the track you don't really hear it as delay, you just hear it as Awesome.
doubling can work as well...but i dunno i kind of have issues with doubling, i generally don't really like it. i think it takes away a lot of the intimacy of the vocal. when it's just one vox it's someone singing me a story. when it's doubled it becomes...a thing. i dunno. can make the singer sound kind of robotic IMO. now, 24 tracks of vocals on the other hand...
doubling can work as well...but i dunno i kind of have issues with doubling, i generally don't really like it. i think it takes away a lot of the intimacy of the vocal. when it's just one vox it's someone singing me a story. when it's doubled it becomes...a thing. i dunno. can make the singer sound kind of robotic IMO. now, 24 tracks of vocals on the other hand...
- Brandon Schexnayder
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Even with the delay and pitch, do you ever find phase issues in doing this?Everybody's X wrote:hello everyone
I like to mult the main vocal into three parts
L-C-R
pitch the left up a few cents with an indicernable amount of delay on it
pitch the right down a few cents """"""""
blend your stereo tracks in underneath the main vox
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- mfdu
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slam it to tape.
try a hand-held dynamic with a large condensor or ribbon set back a bit.
i have always found that a large diaphragm set low on the chest of a vocalist tends to collect the nasal resonances from the nostrils and the roof of the mouth. but maybe it's just a fault with my technique (a good engineer never blames the tools)
hmm.
chris.
try a hand-held dynamic with a large condensor or ribbon set back a bit.
i have always found that a large diaphragm set low on the chest of a vocalist tends to collect the nasal resonances from the nostrils and the roof of the mouth. but maybe it's just a fault with my technique (a good engineer never blames the tools)
hmm.
chris.
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Will record for whiskey.
- I'm Painting Again
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good call!allbaldo wrote:Sometimes I usa a stereo delay with really short times spread left to right which can help...like 25ms to the left, and 50ms to the right. It won't solve eq issues, but will give a "larger" sound to the voice.
I do this too with good results..its easy to go overboard and have it sound robotic though..so you have to be a good judge..I get the best results using a second track that i copy the take to and just give it a little bump over..rather than using one track with a plug-in..I find effects always sound better on another track rather than one track with a processer that whas a wet/dry % in the box and in the analog world on an aux track..
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True that.BEARD_OF_BEES wrote:I get the best results using a second track that i copy the take to and just give it a little bump over..rather than using one track with a plug-in..I find effects always sound better on another track rather than one track with a processer that whas a wet/dry % in the box and in the analog world on an aux track..
- GrimmBrotherScott
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Thanks for all the advice kids. The whispering thing REALLY appeals to me because in his demos the vox are almost...whisper sung and it really works. Over a whole band, not so much. Plus he wants to "bring the rock" a little bit.
Damn, I am excited as hell to give this a shot. I will seem like Phil Spector if this works out. Minus the whole shooting B actress thing...
Damn, I am excited as hell to give this a shot. I will seem like Phil Spector if this works out. Minus the whole shooting B actress thing...
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its the haircut preferred by "rednecks" and 80's rockers..jaguarsg wrote:can someone explain what a mult is?
this is what we use the word mult for in TV production:
I'm not sure what specifically people using this term mean in audio production beyond splitting a signal by some means..Mult, Mult Box or Multiplexer: A device, connected to the main microphone at a news event, which individual broadcast journalists or crews can plug or "patch" into, eliminating the need for a forest of mikes at the podium. Each mult unit usually handles 12-24 separate lines.
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Everybody's X wrote:hello everyone
I like to mult the main vocal into three parts
L-C-R
pitch the left up a few cents with an indicernable amount of delay on it
pitch the right down a few cents """"""""
blend your stereo tracks in underneath the main vox
basically what Joel said minus the whole "professional" angle
spx 90 has a patch called "Pitch change c" which does this
i like to use an AMS 15-80 to do the same thing.
If it's not distorted,what's the point??
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I don't even remember if I angled it up or not. If I did it wasn't much. Hell, maybe I angled it down...InvalidInk wrote:Really? I have tried angling it upwards like that and it sound more nasally and trebley, but when I had it up higher it and angled down sounded more boomy...drumsound wrote:The singer in my own band has a thin and odd voice. A trick that seemed to work recently (after 8 years of recording the guy) was to lower the mic to mid chest level. I think I angled it up towards jis mouth a bit. So I literally recorded more body so I could hear more body.
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It kinda made me laugh too. But you can be sure that I didn't mean anything bad about the new VoicePro - that thing is ridiculous and I will be buying one very soon.mjau wrote:Something about this statement has me laughing.Professor wrote:I mean if he sounds like Tiny Tim and wants to sound like Elvis, about your only choice is going to be some kind of weird gender-bender algorithm from something like the TC VoicePro.
I'd still like to know how this guy defines a "thin" sound, and how he defines a "good" sound, because all these technique suggestions seem to make different presumptions about what is making the sound "thin".
Oh, and "mult" is short for "multiply" or "multiple". So when you "mult" to two or three channels, it means copy the track to two or three channels. In the analog realm you could just split (like with a y-cord) and bump the gain a little on each track, or to do it right you might use a distribution amp. In a DAW you can simply duplicate the track.
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