Human vocalists (and most of them are) also tend to move around a little when performing, introducing yet more volume variation into the recording. That is, the variations in volume that make a performance human, expressive, emotional - and difficult to mix. Vocalists usually include dynamics in their performance. With all the above in mind, a wide range of tools and skills has developed for recording and processing vocals, wider than for any other instrument, and in this article we're going to look at the use of some of them in Logic 8: dynamics control (without the use of dynamics processors), adjusting timing of phrases and words, and tuning. Vocalists, with the producer's encouragement, will record as many takes of their performance as necessary to capture every phrase as perfectly as possible, but the magic that happened in take one of verse one might not happen again until take five of verse two. The performance should be dynamic, to convey expression, but in order to be balanced effectively with the other tracks in the project, these dynamics need to be controlled, the 'louds' not exceeding a set maximum and the 'quiets' still audible.
Pitches must be in tune, in relation to the rest of the project, and yet retain those characteristics that distinguish humans from synthesizers, part of which is an indefinable inaccuracy of frequency. Lyrics must be intelligible, but the 'hard edges' of the sounds, the bits that make them clear, must not be too intrusive. Involving vocals in your project brings with it a unique set of challenges. There's all this and more in part one of our complete vocal production masterclass.įour nodes have been created, two at each region boundary, by holding down the Control and Option keys while clicking on the region title bar with the automation select tool.
Dynamics control without compression, tuning for dummies, and vocoding for fun and profit.
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