Beware, however, that if your source vocal is too sibilant, you might need to add the DeEsser after the EQ.Ĭompression works by reducing the distance between the low and high extremes of your track volume. It depends on the track and the voice, but boosting the high end from 3.2kHz and upwards can clean up a slightly dull recording. There are certainly situations where we want to boost, especially near the higher end of the frequency range. Boosting is simply an easier way to hear what’s going on and identify any issues with specific frequency bands. If you’re using the BandLab Graphic EQ, try boosting the middle ranges until you isolate any problem areas, then cut that band. The mid-range is the most important area to cut and boost. With EQ, it’s the mids that make the bass and highs work. In comparison, on a busier piece of music, it helps to thin them out more. The sparser a track is, the more lows you can retain in the vocals. In more extreme cases, you can roll off anything below 200Hz or even 400Hz for a deliberately thin sound. With BandLab’s Graphic EQ, you can start cutting at 100Hz or higher – sometimes even higher frequencies can be cut without affecting the quality of the voice. Sure, we want our overall project to go deep, but retaining all the lows on every track in a project makes things muddy. The first stage is to use the EQ to roll off the very low end of the vocal track. Sometimes this is done across a wide range, other times it is very precise and nitpicky. There are definite ‘go-to’ effects to be aware of – EQ is where we cut or boost certain frequencies in the track. Mixing vocals is about placing the voice at the correct level through a song, but it’s not simply a matter of moving a fader up and down. Read more: Tips and tricks for recording vocals at home EQ
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