Quick guide: mix vocals
The concrete chain so the vocal can be understood throughout the song, up front but integrated with the band.
The vocal is what the listener follows: it has to be understood throughout the song. Everything else adjusts to that goal.
1. Edit before processing
- Build the final take from the best parts of each layer.
- Cut noises and lower exaggerated breaths between phrases.
- Pitch correction only where needed, with Melodyne if your version of Studio One includes it.
2. The chain, in this order
- Cleanup EQ with the Pro EQstock: high-pass at 80–100 Hz, and a cut at 200–400 Hz if it sounds muddy or boxy.
- Compressor 1, for the peaks, with the Compressorstock: fast attack, ratio 4:1 or more, 3 to 5 dB of reduction only on the loudest parts.
- Compressor 2, to even things out: slower attack, ratio 2:1 or 3:1, 2 to 3 dB of nearly constant reduction.
- De-esser: lowers the “s” and “sh” that compression brings out, at 5–8 kHz. Studio One 4 has no dedicated one: use the Multiband Dynamicsstock, compressing only the band in that zone.
- Color EQ: gentle presence at 2–5 kHz and air at 10–12 kHz with a wide boost. The NT2-A is already bright: go carefully.
Whether the vocal can be understood is what defines whether the song works. Color and fine brightness can be left for the end.
3. Doubles and harmonies
Lower than the lead, spread to the sides, with more low cut and a bit more reverb. Send everything to a vocal bus.
4. Space
On sends to effects channels, not as inserts:
- Long reverb: 1.5 to 2.5 s, with a pre-delay of 20–40 ms so it doesn’t cover the words.
- Delay in tempo: 1/4 or 1/8, with 2 to 4 repeats, to give space without pushing it back.
- In metal, more delay and less reverb.
5. Growled vocals
If there are clean and growled vocals, use separate tracks with different processing. Growls take more compression and fewer highs.
6. If the vocal can’t be understood
Before raising it, cut the guitars a little at 2–4 kHz. And automate phrase by phrase, so no word gets lost. It’s explained in making room for the vocal.
Checklist
In order
- Final take built, noises cut, pitch correction only where needed.
- High-pass at 80–100 Hz.
- Two compressors: one for peaks and one to even things out.
- Sibilance controlled with the Multiband Dynamics.
- Presence and air with care.
- Doubles and harmonies spread and lower, to a vocal bus.
- Reverb and delay on sends.
- Automation phrase by phrase.
Expected result
Expected result
A vocal that can be understood word by word, also at low volume and on a phone, in front of the band without seeming stuck on top. If you have to make an effort to understand the lyrics, it’s not there yet. The detail is in chain and cleanup and the sections that follow.