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Vocals (NT2-A)

The full mixing process for vocals (nt2-a), split into sections.

About the vocals (nt2-a)

Vocals are the most exposed source: the human ear is wired to detect every detail of a voice, so recording mistakes (noise, plosives, room) show more than on any other instrument. With your Rode NT2-A (a large-diaphragm condenser) through the iD44, the serious work starts in the take.

Your capture chain

  • NT2-A → iD44 preamp (clean gain, no clip) → pop filter is mandatory.
  • Minimal room treatment: sing toward an absorbent surface, away from parallel walls.

What’s critical now vs. what can wait

  • Critical now: distance and attack on the mic, controlled plosives, gain with no clip and as few room reflections as possible. A room that gets into the take doesn’t come out later.
  • Can wait: de-essing, compression, EQ, tuning and automation: all of that is mixing territory.

If you want the complete map on a single page, there’s the recipe Vocals you can understand, from zero.

Sections

  1. ⚡Quick guide: mix vocalsThe concrete chain so the vocal can be understood throughout the song, up front but integrated with the band.
  2. 11. Chain and cleanupThe order of the chain, evening out phrases before compressing, the high-pass, and what to cut so the vocal stops sounding like a room.
  3. 22. Two-stage compressionWhy two gentle compressors sound better than one working hard, what values to start with, and how to keep the vocal from getting crushed.
  4. 33. Sibilance and plosivesDe-essing in Studio One 4, which has no dedicated de-esser, and how to deal with plosives that slipped into the take.
  5. 44. Color and a place in the bandPresence and air with care, how to make room in the guitars instead of turning the vocal up, and the balance between the vocal and everything else.
  6. 55. Space: reverb and delayReverb and delay on sends: how much to use, how to keep the vocal from drifting back, and why in metal delay usually pays off more than reverb.
  7. 66. Automation and layersAdjusting the vocal phrase by phrase so no word gets lost, and placing doubles and harmonies on the vocal bus.