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
- ⚡Quick guide: mix vocalsThe concrete chain so the vocal can be understood throughout the song, up front but integrated with the band.
- 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.
- 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.
- 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.
- 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.
- 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.
- 66. Automation and layersAdjusting the vocal phrase by phrase so no word gets lost, and placing doubles and harmonies on the vocal bus.