About Vocal Mixing (Hip-Hop Edition)

I am KUVIZM, a beatmaker.

I have compiled the steps I take for vocal mixing, which I usually perform, in order to organize my thoughts and help improve my own skills by putting them into writing.

Since I mostly mix Hip-Hop tracks and rap music, there may be parts that cannot be applied to other genres of music.
Also, this is not a textbook or a 'correct way,' but merely a summary of my personal workflow.
Furthermore, the processing changes for each song. I have summarized the parts that seem to have general applicability.

I use Ableton Live as my sequencer software.
Personally, I feel that Ableton Live is strong for beatmaking but not software specialized for mixing or recording, and since the sound output of the software itself is a matter of preference, you might want to consider using other software.
I currently use Ableton Live because it has become second nature to me.

1. De-esser

I reduce sibilance, such as 'sa, shi, su, se, so,' which can be harsh and tend to increase in volume.
If you apply too much, it will cut frequencies other than sibilance and change the sound, so I work while checking with my ears.
1. A de-esser that only targets loud sibilance
2. A de-esser that only targets medium sibilance
I sometimes use them in two stages.

2. Waves CLA Vocals

I turn off all parameters and pass the signal through it.
I like using it because the sound changes just by passing it through.

3. Manual Compression (Writing Automation)

Since there are parts where the voice suddenly gets loud and harsh, and it also relates to distortion when bringing out the sound pressure of the song at the end, I write automation while checking with my eyes (waveforms and meters) and ears.
This is an essential task in mixing.

I work with the utmost care not to impair the dynamics intended by the vocalist.

Since the fader of the vocal channel is used to adjust the balance of the entire song, I insert the Utility effect included with Ableton Live into the channel and write automation for the Gain.
1. A Utility for writing automation to suppress peaks
2. A Utility for writing automation to suppress perceived volume
I often use them intwo stages.
By separating them, it is easier to manage and adjust later.

4. Pitch Correction

When applying pitch correction, I do it before the compressor.
If the compression is too strong, I sometimes do it after the compressor.
I often process with Melodyne after Waves Tune.

5. Compressor

I set the ratio to 3, gain reduction (amount of effect) to -3db at the peak, and the release to a 16th note or 8th note (depending on the song's BPM).

6. Equalizer

I often cut frequencies below 80Hz that overlap with the low end of the kick and bass, and lower frequencies below 230Hz, where the voice feels too thick, using a shelf type.
In recent rap music, there are many cases where the low end is heavily cut to make the 808s and kicks sound loud.
Even for voices described as thick or low-pitched, the low end is sometimes cut and thickness is added through distortion.

For example, when I feel the voice is recessed, I might boost above 1000Hz with a shelf type, or boost frequency bands I feel are lacking with a bell type.

I judge with both my eyes (analyzer) and ears.
It is efficient to use tools where the EQ and analyzer are combined, such as Fabfilter Pro-Q3, iZotope Neutron, or Sonnox Claro.

7. Multiband Compressor

For example, when the low end is cut overall, but there are parts where the voice becomes too thick, I apply a compressor only to frequencies below 230Hz, or when there are sibilant sounds that the de-esser couldn't fully remove, I apply a compressor only to frequencies above 8000Hz.

⑧ Saturation

Once the sound is adjusted up to this point, I apply saturation (or an exciter) as flavoring. Sometimes I apply it heavily, and other times
I apply it lightly to the point where the difference is barely noticeable. I set it while checking with my ears.

⑩ Imager

When there are two or more vocal tracks, I apply it to doubles and choruses. Depending on the plugin, I widen it by about 15 to 30.

⑪ Doubler

For ad-libs like "Hey," "Huh," or "Yo", I often use a doubler to pan them fully LR and mute the center.

⑫ Spatial Effects

To help the vocals blend in, I use reverb, delay, and ping-pong delay via sends. I cut the low end after the effect or apply side-chaining to the kick channel. Sometimes I distort the delay. Unless used for dramatic effect, I set the delays so they are not audible when listening with the beat (backing track). I also send the delay to the reverb.

⑬ Noise Processing

When noises like "clicks" or "pops" are audible when mixed with the beat (backing track),
I zoom in on the audio region to the maximum and cut the relevant parts, or process them with iZotope RX's Mouth De-click.
Since leaving it on all the time can change the sound, I write automation to enable the effect only where the noise is present.

⑭ Fine-tuning while listening to the balance with the beat (backing track)

Since how it sounds as a song is most important, I adjust the balance while considering the overall mix. I basically work with monitor headphones, but
I also listen on AirPods, speakers, at high volumes, and at low volumes to find the middle ground.

⑮ When you're stuck, use Nectar's Vocal Assistant

If you receive vocal data recorded in an inappropriate environment and don't know where to start, running it through iZotope Nectar's Vocal Assistant can sometimes provide a starting point for a solution.

⑯ In closing

Vocal data recorded in a good environment with a condenser microphone, microphone preamp, audio interface, and proper engineering requires less mixing.

Also, vocal data from excellent vocalists often has beautiful waveforms, making the goal of the mix easy to see, which can be impressive.

The above is a brief summary of the vocal mixing I perform. KUVIZM


https://twitter.com/KUVIZM [I am accepting mix requests.] Cost: 8,000 yen or more (tax included) / 1 song *Auto-Tune available *Price varies depending on the number of audio files to mix and requested processing. In addition to vocal mixing, I also accept beat mixing. I will cooperate with announcements as much as possible. Please feel free to contact me even if we have never met. kuvizm.booking@gmail.com ▼ Mix Portfolio