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Old 09-03-2019, 02:07 PM
ZacMenton ZacMenton is offline
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Join Date: Jul 2019
Location: Pennsylvania, USA
Posts: 12
Default Re: Vocal Process Chains and Buses

Quote:
Originally Posted by Ben Jenssen View Post
It's very difficult to understand how you are working and what might be your exact problem, you need to be more precise in describing it, maybe post a screenshot, and you might be using terms wrongly also. But I'll try.

Are you bussing the vocal track to aux tracks to use the plugins there? Then don't. One track, plugins on that track, there are room for 10+ plugins on each track.

Again; one vocal take - one track only!

No serious mixer works like this. You must listen to the track, preferably on good speakers in a well-controlled environment, and decide what is good/bad about it. To dark, too bright, too much mid-tone? Maybe insert a basic PT EQ and see if it sounds better with a little low end cut, maybe it needs a little top-end boost? And do try things out with other instruments playing. You want the vocal to "sit" in context. Then maybe a bit of soft compression to give it more power. Less is more.

Neither makes any sense. When you're happy with the overall mix, you can decide if you can make it even better by automating different tracks. Your approach will cause problems with setting compression on the track.
And seriously: forget about dithering, you clearly don't understand it. Same goes for mastering.
You should concentrate on mixing, read some articles, watch some youtube videos.

This is where sends and busses come in. It helps to understand where this came from; in the old days you would typically have an analog mixer with a couple of sends on each track, and an outboard reverb unit connected to the bus out of one send and routed back into a track on the mixer. So every track that had a bit of its audio going from its send via the bus to the reverb would come back on the mixer reverb track and mix in. The reverb would always be set to 100% wet (no direct signal). So, create a mono aux track and set the aux track input to f.ex "Bus 1". Now insert a stereo reverb on that aux (it will become a mono-in, stereo-out. Set its output to Master 1-2 or whatever you call your main outs. Now any or all tracks can have a reverb-send on them.
Delays would typically be used on one track only, ie your vocal track would have a delay as one of the last plugins on it.
I appreciate your response. Thing is I only do things this way based off summarizing several different methods of mixing. Rob Mayze's Musician on A Mission mixing course helped me figure out some things which I have noticed work quite well. And for compression, I do not aim to use multiple large compressors, however I have read throughout the internet using 2-3 compresors to cut a little bit of volume (2-3 per comp) range at each step works better than using a single compressor to hash off 6 decibels at once.
And, I may not be the best at explaining, but trust me, I do my research. Dithering is VERY important to me, as I have noticed it's use in many of my vocal tracks. The example being my last project, where I had a very efficient noise gate running, once I added the dithering, it was night and day, although you can BARELY tell the difference, the sound was quite more pleasant, and with my vocal range tending to stay in a higher frequency, I tend to use either Type 1 or Type 3 dithering at 20 bit, which I have SEEN the improvement in sound, where it was more pleasant to hear the very very very minute frequency noise throughout the audio.

Thank you very much. This definitely helps me focus my perspective onto less things and do realize I was looking at things a little TOO holistically. Also, as for mastering, wouldn't I require some mastering if I was planning on releasing something for the public?
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