![]() You could even experiment with using both. Which one you choose depends on the type of sound you're going for. Both emulate iconic hardware compressors, and both are great for taming the dynamics of vocals and adding simulated analogue colour to your digitally recorded tracks. Levelling OutĪmong DP's dynamics processing choices are two vintage compressor emulations: MasterWorks Leveler and MasterWorks FET-76. A useful strategy is to use Bite volume for corrective fixes that get the dynamic range broadly in the right area, and then apply track automation for setting the vocal's level relative to the rest of the mix. You can also edit Soundbite volume in the Waveform window, under the Volume tab. Just use the tool to draw in the volume corrections you want. You'll see a thin, light-coloured line running horizontally across the top third of the track.Īn easy way to edit this is to use the Reshape tool (in Set Mode) from the Tool Palette, with the Reshape Mode set to Free. To edit Bite volume, go to the Edit Layer menu in the track settings panel for the vocal track in the Sequence Editor and select Bite volume. You're probably familiar with DP's track-based automation but you can also use an independent, Soundbite-specific type of automation called Bite volume (aka Soundbite volume). If so, DP offers a number of corrective options. The Reshape tool from the Tool Palette is handy for editing Bite volume.Once you've set a basic level for your vocal track, take a listen and focus on whether some words or phrases are significantly louder or softer than the rest of the track. When you create separate Soundbites from your edits, make sure to add fades to all the Soundbite boundaries to avoid creating clicks.Īdjustments made using Bite volume are independent of standard track volume and always stay with the Soundbite they were applied to. You might also want to reduce or cut out breaths, though in both cases you need to be careful not to overdo things to avoid making the results sound unnatural. You could even cut all the space between vocal phrases, to get rid of any residual noise recorded from the mic during pauses. Next, go through the track in the Sequence editor in Soundbites view, and cut out any problematic sections around the vocals using DP's editing tools. First, make a duplicate of your comped take as a safety. Reality Bitesīefore getting too far along in your mix, it's helpful to solo the vocal track and find any glitches on the comped take, such as noises between phrases and overly loud breaths. And, if it fits the song, you can even get creative with one or more of DP's many modulation effects. You'll also want to dial in ambience with reverb and possibly delay. In addition to setting the levels of your vocal tracks so that they sit well in the mix, you'll probably want to do some tonal tweaks with EQ, and use compression to control dynamic range and/or add colour. This time, we'll talk about processing and mixing them. Previously in Sound On Sound's Digital Performer workshops, we've covered techniques for comping and pitch-correcting vocal tracks. Prior to mixing, it's often worth cleaning up your vocal track to get rid of unwanted noises and breaths.ĭigital Performer has all the tools you need to sculpt the perfect vocal sound.
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