EQ and Compression (Vocals Part 2?)

Welcome back to the Producers Corner! This is John from djprosperity.com. In this post I want to focus on your vocals a little more. As I stated in my previous "Vocals" post, the vocal is often times the most important instrument in a song and it is imperative to make sure that we get this right. So today I want to focus on some vocal processing effects and when and why we should use them in your recordings. So here are some EQ and Compression tips for recording your vocals:

EQ (Equalization):

So what is EQ? We've all used it at some point or another in our lives, right? Whether it be on our in-dash cd players in our cars, on our home stereos (sorry I'm really showing my age here now), or on our iPod's. In it's simplest form, EQ is used to "equal" out the tonal characteristics in sound. It is a tool used to boost (amplify) or cut (attenuate) the volume level of a frequency, or a range of frequencies, within an audio signal. I know what you're asking: How does it do that? Well let's look at a digital EQ and see what controls it offers and try to make sense of all this:

 EQ

Here is some explanation as to what we are seeing. So here we can see from this picture that an EQ gives the user control over an audio signal's frequency content by offering selectable bands of frequencies to be altered with various controls of its parameters. When looking at the graphic display the horizontal line represents frequency (cycles) measured in Hertz and the vertical line represents gain (amplitude). The main controls are GAIN, FREQ, and Q.

The Knobs
GAIN: This knob gives the user the ability to boost and/or cut (alter the amplitude or volume) of the frequencies selected.

FREQ: This knob allows the user to dial-in or sweep to a specified frequency that is to be affected.

Q: This knob controls the bandwidth or how broad or narrow the range is of the frequencies that are being affected.

INPUT: This knob allows you to boost or cut the amount of un-affected signal going into the EQ (to be processed).

OUTPUT: This knob allows you to boost or cut the signal after it has been processed.

The Bands
LF: Low Frequency band.
LMF: Low Mid Frequency band.
MF:  Mid Frequency band.
HMF: High Mid Frequency band.
HF: High Frequency band.

Understanding how these bands sound is a case of experimenting for yourself on your own. But these bands will help you focus in on certain areas of the frequency spectrum and help achieve balance and fullness to your recordings and mixes.

The Filters
HPF: High Pass Filter- This filter cuts the lows at a user defined point and only allows the high frequencies to pass from that point on.

LPF: Low Pass Filter- This filter cuts the highs at a user defined point and only allows the low frequencies to pass from that point on.

Notch Filter: This filter is used to remove hum or other undesirable discrete frequency noises. It has a very narrow bandwidth so it has little effect on the rest of the program material.

The Meters
This metering is pretty straight forward. IN is monitoring the input signal and OUT is monitoring the output signal.

Okay so there are the BASICS as far as the controls and function. Now, why would we want to use EQ? As an Audio Engineer I use EQ simply to carve out space for each instrument/voice to stand out and shine.

EQ Tips

* HPF- Cut low-end information out of your tracks to allow Bass and Kick drum to poke through. Just slap a HPF on the track and dial it in until it gets noticeably thin, then dial it back to bring the body back in. Works great on guitars, keyboards, vocal, etc.

* Not all EQ's sound the same, some aren't transparent and actually add "colour" to you sound so make sure you experiment to find what you are looking for.

* Keep your boosts and cuts subtle, remember from my "VOCALS" post where I talked about minimizing the processing on your vocals when recording, over-processed vocals don't always set well in the mix.

Key Frequencies for your Vocal
120 Hz- Fullness
200-240 Hz- Boominess
5 kHz- Presence
7.5 -10 kHz- Sibilance
10-15 kHz- Air

COMPRESSION:

So what is a compressor? The easiest way to look at a compressor is to think of it as a "virtual" volume knob. So what does it do? A compressor "compresses" (turns down) the peaks in the audio signal. Let's look at a digital compressor and see what controls it has to offer:

Compressor

Here is some explanation as to what you are seeing. Let's look at the control knobs and what they do. The main controls are Threshold, Gain, Ratio, Knee, Attack, and Release.

The Knobs
THRESHOLD: This knob selects the point at which you want the compressor to turn on (start working)and is notated in dB (decibels).

RATIO: Allows the user to control how much you turn down the peaks (volume). For example a Ratio setting of 3:1 means that if the peak is 3dB in volume then it would compress it to 1dB or turn it down a third.

ATTACK: This knob is used to tell the compressor how quickly to start working and turn down the peaks.

RELEASE: This knob is used to tell the compressor how quickly or slowly to stop working or let go of the peaks and stop compressing them.

GAIN: This knob is your overall volume control. It is commonly referred to as a makeup gain knob as it is used to turn up the processed signal (post compression) to match the signal from before processing.

KNEE: This knob controls how smooth or sharp the volume change (slope) occurs.

The Meters
IN: Monitors the input signal.
OUT: Monitors the output signal.
GR: (Gain Reduction) This meter shows how much the signal is being compressed and how much reduction in gain is happening.

So there you have some BASICS on compression. So when/why do we use compression? Simply put you use compression to keep a consistent performance level. While reducing dynamic range, it can "beef up" or add "punch" to low level and mid-level content to make a stronger musical message.

Compression Tips

* Lead Vocal- Set the Threshold to catch the peaks but only compress minimally (-3/-6 dB). A 3:1 Ratio is a good place to start but make sure to adjust as needed. Attack and Release should be set at a medium level to maintain musicality in the performance. Gain is set to taste but you should at least account for the gain reduction and match the previous level.

* Use Presets- Presets are your friend but don't rely on just presets settings. You should use them as a jumping off or starting point. Choose a preset to see what the parameters are set at (recommended) and adjust to your personal taste. Remember you don't know what source was referenced in creating these presets so you need to use your ears and adjust accordingly.

Huh? What'd he say? Is that clear as mud for you? In other words what we are looking at are surgical tools that can be used to sculpt the sound that we want. So I hope I've helped you understand a little more about what powerful tools we have available to use and what benefits we can get from them?! Again, I want to reiterate that these tools should be used sparingly and only when necessary. They are complimentary tools and if you have to do a lot of EQ'ing and Compressing to "fix" your sound then it's best to re-record it.


As always, please feel free to SUBSCRIBE to my blog and/or comment. Also, visit my website: www.djprosperity.com (there you can click the icons to follow me on facebook, twitter, etc.) and sign the Guestbook on the "Contact" page. I would be more than happy to help you with any of your audio needs or questions that you might have. God Bless and see you next post!

About Me:

I am a certified Audio Engineer and owner/operator of a website called djprosperity.com. I received my education in Audio Recording and Production from The Conservatory of Recording Arts and Sciences in Tempe Arizona. I have worked for Sweetwater Sounds in Fort Wayne, Indiana, as a Sales Engineer after interning in their recording studios. If you'd like to know more about me or would like my help with your projects, please visit my website and contact me.

Mixtape Review: Balenciaga Banks @BalenciagaBanks – Made and Crafted

Click here to Download

Balenciaga Banks is back! Ok he never really left, but he has brought some new music to us with the new project, "Made and Crafted". Banks has stayed true to his image in his follow up to his last project, "Champagne Wishes and Caviar Dreams". The mixtape touches on Banks' youth, growing up poor, rising above his circumstances,haters, women and more. Balenciaga is your rapper's rapper. The title track "Made and Crafted" is the gasoline here. "Made and Crafted" is a sincere, heavy string and sample driven introduction that sets the tone. The following bars will paint the picture for you, "How you feel about them people that came fresh up out them slums but be braggin when they make it, now what you think about the people who has been privileged since their youth they can't function once they lose it." "Drink and Clap" featuring Breezy Bernanke is sampled from the popular 50's song, "Mambo Italiano". I love the vibe on this track, there is a heavy club feel to the beat, on top of that after one listen, I am convinced that Banks knows how to party. "Letting Go" isn't a total skip, but it didn't grab me. It was a little unexpected as the track is guided by a sample from pop group, No Doubt's hit song "Don't Speak". Banks narrates a tale of infidelity and losing your best friend at the same time. "Cool Again" featuring Audrianna Cole was on the way to losing me due to the commercial bland guitar sound. Banks' delivery and message brought me back in, he makes it a message that many of us can relate to, wanting things to go back to the way they used to be in the "Good Old Days", wanting things to be cool again. "Made it" is a hustler's anthem and a shout out to haters. Extremely catchy hook, infectious rhythm, and feel good uptempo hand claps. Banks has this smart,gritty, and assertive flow that you can hear bleeding through the speakers. Everybody has struggles and demons that they have dealt with. On the track "Gripes", Banks airs out his "dirty laundry", well not totally, it really served as a venting session. This is also another favorite and Banks doesn't forget where he came from. "Unpolished Diamond" is clearly an outline or blueprint if you will, of Bank's guide to success. He hits you with a more mid tempo feel. He has that hunger, and he makes it known. I think it's safe to say that Banks is clearly making a name for himself. Runways or Concert Halls, Banks is killing them all. About The Artist: DaMar Marcus-Lee Fairbanks also known by rapper name Balenciaga Banks is a Recording Artist and Fashion Designer for Perry Ellis International. Balenciaga Banks holds two associates of arts degrees in Fashion Design and Fashion Merchandising. Known for his work ethic the full-time fashion designer and up and coming rap artist. Balenciaga Banks is a rare talent that is building a legacy in the entertainment and fashion Industries at the same time. MUSIC: Balenciaga Banks is not your typical rap/hip-hop emcee. Whether he’s designing clothing in his signature street-cum-country-club style or reminding the listener of early De La Soul, his music aims to fuse the gap between the underground rap scene and mainstream music. Sure, there’s the usual club fare, but there’s also a soulful element to his music, from the production to the lyrics is what sets Balenciaga Banks apart from the contemporary offerings in the hip-hop genre. There’s the inherent emotion throughout the work of the Cincinnati, Ohio rhymer, an emotion that draws the listener in, makes you believe every word. His choice of production is at once elegant rough and real, which helps Balenciaga Banks connect with the listener in a new and interesting way. FASHION: Balenciaga Banks is a full-time fashion designer for Perry Ellis International where is specialty is menswear design. Prior to that, he was a menswear design intern for iconic fashion brand Club Monaco a division of Polo Ralph Lauren. Balenciaga Banks earned Funkshion Miami Fashion Week “Menswear Designer of the Year 2009” he’s also featured in the CFDA’s Emerging Fashion Designers Book published October 23, 2010 Needless to say, the point of view that Balenciaga Banks brings to the world of music is like no other. “ Quote from Banks “ Gaining a lot of notoriety from his locally popular single “You Mad Bro” Balenciaga Banks has performed at many events and opened for some of the biggest names in music. Recently connecting with Family Tree Entertainment’s Tiffany J. who’s company managed the careers of such names as Outkast, Cee-Lo, Frenchie Davis, Nas and super producer Bangladesh…. Balenciaga Banks future in fashion & music is heading in places that have never been seen before in history. Stay tuned

Questions?!

Welcome back to the Producers Corner. This is John from djprosperity.com. I wanted to respond to some FAQ's (Frequently Asked Questions) that artists ask all the time. As an Audio Engineer I feel it's important to share the knowledge in order to help others. It's a cyclical part of life, each one teach one, iron sharpens iron, one hand washes the other and together they both wash the face, you get the gist of it. So without further ado here are 5 FAQ's and answers:

Q: What should I look for or expect in a studio?

A: Great question! The fact is that there are many different studios out there and each have their own appeal. When choosing a studio don't focus on rates, aesthetics, gear, etc. Sure those things factor into the equation but the main thing you should look for is the quality of the work they perform. Any studio can post their client list (we've worked with so-and-so...) and that's great but really it boils down to how does their work sound? Ask for samples of their work, that is the key!


Q: I have a Home Studio, which software should I use to record?

A: This question should probably be number one on the FAQ's list as it's the most often asked question. As a former Professional Sales Engineer with Sweetwater Sounds, I will tell you what I used to tell my customers: whichever one you are most comfortable using. Sure ProTools is the Industry standard DAW (Digital Audio Workstation) but there are several excellent ones out there: Cubase, Sonar, Studio One, Logic, FL Studio, Ableton, the list goes on and on. So whichever you are most familiar with or most comfortable with is the RIGHT CHOICE for YOU!


Q: Which microphone do you recommend?

A: What microphone you use is not only a preferential choice but it is also one that is based on the source that you are recording. For instance I have a selection of microphones ranging in price, specs, and types. Some of my microphones are tubed, some are multi-patterned, and some are compact with a smaller footprint. Each one has its own distinct sonic characteristics that it imparts on the recording. So some of them I use for recording vocals while others I will go to for recording instruments. If there was a "magic" microphone out there then there wouldn't be so many microphones out there.


Q: Why do I need my music mixed if it sounds good to me?

A: Because all tracks don't have equal amplitude and they're not all the same frequencies, everything has its own place sonically in the frequency spectrum. A proper mix will not only do this but will help your music compete in a very tough industry.


Q: How long have you been recording, mixing, and mastering?

A: I have been in and out of the studio since 1997 and have over 16 years of experience. However I have only been doing it professionally for 5 years now. I graduated in 2008 with a 3.75 GPA from the Conservatory of Recording Arts and Sciences and began working as an Independent Audio Engineer. In 2010 I started my website: www.djprosperity.com and began grow my client list and it is still expanding today!


So, what questions do YOU have for me? Post your questions in the comment section and I will answer them in an upcoming post!


As always, please feel free to visit my website:www.djprosperity.com (there you can click the icons to follow me on facebook, twitter, etc.) and sign the Guestbook on the "Contact" page. I would be more than happy to help you with any of your audio needs that you might have. God Bless and see you next post!

About Me:

I am a certified Audio Engineer and owner/operator of a website called djprosperity.com. I received my education in Audio Recording and Production from The Conservatory of Recording Arts and Sciences in Tempe Arizona. I have worked for Sweetwater Sounds in Fort Wayne, Indiana, as a Sales Engineer after interning in their recording studios. If you'd like to know more about me or would like my help with your projects, please visit my website and contact me.

Vocals!

This is John from djprosperity.com. In this post I want to focus on your vocal recordings. The vocal is often the most important instrument (if you will) in the song, so it's imperative to make sure that you've got it recorded properly. Every time I receive a session from an artist to mix, I listen through the song to determine what instrument drives the song. Sometimes it's the kick, sometimes it's the bass, but most often it's the vocal. So here's a few tips for recording your vocals:

1. Record multiple takes:

When I record vocals I will ask the artist to re-record the take again (sometimes several times). I do this, not because the artist messed something up, but so that I can comp the vocals playlists together (in other words I will compile the best parts of each take to create a "good" vocal track) to create the best take possible. You see you never record another take the same exact way, there are subtle differences (inflection on certain words or phrases) that make all the difference.

Vocal Playlists for comping a vocal take

2. Use proper mic techniques:

Most artists know this if they've been recording for any length of time but you have to "work" the mic. If you're singing a ballad and you have to belt out a big note, take a step back, this helps avoid clipping issues and enhances your recording. The microphone (especially a good one) will pick you up just fine and you won't be stressing its diaphragm.

In addition to this technique I would recommend using any rolloff (a predetermined or fixed filter setting where frequencies "roll off" or drop off) the microphone has to offer when recording vocals. This can limit the amount of EQ (equalization) needed in the mixing stage and will help the vocal sit better in the mix.

Condenser mic with rolloff

3. Use effects sparingly:

When recording, artists often like to use reverb, delay, (time-based effects) or some compression (dynamic effect) on their voice. I would caution you to use these effects sparingly because what might sound good by itself might not necessarily sound good collectively and over-processed vocals can be detrimental to a mix. Too much reverb, compression, delay, etc. can actually murk up your sound and be hazardous to your overall recording. There is a term used quite often that says: "fix it in the mix", well as an Audio Engineer I will tell you that it's better to fix it in the recording stage. A better sounding recording will always ensure a better sounding mix.

Compression

Reverb

4. Minimize your room:

What I mean by this is to minimize the effects that your room has on your recordings. Your recording environment can directly effect the quality of your recordings. There are several solutions out there to enhance your recordings while taming your environment. We all don't have studios but we can make it sound like we do! Some of the ways you can do this is by using some acoustical foam, diffusion panels, or even a device known as a "Reflexion" filter.

The Diffusion panels will breakup the sound to help prevent standing waves (or a dropout spot in your room where two waveforms are canceling each other out).

Diffusion Panel

The acoustic foam will absorb reflections from the diffusion panels and various surfaces within your room.

Acoustic Foam

The Reflexion filter will help prevent early reflections (sounds that have been reflected off of surfaces such as walls, ceilings, floors, etc. and back into the microphone) from hitting your microphone and muddying your sound.

Reflexion Filter

There you have it. You have now been armed with some serious ammunition to help your recordings! These are just a few tips to help you but they are necessary and I hope you find them as useful as I do. Times have changed and home studios are more prevalent now more than ever. Our goal is to make beautiful music and knowledge is power. Now you can shout with me: "I HAVE THE POWER!" How many of you said that in your He-man voice? I know I did (LOL).

Please feel free to SUBSCRIBE to my blog and/or comment. Also, visit my website: www.djprosperity.com (there you can click the icons to follow me on facebook, twitter, etc.) and sign the Guestbook on the "Contact" page. I would be more than happy to help you with any of your audio needs or questions that you might have. God Bless and see you next post!

About Me:

I am a certified Audio Engineer and owner/operator of a website called djprosperity.com. I received my education in Audio Recording and Production from The Conservatory of Recording Arts and Sciences in Tempe Arizona. I have worked for Sweetwater Sounds in Fort Wayne, Indiana, as a Sales Engineer after interning in their recording studios. If you'd like to know more about me or would like my help with your projects, please visit my website and contact me.

Be Thankful, things could be a lot different

Dee Dot showing off 2 beats made with NI Helios Ray Expansions August 2013

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Your front-end and why it matters!

This is John from djprosperity.com. In this post I want to focus on the quality of your recordings. As an Audio Engineer I like to set the expectations up front for my clients as to what they can expect, and a question that I get asked often by new clientele is: "Can you make my music sound like what I hear on the radio?" The answer is more complex than you might think because in truth it is a "Yes" and a "No".

You must understand that the songs that you hear on your favorite radio station are recorded in a studio (an environment that is acoustically treated specifically for recording audio) on high-end gear. So the "No" is based on those facts. However, a tool is only as good as its user and my experience has taught me how to do more with less. If you have a good quality front-end, and your audio was recorded properly through this front-end then "Yes" I can make it sound just as good as what you hear on the radio. So what is this front-end that I am speaking of? In short, if you're doing home studio recordings then I am referring to your microphone, preamp, and your audio interface. The quality of your front-end will determine the quality of your recordings.

So how do you choose your front-end? First, I would recommend that you start by doing some research and choosing a mic that compliments your material, or your genre of music. There are many different mics out there and just because it costs a thousand dollars doesn't mean that it is the proper mic for use on your material. Are you recording vocals? Are you recording guitar? Is a tubed-mic (in other words a microphone that has a tube inside it that imparts its own sonic characteristics giving it a more full, rich, warmer sound) better suited for your genre? These are some of the questions that you should be asking. Call a studio, search the web, read reviews from others with experience, read magazines.There are a ton of resources out there.

  So, once you've chosen your microphone the next selection is your preamp. Your preamp can also be influenced by your genre or style of music. I will say this though, most audio interfaces have preamps built-in. However, there is the school of thought that says it's best to get a stand-alone pre that performs one specific function. My thoughts on that are that if you can get a high-quality interface with high-quality pres built-in, like the Apollo Quad interface, then it's worth the investment and you'll kill two birds with one stone.

That leads us to the audio interface. The audio interface is probably the single most important part of your front-end. Your interface is the part that connects your hardware devices, instruments, mics, etc. to the software that you will be using inside your computer. Your interface has converters in it that provide a complex series of A/D and D/A conversion (Audio to Digital and Digital to Audio) in order for the recording process to be possible. So choose your interface wisely. There is no substitute when it comes to the quality of your converters. No matter how good your mics and pres are you can ruin it all if you skimp on your converters. 

 

About Me:

I am a certified Audio Engineer and owner/operator of a website called djprosperity.com. I received my education in Audio Recording and Production from The Conservatory of Recording Arts and Sciences in Tempe Arizona. I have worked for Sweetwater Sounds in Fort Wayne, Indiana, as a Sales Engineer after interning in their Recording studios. If you'd like to know more about me or would like my help with your projects, please visit my website and contact me.