Please see:
http://www.singlecellsoftware.com/node/10338
I'm trying to get the vocals to creep in stronger for this track when they begin on the 16th bar. I've took the advice of Alexei via a different thread. The vocal sample lasts 8 bars so I reversed it in CEVS, brought 3x the reversed 8 bar sample back in to pcm synth, programmed them hard left right & centre.
I then added the 8 bar reversed sample on the 1st 8 bars of the sequencer and a blank box at the end of the 16th bar to give 8bars empty space to make room for the reverb. I then added both the master reverb & fx reverb on full throttle & reversed the sample back again to achieve the creep in effect.
But.................If you listen to the vocal creep in at the end of the 1st 16 bars of the track it sounds more like a reversed cymbal than a vocal & sounds very weak.
Is there anything I should be taking into account during the preparation stage for this effect like for exaple should I use a shorter vocal sample like say the 1st bar. Or should I be adding loads of bass or equing differently.
I'm trying to get it so it sounds strong & hear that it's a vocal fading in.
Help lol
Caustic's reverb is a linear-based math reverb, so the reverse reverb on vocals may not sound the way you expect, or have heard on commercial recordings.
You need either a $10,000 Lexicon, or a Impulse/Convulution Reverb unit or software to best achieve this.....
If you send me the SongFile, or the vocal sample itself, I'll set it up for you, if you like (time permitting....) if you tell me exactly how you want it
I nearly did the same here... I think it sounds quite good... It's at 0:50
https://soundcloud.com/elektrokrampftherapie/vangelis-he-o-ekt-edit
♬ Aliens approaching...
Try messing about with the dampening dude. If it's rounding tinny like a cymbal, sounds like you got it on high pass rather than low
www.soundcloud.com/lexeiourdan
Insta @alexeibourdan
Twitt @alexeibourdan
https://m.youtube.com/channel/UCYKUy18KH5lh1N8xVSQaCmw
Thanks guys, I very much appreciate the offer Jason & I may very well come back to you on it but for now I'd like to try & get the best result I can with first caustic. So yea Alexei, sounds logical I'll try that dude, cheers.
I've added the latest mp3 version above, starting to get the progressive feel I had in mind & getting a nice result from automating the tune on the bass drum, feel free to have a listen & let me know what you think so far.
I know I've posted this track else were on the forum so apologies but I like to upload to the forum for testing rather than listen on my phones media player.
I'm so happy with this so far, I'm excited about this one :) 1st production on caustic with the new cans so hopefully the investment has paid off. Still got loads of ideas for the strings, going to change string patterns on the last 16 bars and revisit the attack, release times & smoothness of the gate when finished...........whoop whoop whoop :)..................and revisit the reversed reverb fx
You can either use the width of the main channel or duplicate the vocal and use the pan from right to left or you can even use a wet delay or a delayed chorus...
There are many ways to bring the loudness of any vocal actually;)
♬ Lu!G
Maximise vocal track's presence by proper compression and eq..... Phase shifting one of the channels will bury a main vox line in the mix and yield undesired results.
^Word to what Jason just said.
Width on vocals is a no-no (forwards, backwards, however), unless you WANT them to be buried. The point of width is to create the illusion of something being far away, and it works better on organic sounds than anything else, so keep your vocals width knobs straight up - for "width" or "surrounding" effect, you can have the same vocals running on two or more channels, panned to different positions, and that will curiously work WAY better. That's what I did in this song, in addition to playing the sample pitch-shifted to a higher and lower octave (the sample is a shoshone indian, played backwards). All in all, the vocals took up six of my fourteen channels.
¿que onda, pachuco?
well....... a decent use of the stereo chorus effect (maybe 40-50% wet, can be a cool effect that does actually sound tasteful in some environments
Haha
I believe vocals should be centered to not mess with the other frequencies but when talking about fx vocals then width could be useful;)
♬ Lu!G
Well to clarify, it's all "useful" if it does what you want. I'm just saying that if you want clear, easily understood vocals, you will want to avoid using width (and yes, keeping your vocals dead center is often key as well). If you want fx vocals, or voices that are buried in the background, et cetera, then everything and anything you can do is game.
Jason, as someone who has more experience than most people on these forums, myself included, I have to ask: were you saying you would add stereo chorus to LEAD vocals?
¿que onda, pachuco?
Yes, it can sound cool if set up the right way for particular song tempo and instrumentation styles supporting the lead singer.......
My fave trick is to slightly detune one of the channels. Only by about ten so it very slightly phases out. Vocals stay clean but with a little bit more body
www.soundcloud.com/lexeiourdan
Insta @alexeibourdan
Twitt @alexeibourdan
https://m.youtube.com/channel/UCYKUy18KH5lh1N8xVSQaCmw
Cheers for the advice guys......nice tune radiorev.
This tracks changed alot in the last couple weeks into a 90s styled breakbeat rave track & I went with the vocoder in the end to oomph up the vocals, going to give it a few weeks listening, tweek & make sure I'm happy with it before I release :)