Ass to mixing the 3 vocals together... You didn't even indicate what kind of microphones you were attempting to use on them? How close, how tight? Do you have your high pass filters engaged? That's needed. Nasal sounding singers are frequently nasal sounding singers. Try removing their nose. I never have any problems when I'm using SM58's on all three. Very little equalization is needed since the microphones already have a pleasant curve. And if you put all three summed/bused together into a limiter, they'll sit all together nicely and voilà.

So, the guitarist played the bass part like a guitar? You should be able to pitch down a full octave in software without changing tempo. Equalize to taste and compress the crap out of it.

Making imitation silk purses out of imitation pig stuff since 1970
Mx. Remy Ann David

RemyRAD, post: 374342 wrote: Ass to mixing the 3 vocals together... You didn't even indicate what kind of microphones you were attempting to use on them? How close, how tight? Do you have your high pass filters engaged? That's needed. Nasal sounding singers are frequently nasal sounding singers. Try removing their nose. I never have any problems when I'm using SM58's on all three. Very little equalization is needed since the microphones already have a pleasant curve. And if you put all three summed/bused together into a limiter, they'll sit all together nicely and voilà.

So, the guitarist played the bass part like a guitar? You should be able to pitch down a full octave in software without changing tempo. Equalize to taste and compress the crap out of it.

Making imitation silk purses out of imitation pig stuff since 1970
Mx. Remy Ann David

Sorry for lack of detailed information... I recorded them both on separate tracks, using Shure KSM44A, straight from mixer to my audio board. No processing applyied during tracking stages. Distance, approx., arm lenght, some whispered vocals close too. About one of the singer`s big nose, isn`t there any frequency I could try, to see if I can at least reduce his silly 18 yo boy with his voice still in formation sound? Make it a little bit mored professional.

About the bass thing... The guitarist starts on bottom octaves, then pulls up, then gos down again, then up, down up down etc etc...Pitch changing won`t make this any better. Maybe I could of take some of the lows out, so the bass gets a more midrangey sound? They want some bass kinda like Beatles, etc, so I don`t think there`s much need to make the bass sound modern with that whole tasteful bass we re used to nowadays. This way I think there wont be that disappearing bass line thing.

What do you think of it?

Okay now you're talking. KSM 44A, first-rate. Instead of trying to reduce his cheesy sound why not try to pump him up with a bunch of good low-end with plenty of compression? And then maybe to try to find that one nasty spot, that's when you need to be able to take a perimetric EQ and begin to sweep it up and down while boosting, hard. When you hit that nasty spot, that's when you cut.

Yeah the bass thing. Absolutely, drop out some of the low-end. Add some compression with slow attack to let those peaks through. Then, you might want to try to take that track, back feed to a guitar amplifier. Play it through the guitar amplifier and tweak the amplifier to get something more reasonable sounding. Then mic the amplifier. Lay that down to a new track and voilà? You'll get this together just fine. It's called Polishing Turds. That's not the name of the band nor a song but what we all do for a living.

Think outside the box
Mx. Remy Ann David

For nasal vox there's no specific frequency that's going to help, every singer is different. Remy's advice on how to find the problem frequency range is perfect, you'll have an easier time finding what sounds worst through boosting, and then cutting that, than you would cutting and sweeping around the cut.

Guys, thanks for the useful advice. I'm still mixing it, takes a long time for a beginner to try and adjust stuff. When I get a mix I can call finished, I'll post it on that section, and you guys are invited to(and you will, under physical threat/gunpoint) give your opinions on how to make it sound more...professional. Right?

If the Bee Gees and Frankie Valley and others could sound that nasal, so can your guy. This is what happens when you have a substantial schnoz. Or, as a boy you haven't figured out that your voice has changed.

Chief Schnozola
Mx. Remy Ann David

Well, today I'm getting back to studio after not touching the material ...listened to those guys you mentioned, and yes, if I listen very close, can really hear some of their nosesponges, but in the general voice as a whole, gets almost unhearable(like it's invisible in the mix)...

Maybe their voices unprocessed are as schnotzzy as that 19 yo boy. If I can't really make him sound ok and it still sound lame, then I'll try to use the schnotz as sortta effect...

Thinking 'bout recording the bass again without the lousy playing, to try and make it more present, you now, trying to give notes an ending point instead of playing it like a strumming guitar...and the guy who recorded the bass may never notice. (i hope) he only thinks it's an improved mixed bass(do you guys consider it antietical?), otherwise he's gonna get pissed off...Maybe I tell them a new bass was recorded, so they can compare versions, for the old and new basses...so whatever they decide, I'm goin for.

well at the end of the day I post here, with the mix finished(hopefully I upload it, so you can tell me where I might be wrong)

brb +- 14h(american clock)