Are you using compression?

not always, but in general i make the vox and the kick/snare the hottest things in the mix. the beat and the melody- ya know? now if you r doin acoustic stuff w/o drums that wouldn't really apply. but you should reference other cds that you like the vox mix of...

I have had that problem if the vocal is too dry. If it is too in your face when I have a natural sounding level, then I lower the level, and put a little verb on it. If I just lower the level, it sounds unnatural and doesn't sit right. It also seems that I can have the background vocal louder if I have a little reverb on it.

Sure, I use compression some times, and other times I don't. Usually, though, I opt to use a touch of compression as it tends to smooth out the vocal lines to my ears.

And I do add little bits of verb here and there, on the lead and backing tracks, or any combination.

I guess the real problem I'm having is getting the vocal where I want it as far as space/level is concerned. If it's too soft, it sounds too distant, and if it's too loud, it is too "in your face" and tends to draw away from the rest of the mix. I'm just trying to get in that sweet spot. I get a little bit closer with each mix, but I was just wondering if anyone had any ideas that I hadn't thought of that I might try.

Ideas always welcome!!! :)

It sounds like something EQ wise is getting in the way of the vocal when you try to back it down into the mix.

Try Bringing up the vox first and then start adding things until the vocal starts to 'go away'....The last thing you brought up will be the start of the culprit. EQ this track and continue until all tracks are bedded and you can still hear the vocal, understand the lyric, hear the melody and feel the singers sorrow, pain, or joy.

Dont be afraid to use pre-delay on your main vocal verb. Also...a plate is the best verb for a vocal. You can also sidechain an EQ onto the vocal reverb This allows you to EQ just the signal you run into the verb only.

Certainly! I shall try this as soon as I can.

Davedog wrote: ...a plate is the best verb for a vocal.

As far as plate verb is concerned I had heard that, but maybe I'm not using it correctly because every time I do, it sounds so tinny and hollow.

Thoughts?

I guess the sound or the tone on the plate would be determined by the program or the hardware you're using. If its in software I'm sure there is somewhere you can adjust the reverbs parameters and get a more satisfying tone to it. If its hardware then if you have enough tracks or channels on a board, send to the plate the tracks you want to use it on , in this case vocals, and return to an open channel on the board and EQ from there to your stereo master.

If you're having trouble with your vocals, use your compressor. Set the compressor for 4: 1 to 20: 1. And when they are aggressively singing, make sure you are getting at least 10 to 15 DB of gain reduction. Yes that much, simply to make it sit down and behave itself. Don't forget to high pass filter the microphone before or after that compression. Boost a couple of DB at 10kHz and you're there man.

Add multi-tap time delays & plate style reverb to taste.

Crunch that crap out of the vocal
Ms. Remy Ann David

So, I compressed the hell out of the main vocal with a high pass filter post compression. Then I bused the signal over to a plate verb with a 100ms decay and a 20ms pre-delay and eq'd to taste, finally returning the verb send back to the main mix.

I've got to say, combining RemyRad's compression tip with Davedog's verb eq sidechain trick is sounding great!!

I know this seems silly, but on both the compression e.q. and the verb e.q. I boosted slightly at right around 10k, it really seemed to open up the vocal and I liked it!

If anyone else has any tips to add, I would love to hear them!!

Thanks again Ladies and Gents!