The solution is multiband compression. Set it up properly, and it will reduce the low end of the vocal when it’s too boomy, but leave it alone when it sounds fine. And your client just texted you, asking if he can swing by in an hour to listen to the mix… You could try automating an EQ – cutting low end only where it’s needed. The words that were too boomy (“in the orb,” “light,” “down”) certainly sound better, but the parts of the performance that were fine to begin with (“a face of,” “smiling”) now sound too thin. Here’s the vocal track above, with a 7 dB cut at 170 Hz: You could try to tame the excessive low end with EQ, but this will change the sound of the entire performance. Notice that the vocal sounds fine in certain spots, but excessively boomy in others (“in the orb,” “light,” “down”). So what do you do? Here’s an example of what this might sound like: During the recording, the singer was swaying back and forth in front of the microphone. Imagine you’re mixing a track with a poorly-recorded vocal (not too hard to imagine, eh?). Why might this be useful? Well, I’m glad you asked… Why Should I Use Multiband Compression? You can choose to compress only a certain part of a track’s frequency spectrum, or apply different flavors of compression to several areas of the spectrum. What’s the best multiband compressor plugin? Click here to find out… What Is Multiband Compression?Ī multiband compressor allows you to split a track into different frequency ranges (called “bands”) and compress them independently.
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