You may want to lean your vocal EQ to compliment this.
The instrumental may be very bright or very dark. If you are careful in your approach you can get the vocals pretty darn compressed without them sounding “bad”. This takes a lot of tact, and often requires a number of compressors working in tandem in order to reduce the negative artifacts of over compressing a voice. You can minimize this effect by compressing the vocal until it starts to compete with the density of the instrumental. Neither of these are great, but if I were to err, I’d lean toward the side of the vocal being over the mix. The result here is that the vocal will always either sound like it is buried by the instrumental, or so loud that it feels like it’s hanging over the mix. Compressionįor example, the instrumental may be highly compressed, and your vocal may be very dynamic. The idea is to make the vocal sound like it belongs with the instrumental. Once the vocal is in a good place on it’s own, there comes the game of “matching” it to the instrumental. Since the information on vocal treatment is covered elsewhere, I’m going to focus on working the vocals with the instrumental, and treating the instrumental. There are some great tutorials for this right here on the site. Get the vocals sounding the best you can on their own. We need to approach this mix with the forethought of compensating for whatever quality the instrumental is coming in as – highly compressed, mp3, possibly in mono, the list goes on.īut first thing’s first. By this token – the louder the instrumental – the quieter the end mix.
In fact, the first thing one has to do is turn the instrumental down in volume significantly in order to make anything work. The issue is that if the track is exceedingly dense, there is no room for the vocal. After a certain point, loudness can only be achieved by increasing the density of the record, rather than the volume. The challenge here is that loudness isn’t as simple as turning the level up. The InstrumentalĪ pre-mixed instrumental is probably somewhat compressed (or, sometimes highly compressed). Because Hip Hop producers mix their tracks with this intention, there’s a unique set of skills that comes into play for throwing vocals into the mix. On rare occasion that vocal and instrumental would be released as the actual song. In Hip Hop, this is fairly common, and comes with the intention of the combined vocal and instrumental being the final release. The idea of recording vocals to a mixed down instrumental has been around for decades. Mixing vocals to pre-mixed instrumental is an issue that just about every engineer will encounter.
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