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Okay, so you hear it coming forward a little bit. Talked about mixing some Hip Hop vocals and using the distortion parameter here, and so we’re going to hit that and check out what that’s going to do.
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Now, depending upon your DAW, the plug-in will be different, but we have a couple of character choices in Pro Tools, one being Lo-Fi, and my buddy Matthew Weiss has covered this a little bit. Moving on from that, the – we’re going to come back to that EQ, but the next thing I want to look at is the tube saturation, or solid state saturation. You can ride this up and just set it at about 100 to clean up the lows.
Pro-Q 2 has an analyzer, so we can see there’s not really much happening before 120-150 there, but it’s totally a taste thing. Someone accidentally hits the microphone and get a blast of low-frequencies, step on the mic, air conditioning rumble, any of that stuff that’s just taking up headroom, we don’t need it, it’s not contributing to the vocal sound, so we’re just going to get rid of it, and we’ve got this little bit of a bump there. So you can see how we’re cutting all of the junk down low that we don’t need. Let’s put it in solo, and we’re just going to scoop this up to that same frequency. So, if we take that, and we kind of scoop up on his vocal, we’re going to get rid of the lows, but we’re also going to be boosting a little bit where we begin the cut. So, what they’ve done is they’ve increased that so there’s a gain increase at the tail end of the filter. So, the Q all the way at the * position would be just flat, and then it drops off. So, this filter that was dialed in to about 95 or 100 or so, if you watch the Waves video, they talk about having a little bit of a bump in the filter, and what that means is that on this low-cut/high-pass filter, if we engage that, there’s a little bit of a bump there. So, first thing out of the gate, what we looked at was the compression, and the low-cut filter here. I know all the keyboard shortcuts, but you can accomplish the same exact moves with your stock EQ, I guarantee it. The only one I’m going to use is the Pro-Q 2, and that’s only because I know it for time’s sake and tutorials sake.
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Pretty cool, right? So, moving from that plug-in, I’m going to leave it up here on the screen, and we’re going to talk about each of the modules and how you can accomplish that with some free or stock plug-ins.Īctually, I lie. Mixed this vocal at this section, and let’s take a listen to that. So, here’s the song as it was thrown together. Then we’ve got a focus track down here that we’ll talk about in the mix. It’s just a mono audio track, and I’m going to go through some options for you. I’m actually going to leave those alone for now, we’ll talk about them later.īut then we’re going to look at the free lead audio track. I’ve got a Butch Lead track named after Butch Vig himself here, and we’ve got nothing but the Butch Vig plug-in.
By all means, but even more important is the concepts are the concepts, and the strategies and the techniques going into it, so we’re going to break that down.įirst things first, we’re going to hit play. Maybe you’re doing this as a hobby and you don’t want to invest too much into your plug-ins. Or it’s not really in the budget right now, and you just want to stick to the tools you’ve got. That’s not to take away from the beauty of the Butch Vig plug-in, but I want you to understand the concepts and the techniques going on behind the scenes of the plug-in so that you have another arsenal of tools to go to, whether you buy the plug-in and you use, which I’m doing.
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We’re going to take a look deeper into what’s going on, and I’m going to show you how to pull off some of these same techniques with stock or free plug-ins.
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Hey, what’s up, guys? David Glenn of and .Ĭoming back with what I’m calling part two of our look into the Waves Butch Vig vocal plug-in, the new signature series from Waves, and I’m really digging it.
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