Matthew Weiss – Mixing Rap Vocals [Tutorial, ENG]

Year of release : 2015
Manufacturer : Matthew Weiss
Manufacturer site : www.mixinghiphop.com/
By Matthew Weiss
Duration : 01:20:17
Type of handing out material : Video Tutorial
Language : English

Description : In this course, Matthew Weiss will share the methods of intelligence that he used when working with artists such as: Joell Ortiz, MURS, Dizzee Rascal, Wordsworth, Gorilla Zoe and many others.
Matt here. Thanks for checking out my tutorial on Mixing Rap Vocals. This is the same process that has been used, including Speech from Arrested Development, Joell Ortiz, MURS, Dizzee Rascal, Wordsworth, Gorilla Zoe, and the list goes on.
I like you, I’m getting tracked in million dollar studios. Vocal changes are quite a bit. But the approach is the same. By following this approach, you will come out with a soundproofing rap vocal mixes.
Step 1: Cleanup
It’s a little bit more than that. Unfortunately, it’s not possible that you’re getting bigger than life too! Before I start enhancement, I like to have a baseline for the vocal. Something that sounds even more balanced.
The tools for this process are EQ (mainly), and occasionally a dynamic EQ such as a De-Esser. You would use it to even out the tone. If you are hearing more than the midrange, you might be able to take down the treble. If you are hearing a odd amount of low-mids, find that bit, and remove a bit. If the whole vocal is just leaning against the bass, or against the treble – adjust accordingly. I will see that I make some smaller adjustments. In the second half of the vocals, you can find a lot of broader adjustment.
If you’re occasionally, it’s not consistently overbearing. This is quite common for sibilant sounds like “s” and “t.” However, sometimes the voice will jump at times. In this case, you can set a lower frequency, 2k or 3k, to control that jumping.
Step 2: Dynamic Control
Rap Vocal performances are naturally dynamic. It’s not a problem.
There are two ways to do this: I don’t cover volume automation in this series. It would be tedious. But suffice to say, Listen for. The sound of the compressor’s sound
Step 3: Enhancement
This is the fun stuff. It’s a little bit more than a subtle.
It can be used to make it sound. It is a “compilation of your own”, which is called “parallel compression.” It is a companion of the vocal. It’s fun and creative.
Step 4: Ambience
Ambience in rap is an art of subtlety. It is important to give the voice depth. However, the vocal back in the stereo field.
For most rap vocals, I’ll do a combination of delay and reverb. Delay is an echo. I love you. Sometimes I may put a little reverb on the delay itself. Every rap vocal is different. I couldn’t really want to play it.
The fun of the ambience is that it’s very subjective. There are few ways that are “wrong”. Sometimes it actually works very well.
The steps are simple, but the execution can be tricky. Once you start getting a feel for it though, it becomes much easier. It’s a little bit more than that. You can also check out your knowledge.

Sample files : none
Video Format : MP4
Video : AVC, 1920×1080, 16×9, 29,970 frames / second
Audio : AAC, 44.1 kHz, 2 channels
Total bitrate : ~ 5241 kbps