Heavy EQ automation on vocals using a broad range of vocal tone, projection

[recorder2]

Mike Shipley referred to syllable by syllable EQing on the Shania records and Jaycen Joshua's referenced doing similar stuff on Justin Bieber. Hundred more examples. I'm working on a piece that's got vocals that are sung in a key right on the edge of full voice and borderline falsetto and the singer's moving between registers between syllables on individual words in some cases.

Sounds more intense than it really is, probably -- it's pretty straightforward singing.

But I went in earlier tonight, finished compressing to where I liked it, and did initial level automation so the softer sung stuff holds level well -- then began to EQ piece by piece. I do this on every mix but this one's extensive.

In this case it's a lot of automated low cut adjustments, cutting as high as 400 Hz on some syllables because they're almost whispered and to get the levels high enough without hearing 'boomy breath' I need to cut that high.

But now it gets tricky -- trying to manipulate softer sung syllables to approach the timbre of something that was sung at probably 50 dB more SPL. I honestly mean 50 dB, some of this stuff is outright belted and some's nearly a whisper.

It's coming along fine and I played a rough for the relevant parties, who are pleased, but I know I could do better.

The question is, under the gun, how? What has your experience been?

Unfortunately I can't post the track.

Fortunately, though, the heavily compressed pop aesthetic of this vocal allows moderate grainy distortion so the negative effects of patchwork EQing aren't negative, they blend into the sound.

[Musiclab]

are you over thinking this? I mean part of singing something soft is the timbre change, it can be an important part of relaying an emotion, maybe you don't need to do as much of this as you think. I seem to recall Mike Shipley discussing automating eq on a Def Leppard record, I recall it being for one section of a song. but I can't imagine constantly changing the eq throughout the song.
Also keep in mind your eq changes will affect your rides

[recorder2]

Hi Lou,

It's pop, the request was for 'that pop sound' so preservation of feeling and nuance doesn't matter as much as sonic homogeneity to the degree I can achieve it. A request which almost doesn't matter because the vocal was tracked with zero compression and has a huge dynamic range and well articulated singing to begin with, almost overwhelmingly so.

Now you've got me wondering what part of what Def Leppard song.

[Musiclab]

Originally Posted by recorder2

Hi Lou,

It's pop, the request was for 'that pop sound' so preservation of feeling and nuance doesn't matter as much as sonic homogeneity to the degree I can achieve it. A request which almost doesn't matter because the vocal was tracked with zero compression and has a huge dynamic range and well articulated singing to begin with, almost overwhelmingly so.

Now you've got me wondering what part of what Def Leppard song.

well now my advice for whatever it's worth, hit the vocal with some compression, eq it so it sounds good, do your rides and then..........
LISTEN and see what it really needs. You may find you're done with the vocal, or you may find there is a place that needs something. Usually though I find with a well recorded vocal, After I do what I said, I'm done