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kagen 12th November 2019 02:00 PM

Mixing Vocals Seperately (Hook/Verse/Bridge etc.)
Do you seperate for example; "lead vocals, hook and bridge" or do you put together in one track and mix them all?

I have 1 bridge, 2 hook and 2 verse and should I seperate them and mix in their own track or consolidate all and mix them all together?

mattiasnyc 12th November 2019 03:40 PM

Process according to what sounds best to you.

Do it in a way that is the most effective and efficient to you.

In other words, if you feel like the vocals need a different EQ on the chorus than the verse then do that, and if it's easier for you to achieve that by using two separate tracks with separate plugin settings then that's how you do it. If it's easier to keep them on the same track and automate the EQ then you do that instead.

I'd recommend listening carefully to commercial professional music you love and try to figure out if it's more or less the same throughout or if it's different in different sections. If your own music is the same genre you might want to do something similar.

CJ Mastering 14th November 2019 02:44 PM


Do you seperate for example; "lead vocals, hook and bridge" or do you put together in one track and mix them all?
It all depends on how it was recorded. Was it all in one take? Are there a lot of takes? That said, even if it was all in one take, depending on how it sounds, you may want to leave it all on one track or separate them. Its all up to you and how you prefer to work with them. Its really up to you.

Sometimes ill leave them on one track, if it was tracks in such a way that i can edit everything and make it sound good and sometimes ill cut them and put them on different tracks.

BIG BUDDHA 21st November 2019 10:27 AM


Originally Posted by kagen (Post 14318048)
Do you seperate for example; "lead vocals, hook and bridge"

yes generally for pop you do.

more control that way.

much simpler to do it that way, because as the instrumentation changes, as the song travels through the arrangement, the vocals will need to be at adjusted to suit.

just Duplicate the track in the DAW, and adjust the different tracks to suit.


you can go the other way and do everything using automation. but you will find it slower and probably spend many hours editing the automation.


Potapka 24th November 2019 09:41 PM

I group different types or sections of vocals to different 'folders', like Verse, Chorus, etc. They tend to get slightly different treatment and level fluctuations in order to stress a chorus or a 'hook'. I make sends from these 'folders' to different effects, like 'verse short delay', 'chorus 1/4 delay', 'chorus', 'vocal reverb', etc. Send levels vary, accordingly.

Such layout provides me the flexibility I need. I can ride any parameter or send level of these folders, if necessary.

Owen L T 25th November 2019 11:23 PM

Would almost always comp to a single track, assuming the vocal tone is largely consistent. Would only keep separate if going for distinctive tonal differences for each section - eg, breathy and intimate for verse, belt voice for chorus, But absent that kind of distinction, it makes sense for the vocal to be on one track, just as you would any other instrument.

astralpen 26th November 2019 11:53 AM

It depends on the tune. If it is largely a consistent tone for the whole tune, I leave it on one track. If I am going for a significantly different sound in one part vs the others, I will split the parts onto separate tracks.

wrgkmc 26th November 2019 06:01 PM

It really depends on how good the singer is.
In 50+ years recording I've never had to break these thing out into separate sections.
There again, I've mostly worked with highly professional singers who were formally trained and actually know how to sing.

If you're working with amateur's who don't know their back side from a hole in the ground when it comes to singing then you do what you must to make things sound good but you shouldn't be doing it thinking this is some accepted method that gives you an edge. Its more of a band aid approach based on the digital recording that's only been around for 20 years and the fact you can work that way without too much havoc involved.

Prior to digital becoming common place, its not the way you'd do things working with analog tape. It's typically much more expensive to do any kind of dubbing and punching in on tape and given tracks are limited, most singers would do far better simply having their S.. wrapped tight so they can sing their parts from beginning to end without having to build a Frankenstein monster from bits and pieces.

That's one habit I did carry over from my analog years I don't regret. I'm not a very good singer myself and have always had to work hard to get vocal tracks which are tolerable to listen to. I found chopping the vocal parts into smaller pieces caused more longer term issues as a singer then simply plowing through the parts from beginning to end. Same thing playing in bands. I played in bands that would stop the song and start over every time somebody made a mistake. Trying to get through a single song became torture and all it did was make people anticipate the place where the mistake occurs and actually increase the likelihood of it happening again and again. Its far better to push through and make mental notes where the song could be improved.

If you find your Chorus parts are weak, then focus on singing those parts better instead of trying to patch everything up using studio tricks. I guarantee you, the music will sound much better when you do because the voice will have the confidence and emotion behind it which makes the song a success. Then if you have to automate vocal levels mixing because you have stronger music backing it in parts then its no big deal.

I'd also keep in mind, the cup isn't always half full. Granted, you normally need to compress and boost vocals to match instruments like Guitar and bass that have long note sustains and compressed dynamics. You shouldn't rule out the fact that those instruments are the problem and focus on the glass being half empty, dumbing the instruments down to make the weaker vocals fit the mix vs always trying to maximize everything vocal. You may discover dynamics are the key to emotional content in the words and by using less compression the vocal expression had been what's needed. Instead of compressing the backing instruments, try expanding them and reduce the height of the hurtle you need to make the vocals jump to fit in.

Over time, you gain the experience by trying all options and eventually learn to judge just how far you will be able to take any one part simply hearing the raw tracks. You typically learn you boost "and" attenuate tracks so they meet in the middle and still have enough room to make a great sounding song without pushing any one track to extremes making it obvious a track didn't have what it takes. :heh: