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Remote vocals
Old 4 weeks ago
  #1
Here for the gear
 

Remote vocals

Hi dudes

So earlier I was listening to a Keak Da Sneak EP with Project Pat and Kalani. Being a fan of 2 of the 3 and thought to myself what the hell. How tf did they track these vox because it sounds like dung. So it got me thinking.
I mean what the hell? Perhaps not everyone is checking for this record but dang. I have a few ideas for how I would try tackling it but was wondering what you guys think, whatever you would do to make it sound like it’s cohesive coming from different sources and they were together.
Old 4 weeks ago
  #2
Lives for gear
That strikes me as a particularly low-budget project and I doubt it got much more attention to detail than your typical mixtape.

As a mix engineer, you get all kinds of stuff. Features and collabos will typically have very different tracking approaches and you learn to deal with it. If things are well recorded, then you can typically get everything to vibe together even though they were recorded by different engineers, on different mics, in different studios, in different states/countries. It’s when the recording quality isn’t great that it can become really difficult. To add, on occasion I’ll get the feature artist’s vocals sometimes as an acappella with all fx which is a total nightmare. Or sometimes I’ll get the vocal multitracks for them, but they’ve got reverb and delay printed. Sometimes this is just the fault of the artist because they have the tracking engineer rough mix stuff and they say “that sounds good, just send it just like that” without any consideration for what any of the other vocals sounds like, or really any consideration for anything whatsoever. This happens mostly with small artists, but it happens with big artists too. A lot of the time big artists will do features just for some money and they don’t put much effort into it. Often I’ll be able to get contact info and reach out for raw vocal tracks when things are really screwed up, but unless there’s a really good relationship between the featured artist and the actual artist/label that hired me, more often than not I won’t get anything and I just have to deal with it.

When I work closely with artists and they are getting a feature I really try to impress upon them the need to specify very clearly they need the vocal multitracks with no processing other than what was used in tracking, other than auto-tune or other editing. Often they say, “oh they are pro, it’s not gonna be a problem.” And I’m like, “NO. You have to specify. I don’t care how many records they’ve sold or what label they are on.”

Anyway, back on topic…. If you get stuff that’s recorded well, you just compensate. The better your ears are and the more mixing experience you have, the better you are at trying to get some vocal tracking scenario to sound just like another. Experience is key.
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