To do this, I’ll loop a vocal section in the context of my mix and bring up a high-pass filter on the vocals. I often like to start by getting rid of any unnecessary low-end. For this part of the vocal treatment, you can use the Fruity Parametric EQ. Once you’ve tamed your sibilance, it’s time to start EQing your vocal recording. PRO TIP: I often find myself using two de-essers, one to tame the most prominent sibilant frequencies around 5kHz to 7kHz, and another to tame the super high-end sibilant frequencies around 10kHz. While your de-essing might sound heavy-handed in solo, it might be the perfect amount when the rest of the mix is in. It’s also important to do this in the context of your mix. This way, you don’t have to do as much de-esser threshold automation to get your sibilance to sit properly. It’s often a good idea to go through your vocal tracks and turn down your sibilant syllables using clip gain so that they all hit the de-esser at the same level. This can be a delicate dance, as some sibilant consonants get louder than others. It’s best to adjust your threshold so that it tames the sibilance on your vocal without making it sound like the vocalist has a lisp. While there isn’t a dedicated de-esser in FL Studio, you can tame sibilance using Maximus, which has a de-ess preset with adjustable bands depending on where your sibilance lies. You can think of a de-esser like a multi-band compressor, though one that works in the upper-mids and high-frequencies, typically from around 3kHz to 12kHz. Even if obvious sibilance is not painful to listen to, it can be extremely annoying. They can stick out like a sore thumb in a mix if you don’t tame them. When a vocal is compressed, these harsh “ss” sounds will increase in volume. The gain knob on Fruity Limiter tells you the amount of dBs you’re reducing with your noise gate.ĭe-essing is a crucial part of any vocal mix, as it removes harsh sibilance or hiss sounds that are often present in vocal recordings. PRO TIP: To get the most natural sound out of your noise gate, you’ll want to adjust the release knob so that your gate doesn’t cut off the vocal too fast. The gate will either mute or reduce the volume of anything that sits below the threshold, so it’s important that you make sure it’s only muting the noise and not any quieter portions of your vocal. To find this noise gate, navigate to the Fruity Limiter and select the Vocal Gate preset.Ĭarefully set the threshold while listening closely. By using the Noise Gate in FL Studio, we can get rid of this unwanted noise. Noise can include anything from traffic passing by to the music from your headphones bleeding out to computer fans and beyond. The last thing you want to do is compress your vocals only to have a ton of noise come up and muddy your mix. While it’s not as in-depth as top-of-the-line tuning software, such as Melodyne or Antares Auto-Tune, it allows you to simply set the scale of your song and adjust a few parameters to keep your vocals sounding natural yet in the right key.ĭepending on what environment you’re recording in, noise might be a major issue. In our opinion, newTone is much more flexible, giving you more control over your vocals. Luckily, we have tools like newTone or Pitcher, which we can use to tune our vocals. No singer is perfect, and even the best singers will often have moments of pitch fluctuation, missing notes, or sitting a bit flat/sharp. Making sure that the singer is in the key of the song is crucial. One of the first steps to any professional vocal mix is pitch correction. Today, we’re going to dive in and show you how you can treat your vocals using the tools available in FL Studio. The good thing is that there is no reason to waste your money on tons of expensive third-party plugins Of course, you’re probably here because you’ve struggled to get your vocals to sit right in the mix. They add a unique, organic touch that you can’t get with programmed drums and VSTs. Vocals are one of, if not the most important elements in a mix.
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