Can someone help me explain how i can get this type of vocal clarity?

 

try an RVox or an 1176 style compressor to really squash it and push the vocal right into your face, then you're gonna wanna boost the sizzle frequencies that exist above the sibilance ~8k and up. some good tools are any pultec style eq, maag eq, vitalizer, CLA vocals or even just like a high shelf. then the other biggest difference between the before and after is the after has reverb. just hit it with a room verb, little less than 2s decay and with all the low end rolled off, maybe ~400hz

 

even with "bad recordings" you can do alot.

1. you clean the vocal recordings with eq
2. you do "A" parrallel-chain (beef it up) with lots of compression+eq+desired efx's and BLEND it in with your dry vocal
3. you clean the finnal vocal outout yet again, to make sure you vocal is "clean/tight"

add note to step 1.
you do want to add a compressor and posible a gate, to really control/tame the recording. before you start beefing it up to sit ontop of the mix.

 

I could pretty much reproduce it with (in this order) gate, (level/vocal) rider, 1176 emu (fastest times, up to 10dB GR, mostly max 3dB) low shelf (below 3kHz), high shelf (above 3kHz), saturation.

EDIT: I'm talking of the basic sound ofc, not the pitch correction, doubling, reverb.

 

Last edited: May 28, 2020

One man's clarity is another man's fingernails scratching blackboard.

 

Pitch correction, De-esser, EQ (coloring), compression, saturation, EQ (corrective), microshift/doubler, (pre EQ'd/filtered and ducked) reverb and delay. It's easy to do when you know it. Experience takes time and shitload of trial and error.

 

Last edited: May 28, 2020

-great singer (and his listening)

-great rec chain (mic, pre, room)

-editing (comp, pitch and time correction, declick-silence detection)

-rvox (slight compression and gate)
-digital subtractive eq (corrective eq right away! your next comps -and eq will thank you)
-1176 (aggressive comp)
-deesser (not extreme)
-if necessary manual deessing (after first aggressive comp)
-main color eq
-optical comp la-2a type (light)
-deesser (light)

if necessary, last digital subtractive eq, last light color eq pultec style, last aggressive comp but in parallel (I like distressor / arousor comp at this point or an ssl channel strip with maximum threshold but very low ratio)

then fx, but each song is different. My options are always those:

-Mono Verb slighy panned
-Stereo verb short (room / studio)
-Stereo verb medium or long (plate / hall / chamber)
-delay
-doubler
-a send to saturate with a UAD thermionic culture vulture, without UAD I would use the Decapitator

 

if you eq or even compress the low mids you can get pretty bright and whispery type of vocals without even having to boost much. This sounds like a quietly recorded vocal with proximity and then heavily compressed or even paralleld and then boosting and mixed in. Just try stuff out