Yo, is there a problem if I do first additive eq to a vocal and then place a deesser or a multiband compressor before it to narrow cut the unwanted frequencies? Like, first boost the vocal frequencies to hear it as you want it to be, then go back and place a deesser or a dynamic eq to take out the unwanted frequencies?

 

example, I first tunned the vocal, then I set the gain and then I've jumped a slot down to let space for me to use a deesser or a multiband compressor, placed a addictive eq and set the vocal as my taste, after this I go back after boosting the highs and set a deesser that sounds good with the high-gain that I set before, but putting the deesser a slot before the additive eq
Does that make any sense?

 

Having an EQ boost before comp will make the compressor more sensitive to the boosted frequencies (and in general) so you might have to tweak the threshold more than usual to make it work.

But if it works, it's not wrong.

I'd personally de-ess before compressor to get rid of harsh frequencies, then compress and after having the dynamics in control EQ with a low-Q wide but small boost. But again, whatever works for you, it's not a "wrong" approach by any means!

 

Yup. I'm always tracking everything in a separate tracking project.

As far as the vocals, I'll track them w/ mild compression 80% of the time.
Editing, tuning, mild deess if needed (depends on the mic), surgical eq to get rid of everything I know I'll want to remove during mixing anyway such as HPF and any annoyances of the room itself.

Import back to the mixing project and tackle the rest in the context of the mix, which also depends on various circumstances, the song, the style of mixing etc.

 

woah, I never minded compressing before eq, I gonna give it a try! Thanks

 

You raise a very good point about recording with slight compression, this is also a very worthwhile thing to do oftentimes. I'm normally OK with a 2:1 or 3:1 (or thereabouts) ratio and fairly high threshold just to tame the peaks, maybe HPF around 80Hz to get rid of mic rumble. What works for my way of working is to give some control over the submix to the vocalists' cans, but record as neutral as possible. Very rhythmic vocalists prefer to hear the plosives but mixing these can be a headache.

 

Yeah, enough to keep it under control and allowing the artist to be free with their expression. Although I like your approach and used to track completely neutral too.

 

That's exactly how it is done.
or you do something on the vocals and do something else on the group the vocals go to. Or you boost a low q broader band and cut a narrow band within that band.
whatever makes your day. Phase altering of eqs is a rather theoretical problem. The ear has no detection for phase.
But I'm sure I triggered some linear phase eq evangelists right now.

 

Why do you have the mono version plugins on an FL insert with a stereo version pancaked in between?

 

I didnt notice that aksfdjaskdfjasdk thanks