to be honest I don t have any phase issue in that position...
but if I had it I could mute a mic, use another take of the same mic, or double a take of the other ones
then Melodyne and Vocalalign will do the rest if the tracks don t match properly, timing I mean

 

think how many mics a drum has... kick... 2 very close maybe one in front, the snare mics take the kick too and so on

if you try the micing you can skip problems in the recorded track

I have a drum recorded with normal AB overheads, Glyin Johns trapezoidal OVHDS micing, and of course room, kicks, snares, toms... the two OVHDS tracks work perfectly together. If I mute the vintage OVHDS... I miss it, the drums are weaker

 

a little add: different takes sounds better summed together, ain t no plugin that can beat 2 well interpreted different takes

 

There will be no phase issues, as all the mics aren't the same, so it is impossible to have the same wav form, i bit identical but not the same.

 

ah thanx for the reply... do you mean for the vocal take? I guess so.
But indeed... I use RNDigital to check the phase and no prob... I pan them hard to the limit then I open a Waves S1 on the Vox Bus... if there s some phase issue it would explode like that...
anyway the guy had a reasonable doubt, they re close. But totally different mics and micing
and pres (usually RFZ V781 or Telefunken V672 mic modded for the sides)

usually I keep the verse mono and I open the stereo field and stereo delays in the chorus, sounds great

 

In this thread I explain everything at my best, in the vocals part

https://audiosex.pro/threads/all-kind-of-rock-mix-and-master-tutorial.22958/

 

i'll read it all soon. thank you for your effort dude very much appreciated!

 

thanx a lot, that s not effort, I m just a compulsive chatter-poster , think that I try to keep myself from talking all the time
LoL I m kidding... cheers!

 

The key for getting modern vocals is in how you tame the transients. Setting your compressors attack and release correctly and using the right compressor. I basically start with an 1176 type compressor, set the attack and release to the fastest, then start slowing down the release till the sound smooths out while aiming for 8-10db of gain reduction.

For all the jokes we've made about it, listen to the line "Ever since I left the city" in Hotline Bling. Try recording it yourself and you'll find that theres transients at pretty much every syllable.

 

(not a real clean shot of one of my racks from my studio....) ; But I think you have to deal with many different
folkz in this recording bizz. So I try to get the best out'a each vocalist , best I can !!!



:TC Helicon Live
:Eventide dsp-4000
:#2-Stereo Studiomaster Tube Compressor's
:#2-Presonsus ADL-500 Mic/Tube Pre AMpz

'They help things along pretty well!!'

 

for the little I know... fast attack can destroy sounds
ok maybe the hip hop standard is abit,,, desteoyed u know, pushed hard

usually vocals need a slow attack

as for the kick, almost ANY compressor in the world cannot be fast and accurate enough to keep the kick attack transients so it s better to let em go
(believe me I have real comps: UA 1176LN, 4 Telefunken U373, EMI Zener limiter, 8 Focusrite, 2 NTP 179-250B, top ones... plugins are much worst at attack artifacts)

same for the bass, but a bit faster than kick

fast attack is very used on electric and acoustic guitars as istance
but if it s an arpeggio, better slow it down a bit
arpeggio formants look like vocals a bit, so producers process it a bit like vocals, tube comps, slower attack
(Joe Satriani in studio, Royer, SM57, Sennheiser MD421 and Neve pre, 1176LN on rhythmic and solos, Neve pre and LA2A on arpeggios)

then... I don t know hip hop sorry so it could be that you re right... I m curious now... if you find some note about big singers and studio techniques, hip hop I mean, I d like a link if I may ask... that s an unknown world to me honestly

 

Last edited: Jan 19, 2016

@MrLyannMusic , try Nomad Factory Chorus, send and return, auxes, and insert an eq after that
low cut below 500-700 Hz and hi cut above 8-9 kHz