What are you doing?
Well, my name is Rena Gayle Ray.
I am an audio engineer.
I’m an artist and I’m a writer with respect when you see when I might flex when you see, not a whole lot.
Some of the artists that I’ve worked with are big boys from OutKast, organized noise Killer Mike, anybody does their family for the most part.
But I’ve had the pleasure of working with artists like Future. There are different people that come throughout the studio, you know, on a different basis.
I will always be an MC.
But I decided to pick up another skill, which is audio engineering, to give myself a little bit more value, should I say, because for me, audio engineering added nothing to my repertoire. It just kept me in the room.
So, once I learned exactly what an audio engineer needed to be and what he needed to do, I kind of fell in love with audio engineering.
And here we are.
So today, I’m going to show you guys how I went about mixing my new record, semi-produced by Bless and J Wise, so let’s get into it, man.
Tell them that they get a call from respect when they see Mike flexing. See, not a whole lot. Just to let you know, you got to talk about a check to see.
Okay, so my process as far as recording vocals is always the same for me.
But depending on how fluffy it is, I want it to be fluffy.
That’s the word that you want to use.
Fluffy means thick.
Depending on how fluffy I want the vocals to be, determines how many stacks I’m going to do on this particular song.
In addition to the fact that I have these vocal stacks, I also have these vocals that bust what I’ve done.
And what I always do is I’ll take my hook. If it’s about four or five tracks, maybe even more, I’m going to bust those down to auxilary tracks. You see, the output is 25 and 26.
As far as the bus goes,
So here, this is where I will apply my compression, my EQ and, in this case, I boosted the highs to just make it nice and bright.
I will also apply my DSO, but I will apply all of that on the auxiliary check, because this helps not only my CPU, but it gives me a group.
And it allows me to affect the group.
And then you also have the option of affecting everything else singularly.
As always, like I said, I usually stack my hooks at least four times when I get a call for respect when he seems to wait. I might flex.
Not a whole lot. Just to let you know, you got to talk about a check to see.
So looking at that, you wouldn’t think that it was for vocals.
But for me, the way I came up looking at things and listening, I think that it’s always better to give the audio engineer, whether it’s yourself or somebody else, it’s always best to give them as much material as possible to work with.
So they can carve out the correct sound.
So in my case, I have kind of a mid-high range voice. I don’t have too much bass.
So to give me that that I need in my vocals, I usually always stack on four times.
So if you look here, I have my main vocal, and then I have my dog that’s right under it, and then another vocal that’s going to the left a little bit.
And then I have another one that’s going to the right a little bit.
Now, the reason I have these panned the way they are is because it’s best, in my opinion, to utilize your stereo imaging as much as possible.
So I didn’t want to go all the way to the left, which would be 100.
And go all the way to the right, which would be 100.
Because then, that’s when your ear starts to notice that there’s another vocal there, there’s another stack right there.
So the reason why I kept them inside was 181.
The reason why I do that is because that’s as wide as I can get. I have noticed that that’s as wide as I can get before the ear really starts to pick up on the fact that, hey, there’s another vocal right there.
And then that kind of distracts the listener.
So, as you can see, I’ve turned them down, but I turned them down at just enough volume, so that they’re there.
And you can feel them if you take them out.
But you can not notice them if they’re there.
And I tell them that they get COVID respect when they see when I might flex.
Now you might say, well, that’s just a little bit, but you will be surprised when you’re dealing with audio.
You’ll be surprised at how much any little bit of sound and a little bit of audio can actually distract the listener or it can engage the listener.
So there you go.
Now I will show you my verse.
My verse only has two stacks of vocals, but it feels like the coolest thing in the country.
If not, I’m amongst them killing them every day.
I’m a monster style. I got tons. I’m kicking it with a pause and never trusting the full Navy schema like puns. It’s work.
Now, the reason why is because when it gets to rapping, for the most part, most hooks are spaced out, but your verse might have intricate patterns and different things going on.
So when you have intricate patterns going on, the more you stack, the more noise He’s kind of just like I said, with the hook. Anything that is the least bit audible might deter the listener and they say I don’t like it.
In my case with this particular verse, I only stacked it once, meaning I have the main and then I also have a dub all the way through.
Sometimes I do ins and outs depending on the vibe, if it’s live or if it’s not, but I was going for a more laid-back vibe on this particular song.
So each verse, as you can see, is only stacked once.
Well, this verse is not meant to feel as big as the hook.
And then there again, I have that pan at zero, but I have it tucked just enough that you can fill it, but not here.
We’ll go fill in like the coolest thing in the country, if not a month of killing them every day.
I’m a monster style. I got tons of kicks with coupons and never trusted the full Davey schema like puns and this word.
This vocal here is very important, especially for an artist of my own vocal range, I say, because with a light voice like mine, it’s important to still give it enough body.
So, as you saw, I had it painted in the middle.
And then I had it turned down just enough that you could barely hear it.
But it still gives you some undertones.
I have that vocal, not only tucked underneath the main, but here again, I have the whole entire verse and everything related to that verse, vocal wise, busted to an auxiliary track.
And then that’s where I’m going to apply my compression.
That’s where I’m going to apply my EQ and my DS.
Now, a lot of people ask me, does it matter?
Do you have your plugins now?
Sometimes it doesn’t.
But most of the time, it will work because the question is, what do you want to affect first? So if you have a compressor, and then you have EQ, now you have EQ and compression. If you have the EQ, and you have the compressor after that, now you’re compressing what was EQ. So on most of my vocals, I use my compressor first, which is what I’m going to use to control the dynamic range of the vocals.
And then after that, I’m going to brighten it up and make it feel a little bit more comfortable with the EQ.
Because I brighten it up so much, sometimes sibilance comes out a little bit, which is then when I use the DSM. As you see, this is the Renaissance compressor that I use. There are several compressors that you can use and there are several compressors I use as well.
But when it comes down to my vocals, I always feel like the Renaissance compressor gives me a certain bit of warmth along with even compression, and when I say even compression, I mean some compressors might smash your vocals just a little bit too much.
And then some of them don’t smash them enough.
So now you have to overcompensate with your ratios and with your thresholds.
So for me, the Renaissance compressor is almost just like the Vokes. They give you a sense of warmth and at the same time, they give you a sense of power in the vocal. When you use them, they feel like the coolest thing in the country, if not I’m amongst killing them every day.
I’m a monster style I got tons. I’m kicking it with composites. Never trust the full Davey schema like puns. It’s work.
Listen, I enjoy coming across rules.
But uh, right now baby, I’m working to change the world.
When it comes to a de Esser, it’s important to remember that ADSL is just a cousin to a compressor.
So the reason why I chose this particular DSL is that it doesn’t muffle it up too much.
Because there again, no matter what, a compressor will always add a little bit of muffle.
So here you will see my frequencies are a little bit higher now than usual. That usually lies anywhere from your 7k to about your 13k.
So for me, if you look at where I was at, my rule of thumb is to always go to 11k.
And then I’m going to go with my thresholds to see if it makes a muffle doesn’t make it sound like you have a lisp. These different attributes are going to determine whether I change the frequency or whether I change the threshold. It’s a tight rope.
It’s a balance between the two, but once you find that golden setting, you’ll hear it and you’ll note it. Now listen to the essence so you can hear exactly what I’m getting. It sounds like I got tons. I’m kicking it with a puzzle. Never trust the full Navy schema like puns. This work is nine sharks come across.
So it’s important that you do not kill us, so you want to add enough de essing to it so that the sto cuts through the way that normal works, because it’s all about making sure that everything is as natural as possible.
So if I take it all the way to the bottom now, you’ll hear the difference in terms of its muffled styles. I got tons. I’m kicking it with composite. Never trust the fully Davey schema like puns. This is nine john come across a rule, but uh see, that sounds like it’s just guarded with something.
So then now if I take it all the way back to zero, 1000 tons, I’m kicking it with a pause.
Never trust the full Navy schema like Ponzi, swear this is nine JOHN. Come on, you can hear the S cut through.
So when I find the happy balance, the happy medium in between the two styles, I get tons. I’m kicking it with composites, never trusting the full Davey schema like puns.
It’s work.
This is a nightjar come across a rule, but uh, right now baby, I’m working to move the words. I’m trying to get into the sentimental mood. Come on money, listen to the instrumentals.
So when it comes to vocals, it’s important to make sure that everything is in his own pocket.
Everything is in its own space.
Here, you have added live tracks, like I told you, before I dub my vocals just to make sure that I give myself a good overtone, or undertone, should I say, a good undertone and a good little bit of homage to him.
But here, as you see, I have one track of ad libs. Depending on the vibe of the record, that determines how many alien tracks I have.
So in this case, when it comes to the verses, this is a laid-back song.
So my earliest track is minimal.
Sometimes, less is more.
Now in this case, I’m going to treat these vocals in a way that just makes them stand out amongst the other vocals.
So I like to use a band because it gives me more options.
Now, what I’m doing is trying to listen to those frequencies that make everything stand out.
So it’s not so much.
I’m stiff, more so I’m tuning in.
Because a lot of times you want things to stand on top of the other vocals, but not in the way across rules but rules, but maybe I’m looking to move so swell. I try and get it to the sentimental rules but rules but swear. I try and get it to the sentimental rules but rules but swear.
So a lot of times, I’ll exaggerate whatever effect that I’m trying to accomplish.
I’ll exaggerate it so that way I know exactly where to pull back from.
And once you hear it, and you know it’s golden, it’s time to move on.
When it comes to the reverb on this particular record, it is a heavy heavy reverb song, which means that I was going for a spaced out vibe a little bit, meaning that everything is everywhere, you know, you got to vote over here, you got to vote over there, and so many different elements and doing different things.
So if I go down here, you’ll see where I have all of my time-based effects.
So here, one and two, I have my favorite river, my Renaissance river, because it’s nice and big, it gives me a lot of space.
And I have different options for how I can alter the characteristics of the river. You will see my parameters. I don’t want my time to be too long, because I want the river to be heard.
But I want it to be felt more than anything. It’s all about the feeling.
So the more feelings I can give with less audible notice, the better. That gives me a little bit more of a natural vibe.
Here I have my time. How long does the reverb last?
So if I crank it all the way up and I play the vocal here, listen, I just come across as rude. But uh, right now baby, I’m working to move, so when I stopped, you could hear their tails out just a little bit too long.
So, in turn, all of that together will jumble up and cause a lot of darkness in the vocals.
So if I take it all the way back down to about 2,
71 This will allow it to tell off just enough to not be heard when I stop it or not be heard too much when the vocals are going in and out.
But it also allows you to feel a sense of space.
Listen, I just came across a room.
But uh, right now baby, I’m working to move the words.
And then it’s off.
So here, because I have this on an auxiliary track, I can allow this reverb to be at its full capacity, meaning that the wet and dry ratio is 100%.
The wet and dry is going to determine just how much reverb you apply.
So when I have it at 100%, that means the reverb is being applied to its full capacity.
If it’s at zero, that means there’s no reverb on it at all.
So when people apply their time based effects to their inserts direct directly on their tracks, then that causes them to have to use a little bit less reverb than you normally would want.
Why?
Because this is a time-based effect.
And there it will affect the timing of your track’s reverb and delay.
Now it might not be much, but you really don’t want to affect the timing of your track in the slightest bit because that can affect the swing where the vocal lands. Does it land on the snare? Does it land on the kick? Things like that.
And the feeling of going back to Philly is the number one factor in any music.
so because it is on an auxiliary track.
I can use it at 100% and I can affect how much is being heard or felt via the volume knob or the volume fader of this audience.
retract.
This isn’t a joke that comes across rude. But uh, right now, baby, I’m looking to move the world.
Hey, try and get into the sentimental mood. Come on money, listen to the instrumentals.
So I’m gon na play it for you dry.
But right now, I’m working to move.
So what did I try and get into the sentimental weather? Come on Monday, listen to the instrumental. I’m going to add the reverb. The reverb is still being applied to the auxiliary track.
But right now, I’m working to move.
So what did I try and get into the sentimental weather? Come on Monday and listen to the instrumentals.
So the key to reverb and delay is timing.
So not only is it the timing and sense of how it cinco paces with the BPM of your track, but the timing of how it feels in between the vocalists’ gaps.
So this is an eye chart come across rule, but that little pocket of reverb gives you a sense of where you’re at.
When I add my delay, listen, I just come across as rude, but uh, there’s just a little bit of delay, that’s in the undertone that allows it to carry out.
Now when it comes to delays.
Here I have my delay.
Now, though I have an EQ on here, we don’t even need it. Let’s get rid of it because I wasn’t using it because it only h delayed. I’m able to actually have a high pass filter, or a low pass filter.
So this determines whether he’s going to be extra bright, or whether it’s going to be extra dough.
Neither is wrong, it just depends on what you’re trying to accomplish.
So in most cases, we’re trying to cut out some of the mud that is created by your delays or your rivers because it adds an extra tone. Right, it’s a copy of the original signal.
So, as you can see, I have already filtered down to 100.
Now the rule of thumb, I stay around that.
Now if it gets any muddier than that, and I have to you know, crank it up a little bit, then yeah, then I will, but for my template, it is usually about 100, maybe anywhere from 100 to 90 hertz. Some people can hear it with their train ear and some people can’t, but exactly what it does for you is allow you to cut out that extra low mud. Let’s go to it before I move on.
So I even went the further step of turning up the delay, so it’s super noticeable.
It’s like the coolest thing in the country. It’s not killing them every day.
Right.
So here that’s at 100. If I were to crank this high pass filter media, letting the highs pass through it now, you’ll be able to hear the difference in the extra tone that’s either in or taken out.
Just like the coolest kid in the country, I’m not killing them every day. I’m kicking them.
So the more I crank it, the thinner it gets.
But that’s a good thing because, as it stands now, you can treat it as a ghost effect.
It allows it to sit up on the high end of the spectrum and not be the coolest thing in the country.
So when you turn it back down, this allows you to have a sense of space.
This is really gay El Rey setting equal Music Group representative ways to audio sign out.
Appreciate your opportunity.
Hello, Danny Are you okay?
Oh really must be game either.
No, you think you should bring your hair like a dang girl.
I know you fine, but please don’t waste my time because I’ve got to work hard to earn lots of respect.
