mix vocals like Doja cat

도자 캣처럼 보컬 믹싱하는 방법 (완벽한 팝-랩 가이드)

~에 의해 Byron Hill II ~에 뉴스

밝고, 존재감 있으며, 장난기 있는—이것이 이 가이드가 도와줄 팝-랩 보컬 분위기입니다. 체인, 설정, 레이어링, 이펙트, 워크플로우를 배워 도자 캣 스타일 믹스를 만들어 휴대폰, 이어버드, 스피커에서 잘 전달되도록 할 수 있습니다. 확실한 출발점을 원한다면, 선별된 보컬 프리셋을 둘러보고 최종 10%는 자신의 목소리에 맞게 조정하세요.

I. 사운드를 정의하는 것

현대 팝-랩 보컬은 몇 가지 특징을 공유합니다: 또렷한 발음, 조율되었지만 인간적인 프레이징, 자신감 있는 중역대, 그리고 결코 거칠어지지 않는 광택 있는 고역. 훅은 더블과 하모니로 상승합니다. 벌스는 보컬을 전면에 두고, 스마트 딜레이와 가벼운 플레이트 리버브로 깊이를 더합니다. 애드립은 캐릭터 순간으로, 때로는 필터링되고, 때로는 포화되며, 자주 팬닝됩니다.

  • 톤: 깨끗한 로우-미드, 명확한 2–4 kHz 존재감, 공기감 있는 10–12 kHz 광택.
  • 다이내믹스: 부드러운 직렬 컴프레션으로 안정적인 레벨, 과도한 압축 아님.
  • 공간: 짧은 슬랩 또는 1/8 박자 딜레이, 20–60 ms 프리딜레이가 있는 스몰 플레이트.
  • 레이어링: 훅에 타이트한 더블, 선택적 하모니, 표현력 있는 애드립.

빠른 용어: dBFS는 디지털 레벨(0 클립)입니다. LUFS는 인지된 음량입니다. True peak (dBTP)는 샘플 간 피크를 잡아내며, 이후 인코딩을 위해 내보내기를 안전하게 유지합니다.

II. 핵심 체인 (세부사항 전에 개요)

깨끗하게 녹음하세요. 그런 다음 모든 보컬을 LEAD 버스, BGV 버스, ADLIB 버스로 라우팅하고, 모두 Vocal Master로 연결하세요. 부드러운 체인으로 믹싱하면 결정 사항을 맥락 속에서 들을 수 있습니다.

  1. Pitch correction (가볍고 빠른 리튠, 포먼트 보존).
  2. Subtractive EQ (HPF 70–90 Hz; 박스감 제거 약 200–350 Hz).
  3. Compressor 1 (느리거나 중간 어택으로 컨트롤, 피크에서 3–6 dB GR).
  4. De-esser (넓은 범위 5–8 kHz, 적당한 작용).
  5. Color/saturation (낮은 비율; 왜곡이 아닌 밀도).
  6. Compressor 2 (더 빠름; 스파이크를 잡기 위한 1–2 dB).
  7. Polish EQ (작은 에어 셸프; 10–12 kHz에서 +0.5–1 dB 정도).
  8. Send FX (슬랩/템포 딜레이, 스몰 플레이트, 애드립용 특수 FX).

III. 빠른 시작 설정 (도자 스타일 보컬을 위한 10단계)

  1. 입력 게인 스테이지. 트랙 피크를 약 −12에서 −8dBFS 사이로 유지. 클립을 트림해 체인이 일관된 레벨을 받도록.
  2. 피치 코렉션. 랩-싱 카덴스에 빠른 리튠, 하지만 “휴머니즈/트랜지션”은 적당히 유지. 자연스러운 톤을 위해 포먼트 보존.
  3. 하이패스 및 서브트랙티브 EQ. HPF 70–90Hz (음성에 따라 다름). 박스형이면 좁은 대역 딥 (200–350Hz). 코맹맹이면 800–1.2kHz 부근 부드러운 노치 시도.
  4. 컴프레서 1. 구절에서 3–6dB 게인 리덕션. 어택 10–30ms (자음 숨 쉴 공간 확보). 릴리즈 80–200ms 또는 자동. 비율 2:1–3:1.
  5. 디에서. 중앙 5–8kHz. 넓게 시작; 나중에 익사이터가 튀지 않도록 적당히 조절.
  6. 컬러/새츄레이션. 낮은 드라이브. 밀도와 하모닉스 목표. 출력 매칭으로 “더 크게” 착각하지 않도록.
  7. 컴프레서 2 (안전용). 빠른 어택/릴리즈, 1–2dB 게인 리덕션. 피크를 숨기면서 트랜지언트를 평탄화하지 않음.
  8. 프레즌스 폴리시. 필요 시 3–4kHz에서 와이드 벨 +0.5dB. 마이크가 부드러우면 10–12kHz에서 에어 셸프 +0.5–1dB.
  9. 공간감. 80–120ms 슬랩 또는 1/8박자 딜레이, 낮은 피드백, 6–8kHz 부근 로우패스. 플레이트 리버브 0.7–1.4초 감쇠, 20–60ms 프리딜레이.
  10. 오토메이션. 섹션별로 리드를 ±1dB 조절. 훅에서는 더블을 올리고 벌스에서는 숨김.

더 빠른 시작을 원하면 보컬 프리셋 라이브러리에서 장르에 맞는 체인을 불러온 후 임계값과 전송을 미세 조정하세요.

IV. 레이어링, 더블, 하모니, 애드립

더블. 훅용으로 두 개의 타이트한 더블 녹음. 리드보다 하이패스 조금 높게, 디에스 더 많이, 각 더블은 리드보다 6–9dB 낮게 유지. 팬은 약간 좌우로 하거나 두께는 유지하되 폭은 원하면 중앙 유지.

하모니. 베드처럼 다룸. 디에스 더 많이, 새츄레이션은 적게. 스택이 흐리면 200Hz 머드 약간 롤오프. BGV로 버스, 가벼운 컴프와 더 어두운 플레이트 리버브 사용.

애드립. 개성 표현용. 별도의 ADLIB 체인 사용: 장난기 있는 새츄레이션, 미묘한 포먼트 시프트, 밴드패스된 “폰” 효과 (300Hz–3kHz), 또는 콜앤리스폰스용 트리플릿 에코. 중앙에서 약간 벗어나 팬하거나 마이크로 피치 추가로 확산.

라우팅 팁. 리드 → LEAD 버스; 더블/하모니 → BGV 버스; 애드립 → ADLIB 버스; 모두 보컬 마스터로. 이렇게 하면 프로세싱이 집중되고 믹싱이 빨라짐.

V. 현대적으로 들리는 효과 (씻겨 나가지 않음)

  • 슬랩 딜레이 (분위기): 80–120ms 모노 슬랩으로 태도 표현. 약 150Hz–6kHz 필터링. 조용히 숨김.
  • 템포 딜레이 (움직임): 1/8 또는 1/4, 10–20% 피드백, 동기화됨. 리드에서 키잉된 사이드체인 덕킹을 사용해 반복이 음절 사이에서 숨 쉴 수 있게 함.
  • 플레이트 리버브 (깊이): 작은 플레이트; 0.7–1.4초 감쇠; 프리딜레이 20–60ms; 리드가 묻히지 않도록 리턴에 HPF/L PF 적용.
  • 특수 효과: 전환 시 빠른 전화 밴드패스; 애드립에 짧은 코러스; 다운비트 전 마지막 단어에 창의적 던지기.

낮은 볼륨에서 이펙트 확인. 단어가 흐려지면 딜레이/리버브 줄이기, 프리딜레이 단축, 또는 FX 리턴 볼륨 자동화 추가.

VI. 비트 통합 (2트랙 또는 스템)

스테레오 인스트루멘털 위에 믹싱할 경우 서브믹스처럼 다루기. 비트를 MUSIC 버스에 배치. 보컬에 키드된 작은 다이나믹 딥으로 2–4 kHz 공간 확보. 리드 키드의 부드러운 사이드체인 컴프레서로 펌핑 없이 바운스 추가 가능. 전체 과정은 2트랙 비트 위 보컬 믹싱 참조.

스템이 있으면 DRUMS, MUSIC, 808/BASS 그룹화. 808이 리드를 방해하면 보컬 키드 다이나믹 EQ로 120–180 Hz 주변 조절. 항상 두 개의 참조 트랙과 같은 볼륨으로 A/B 비교.

VII. 도자 스타일 튜닝 & 타이밍 (자연스럽지만 다듬어진)

튜닝. 훅 라인에는 빠른 리튠 속도; 벌스에는 중간 속도. 지속 음이 떨리지 않도록 “휴머니즈” 활성화. 피치 이동 시 캐릭터 보존을 위해 포먼트 유지.

타이트닝. 컴프레션 전에 클립 게인으로 큰 음절 균일화. 더블은 DAW 정렬 도구나 수동으로 타이밍 맞추기. ±10 ms 내에서 살짝 밀어 타이트하지만 코러스 소용돌이 없이 느낌 유지.

마이크로 편집. 필요할 때 숨소리 살짝 넣기, 모두 지우지 말 것; 태도를 전달함. 하드 게이트 대신 P/B 자음에서 클립 게인 딥으로 디팝.

VIII. 게인 스테이징, 음량 및 내보내기

보컬 체인을 정직하게 유지하세요. 원본 보컬 피크는 약 −12에서 −8 dBFS. 체인 후에는 건강한 헤드룸 목표; 믹스 단계에서 마스터 버스 리미터 없음. 최종 믹스는 약 −3 dBFS 피크, 진피크 ≤ −1.0 dBTP. 마스터링에서 경쟁력 있는 음량 설정. 릴리스 준비용 패스(인스트루멘털, 아카펠라, 클린/라디오)와 대체 버전이 필요하면 명확하고 노트 기반의 마스터링 서비스를 예약하세요.

IX. 문제 해결 (빠른 수정)

  • 이어버드에서 거친 S 사운드: 디에스 밴드 넓히기, 리드에서 8–10 kHz −0.5 dB 감쇠, 딜레이 HF 성분 낮추기.
  • 보컬이 얇게 들림: HPF 몇 Hz 낮추기, 160–220 Hz에서 1–2 dB 넓은 벨 추가, 또는 10–20% 병렬 웜 새츄레이션 블렌드.
  • 바쁜 훅에서 보컬 묻힘: MUSIC 버스에서 2–4 kHz 딥 사이드체인, 슬랩 딜레이 0.5 dB 올리기, 리드를 다운비트에 +0.5–1 dB 자동화.
  • 과도한 튜닝 아티팩트: 휴머니즈/전환 증가, 리튠 속도 약간 느리게, 또는 긴 노트에서 비브라토 처리 감소.
  • 로우-미드 머드 (200–350 Hz): 리드 또는 BGV 버스에서 1–2 dB 넓게 감쇠; 여러 개의 작은 컷 대신 하나의 작은 컷 유지.

X. 두 가지 예제 체인(스톡 및 서드파티)

스톡 전용 체인(모든 주요 DAW):

  1. 피치 보정: 빠른 리튠, 휴머니즈 20–40%, 포먼트 유지.
  2. EQ: HPF 80 Hz; 필요 시 250 Hz에서 −2 dB (넓게); 3.5 kHz에서 아주 작은 +0.5 dB.
  3. 컴프레서 1: 2:1, 어택 20 ms, 릴리즈 120 ms, 3–5 dB GR.
  4. 디에서: 6–8 kHz 넓게, S 발음에서 2–4 dB 감소.
  5. 새츄레이션: 따뜻한/테이프 스타일, 낮은 믹스 (5–10%).
  6. 컴프레서 2: 더 빠르게, 피크를 잡기 위해 1–2 dB GR.
  7. EQ 폴리시: 마이크가 어두우면 10–12 kHz에서 선반 +0.5–1 dB.
  8. 전송: 모노 슬랩 (100 ms), 1/8 딜레이, 작은 플레이트.

인기 서드파티 체인 (예시):

  1. Auto-Tune / Melodyne: 후크는 빠르게, 벌스는 적당히 리튠.
  2. FabFilter Pro-Q 3: HPF 80 Hz; 큰 구간에서 250 Hz 다이내믹 컷.
  3. UAD LA-2A (또는 옵토): 부드럽고 음악적인 컨트롤.
  4. Sooth 스타일 다이내믹 레조넌스: 가볍게, 4–8 kHz에 집중.
  5. UAD/아날로그 스타일 새츄레이션: 밀도감을 위해 5–10% 믹스.
  6. 1176 스타일 컴프: 빠르게, 피크에 1–2 dB GR.
  7. Maag/air EQ: 필요 시 10–12 kHz에서 아주 작은 +0.5–1 dB.
  8. FX: EchoBoy 슬랩 + 1/8 박자; Valhalla Plate 짧은 디케이, 필터링된 리턴.

XI. 노래를 더 빨리 완성하는 워크플로우

버스(LEAD, BGV, ADLIB, Vocal Master), 전송(슬랩, 템포 딜레이, 플레이트, FX), 보수적인 체인 설정이 포함된 기본 템플릿을 저장하세요. 작은 참조 재생목록을 만드세요. 한 모니터 레벨에서 작업하세요. 리드에 미세한 조정을 하고, 편곡—더블, 하모니, 애드립—으로 섹션 간 상승감을 만드세요. 

XII. 최종 생각

도자 스타일 보컬 믹스는 깔끔하고 자신감 있으며 재미있습니다. 로우-미드를 정돈하고, 존재감을 신중하게 조절하며, 짧은 딜레이로 움직임을 주고, 더블과 애드립으로 개성을 더하세요. 한 가지 체인에 집중하여 잘 익히세요. 빠른 시작을 위해 장르에 맞는 보컬 프리셋을 사용한 후, 임계값과 전송을 목소리에 맞게 조정하세요. 최종 단계에서는 믹싱 서비스를 집중적으로 이용해 음량, 번역성, 플랫폼 준비 완료 산출물을 확보하세요.

이전 게시물 다음 게시물

관련 게시물

How to Use Vocal Presets in Studio One

How to Use Vocal Presets in Studio One

In Studio One, a “vocal preset” is a reusable channel chain—EQ, compression, de-essing, tone color, delay, and reverb—that you can load in one move. This guide shows how to choose and load presets (FX Chains and Track Presets), set healthy gain, adapt tone to your mic, route sends, automate scenes, and save role-based versions for lead, doubles, harmonies, and ad-libs. If you want a tuned springboard, browse purpose-built Studio One vocal presets and then fine-tune thresholds and sends for your voice and room. I. What a “vocal preset” is in Studio One Studio One gives you several preset containers that make vocal chains easy to load and reuse: FX Chain preset — a saved insert stack with Macro controls (one-click channel strip). Track Preset — recalls inserts, order, I/O, color, and sends for a track (Studio One 6+). Song Template — opens a whole session “studio-ready” (lanes + FX channels prewired). Device presets — per-plug-in settings (Pro EQ³/Pro EQ², Compressor, De-Esser, Analog Delay, Room Reverb/OpenAIR, etc.). Loading a preset is step one. Step two is adapting input level, de-ess amount, presence, air, and FX balance to your voice and the song. II. Pre-flight (so presets behave) Pre-flight checklist Audio device & buffer: smaller buffer (64–128) while tracking; raise later for mixing. Session rate: 44.1 kHz for music (48 kHz if delivering to video). Input target: sing at performance level; aim raw peaks around −12 to −8 dBFS before any inserts. Track layout: one audio track named Lead Vox and two FX channels (A = Slap, B = Plate). Pop filter & distance: 10–20 cm from mic; stay consistent to stabilize tone. III. Load a vocal preset (four reliable routes) 1) FX Chain preset (fastest, macro-ready) Open the Browser (F5) → Effects → FX Chains → drag your chain onto the Lead Vox channel. Click the Macro panel (wrench icon) to expose Trim, De-Ess, Body, Presence, Air, and FX controls. Save your working copy (right-click channel header → Store FX Chain) as Lead — Clean (YourName). 2) Track Preset (lane + sends in one move) Right-click a track header → Apply Track Preset… (or drag from Browser → Track Presets). Set input, arm, and monitor. Your inserts and sends load together. 3) Song Template (start ready) New Song → pick your “Vocal Starter” template with Lead/Doubles/Harmonies/Ad-libs and Slap/Plate FX channels. Set inputs and record; everything else is prewired. 4) Drag-drop device presets In the Browser, drag device presets (Pro EQ³, Compressor, De-Esser, etc.) into empty insert slots to build a chain, then Store FX Chain. IV. Gain staging: make or break Interface pre first: set the mic pre so unprocessed peaks land −12 to −8 dBFS. Clip Gain / Event Gain: nudge loud/soft phrases (±2–3 dB) before compression; add short fades at edit points. Comp A target: aim ~3–5 dB gain reduction on phrases (ratio 2:1–3:1; attack 10–30 ms; release 80–160 ms). Don’t slam 10–12 dB constantly. Post-chain peak: keep track peaks around −6 to −3 dBFS; leave loudness for mastering. Level-match A/B: keep a final Gain/Trim at chain end so comparing presets isn’t skewed by “louder wins.” V. Five controls you’ll touch on every song De-Ess (6–8 kHz): turn until earbuds stop complaining; stop before consonants blur. Body (120–200 Hz): add warmth if thin; if the booth is boxy, reduce 250–350 Hz instead. Presence (3–4 kHz): tiny, wide lift only if diction hides. If hats/claps are bright, carve the beat rather than boosting the voice. Air (10–12 kHz): micro shelf only after sibilance is calm. FX blend: slapback 90–120 ms + short plate 0.7–1.0 s (pre-delay 20–50 ms). Verses drier; hooks open. VI. Lead vs. stacks: build a “family,” not clones Lead: mono-true center; minimal wideners; ride volume to keep the story forward. Doubles L/R: higher HPF than Lead; a touch more de-ess; tuck −6 to −9 dB under; micro-pan L/R; avoid chorus wideners that collapse in mono. Harmonies: darker EQ; wider than doubles; optional +0.5–1 dB near 5 kHz for shimmer only if needed. Ad-libs: narrow bandwidth (HPF ~200 Hz, LPF ~8–10 kHz); side-panned; short throw echoes on transitions. Save one FX Chain or Track Preset per role—Lead — Clean, Double — Tight, Harmony — Wide, Ad-Lib — Phone—so recall is instant and consistent. VII. Time & space: FX channels do the heavy lifting Create two FX channels: A = Slap (Analog Delay or Beat Delay), B = Plate (Room Reverb/OpenAIR plate IR). Filter returns: insert Pro EQ³ on each FX channel; HPF ~150 Hz, LPF ~6–7 kHz so tails never hiss on earbuds. Ducking trick: insert Compressor on the Slap FX channel; sidechain from Lead; fast attack/release; ~1–2 dB GR so echoes bloom in the gaps. Send automation: +1–2 dB into hooks; lower in dense verses; keep tails filtered. VIII. Macro Controls (FX Chains = your channel strip) Open the FX Chain editor → Macro Controls. Create knobs: Trim, De-Ess, Body, Presence, Air, FX. Map each knob to the key parameter (e.g., De-Esser amount, Pro EQ shelves, Delay/Reverb sends). Set useful ranges so a quarter-turn does something musical, not extreme. Store the FX Chain so every session loads with your “channel strip” in one click. IX. Stock “safe chain” (rebuildable anywhere) Pro EQ³/Pro EQ² (first): HPF 80–100 Hz; wide −1 to −2 dB at 250–350 Hz if boxy; tight notch near 1 kHz if nasal. Compressor (Comp A, shape): ratio 2:1–3:1; attack 10–30 ms; release 80–160 ms; ~3–5 dB GR on phrases. De-Esser: center ~6–8 kHz; reduce until S/T/SH are comfortable on earbuds. Compressor (Comp B, catcher): faster, 1–2 dB GR to stabilize send levels and peaks. Color (optional): Softube-style Saturation Knob (if installed) or stock Saturation; very low mix; output matched. Pro EQ (polish): +0.5–1 dB broad at 3–4 kHz only if diction hides; tiny 10–12 kHz shelf last. Sends: Analog/Beat Delay for slap; Room Reverb/OpenAIR plate; filter returns. Wrap as an FX Chain; add Macro controls; save as Lead — Stock Clean (S1); branch lighter/heavier variants per song. X. Fast audition (without fooling your ears) Loop a 10–20 s phrase with quiet and loud words. Keep a final Gain at chain end to level-match; flip FX Chains or Track Presets from the Browser. Pick what translates on earbuds/phone, not just the brightest option. XI. Two-track beat survival (bright hats, heavy subs) When the instrumental is a stereo file, reduce collisions instead of “more bright” on the voice: Mid dip on the beat (dynamic): insert Pro EQ on the instrumental bus; create a gentle bell around 3 kHz; sidechain a Compressor to the vocal and link (or automate) the EQ band for −1–2 dB only while the voice speaks. Splash control: keep the Lead’s Air conservative; LPF returns ~6–7 kHz if hats are icy. Mono check: temporarily sum the monitor path; the story should still land on a phone speaker. XII. Tracking vs. mixing: what to print Record dry, hear wet: monitor through the preset on Lead but print a clean take. If a collaborator needs the “demo vibe,” bus Lead to a PRINT track and record a wet safety (Lead_Wet). Commit late: render/freeze heavy FX near the end; keep an _FXPRINT audio track for recall. XIII. Automation that sells the line (micro, not macro) Volume rides: +0.5–1 dB into downbeats; −0.5 dB on tongue-twisters. De-ess threshold: slightly tighter on bright syllables; looser on dark phrases. FX choreography: lift Slap/Plate into hooks; lower in verses; keep tails filtered. XIV. Organization & recall (minutes now, hours later) Names that sort: Lead — Clean, Lead — Air+, Rap — Punch, Harmony — Wide, Ad-Lib — Phone. One per role: separate FX Chains/Track Presets for Lead/Doubles/Harmonies prevent over-de-essing stacks or over-brightening the center. Template: keep a “Starter — Vocals (Studio One)” Song Template with lanes and FX channels; start every song from it. XV. Troubleshooting (problem → focused move) Harsh S’s after adding Air: raise De-Esser slightly; reduce Air ~0.5 dB; LPF returns to ~6–7 kHz. Vocal sinks under 808: keep verses drier; add a tiny Presence lift; apply a subtle 2–4 kHz dip on the beat during lines. Clicks or crackles: raise buffer while mixing; disable heavy oversampling until render; close background apps. Preset sounds different at export: verify quality/oversampling modes; avoid master clipping; render at session rate. Chain feels “dead” on your mic: ease de-ess; reduce low-mid cuts; a tiny 150–180 Hz lift can restore chest without mud. Levels jump in A/B tests: match outputs with a final Gain; louder wins the ear unfairly. XVI. Learn more (next best step) Hand-offs are smoother when stems are clean and consistent. This walkthrough on how to export stems from Studio One step by step shows naming, starts, and tails that open cleanly anywhere. XVII. Quick action plan (copyable) Load an FX Chain or Track Preset; set input so raw peaks land −12 to −8 dBFS; Comp A kisses 3–5 dB. De-ess to “soft-bright,” add tiny Presence only if diction hides; keep Air conservative. Route Slap/Plate on FX channels; filter returns; duck Slap from the Lead; automate sends into hooks. Save role-based versions (Lead, Doubles, Harmonies, Ad-libs); keep a Song Template. Render roughs with headroom; keep the master unclipped; leave loudness for mastering. Used well, vocal presets are reliable shortcuts—not crutches. Keep headroom healthy, make small moves, automate what matters, and your voice will sit forward without harshness—song after song. For a fast start tuned to this DAW, grab the curated Studio One vocal presets and lock in your own “best-fit” versions for consistent, repeatable results.

더 알아보기
Use Vocal Presets in Pro Tools: Full Guide

Use Vocal Presets in Pro Tools: Full Guide

In Pro Tools, a vocal preset is a ready-to-load signal path—EQ, compression, de-essing, color, delay, and reverb—saved as a Track Preset, plug-in preset, or full session template. This guide walks you through pulling those presets into a session, calibrating input, shaping tone with a few decisive moves, routing effects the modern way, and keeping separate recipes for lead, doubles, harmonies, and ad-libs. If you’d like a jump start designed for this DAW, try the curated Pro Tools vocal presets and then tailor thresholds and sends to your voice. I. Presets in Pro Tools: what you can actually save Pro Tools gives you a few building blocks that cover most workflows: Track Presets — store inserts, their order, I/O, sends, and even color. Recall from the track nameplate or when creating a new track. Plug-in presets — AAX device states (EQs, compressors, de-essers, delays, reverbs) that you can mix and match inside any chain. Session Templates — open directly into a vocal-ready environment (lanes + FX returns) with one click. Import Session Data — cherry-pick a tuned vocal track (and its buses) from another session and drop it into your current one. Loading is step one. Step two—often skipped—is adapting gain, sibilance control, presence, and ambience to the singer and the song. II. Set the stage (short checklist) Before you hit record Playback Engine: choose your interface; 64–128 samples while tracking, then raise for mixing. Sample rate: 44.1 kHz for most releases (use 48 kHz when the project is headed to video). Healthy input: sing at performance level and target −12 to −8 dBFS on the raw input meter. Starter layout: one audio track named Lead Vox plus two aux returns: A = Slap, B = Plate. Meters: if you want to see gain before automation or sends, switch the track meter to pre-fader. III. Bringing a preset into the session (four dependable paths) 1) Track Presets (speed option) From the New Track dialog, choose Track Preset and select your vocal chain; or Right-click the track nameplate → Recall Track Preset…; or Open Workspace (Option+I) and drag a Track Preset onto the Edit/Mix window. Immediately store your version (e.g., Lead — Clean • YourName) so later tweaks do not overwrite the original. 2) Import Session Data (pull a lane with its plumbing) File → Import → Session Data… and choose a donor session with a vocal you trust. Enable the tuned Lead and its FX returns; if replacing a temp track, use “Match Tracks by Name.” 3) Session Template (open ready-to-record) Create from Template → pick your “Vocal Starter” (Lead, Doubles L/R, Harmonies, Ad-libs, Slap/Plate). Set the Lead input, arm, and you’re rolling—the buses are already patched. 4) Plug-in presets (surgical swaps) On the vocal track, load stock AAX tools (EQ3 7-Band, Dyn3 Comp/Lim, Dyn3 De-Esser, Mod Delay III, D-Verb/Space) or your third-party favorites. Save device presets that work; later, bundle them into a Track Preset for one-click recall. IV. Calibrate the signal (why your preset suddenly works) Preamp, then inserts: set the interface so unprocessed peaks land between −12 and −8 dBFS. Clip Gain first aid: tame shouty words and lift whispers before compression (±2–3 dB usually does it). Add short fades so edits are invisible. Compressor A sweet-spot: aim for roughly 3–5 dB gain reduction on phrases (2:1–3:1, 10–30 ms attack, 80–160 ms release). Heavy constant squeeze makes de-essing harder. After the chain: keep post-FX peaks around −6 to −3 dBFS. Loudness is a mastering decision, not a tracking one. Fair comparisons: add a Trim/Gain at the end of the chain so A/B tests aren’t won by “louder.” V. Five moves that shape 90% of a vocal Sibilance: set the de-esser band near 6–8 kHz; dial just enough that earbuds relax but consonants still read. Low-mid weight: add a touch at 120–200 Hz if the singer feels thin; if booth bloom shows up, shave 250–350 Hz instead. Presence lane: a wide, tiny lift around 3–4 kHz only when words hide. If cymbals are already bright, carve the beat rather than forcing the vocal. Air: small shelf at 10–12 kHz after sibilance is under control. Space: slapback around 90–120 ms and a short plate (0.7–1.0 s, 20–50 ms pre-delay). Keep verses drier; let choruses bloom. VI. One singer, many lanes: keep each job on its own rails Lead: mono-solid and stable in the center; width lives elsewhere. Ride phrases so the story never dips. Doubles L/R: higher high-pass than the Lead, slightly stronger de-ess, tucked 6–9 dB under; micro-pan left/right; avoid chorus wideners that collapse in mono. Harmonies: darker than doubles and spread wider; if they disappear, a tiny 5 kHz polish is enough. Ad-libs: narrowed bandwidth (HPF ~200 Hz, LPF 8–10 kHz), panned off-center, with short throws on transitions. Save a Track Preset per role (Lead — Clean, Double — Tight, Harmony — Wide, Ad-Lib — Phone) so recall is instant and consistent. VII. Ambience the modern way: two auxes, lots of control Create Aux A = Slap (Mod Delay III) and Aux B = Plate (D-Verb or Space). Filter both returns with EQ: HPF ~150 Hz, LPF ~6–7 kHz so tails never hiss on small speakers. Add a compressor on the Slap aux keyed from the Lead (fast attack/release, about 1–2 dB gain reduction). Echo appears in the gaps instead of stacking on words. Write simple send rides: +1–2 dB in hooks, pull back in dense verses. VIII. Stock toolkit that travels anywhere EQ3 7-Band (first): high-pass 80–100 Hz; gentle, wide cut at 250–350 Hz if boxy; tiny notch near 1 kHz only if needed. Dyn3 Comp/Lim (Comp A): 2:1–3:1, 10–30 ms attack, 80–160 ms release; kiss 3–5 dB on phrases. Dyn3 or Avid De-Esser: focus around 6–8 kHz; use ears, not meters. Dyn3 Comp/Lim (Comp B): faster “catcher” for 1–2 dB on peaks; stabilizes send level. Color (taste): AIR Lo-Fi or Distortion at very low mix for density; match output so “louder” doesn’t trick you. EQ3 (polish): broad +0.5–1 dB near 3–4 kHz if diction still hides; small air shelf last. Wrap the above as a Track Preset labeled clearly—Lead — Stock Clean (PT)—and spin lighter/heavier variants for different songs. IX. Evaluate presets quickly without fooling yourself Loop a 10–20 s section with soft words and loud ones. Keep a Trim/Gain at the end for level-match; flip Track Presets or plug-in stacks. Pick what translates on earbuds and a phone, not just the brightest option in the control room. X. If the beat is a single stereo file (tight hats, big subs) Let the vocal borrow space: on the instrumental bus, tie a gentle 2–4 kHz dip to a sidechained compressor keyed by the vocal—only 1–2 dB while the singer speaks. Top-end comfort: keep the Lead’s air move modest; low-pass the effects returns if cymbals already sizzle. Mono sanity check: collapse monitors briefly; the lyric should remain intelligible on a phone speaker. XI. Edit first, mix less: comping & Clip Gain Playlists: build a clean composite that favors diction and emotion. Pre-shape dynamics: quick Clip Gain nudges (±1–2 dB) smooth the ride so compressors do less heavy lifting. Breaths: reduce obvious gasps; keep the natural ones—they mark phrasing. XII. What to print (and when) Record dry while monitoring wet. Capture the clean Lead; if someone needs the “demo vibe,” route the Lead to a PRINT track and record a wet safety as well (Lead_Wet). Freeze or Commit heavy effects close to the finish line, and keep an _FXPRINT track for recall. XIII. Small automation, big payoff Level rides: +0.5–1 dB into downbeats; tiny dips on tongue-twisters. De-esser threshold: slightly tighter for bright syllables, looser for dark phrases. FX choreography: push Slap/Plate in the chorus; pull back for dense verses; keep returns filtered. XIV. Keep your library tidy (future-you will thank you) Names that sort: Lead — Clean, Lead — Air+, Rap — Punch, Harmony — Wide, Ad-Lib — Phone. One preset per lane: Lead/Doubles/Harmonies each get a dedicated Track Preset so you don’t over-de-ess stacks or brighten the center by accident. Session Template: keep a “Vocal Starter (PT)” with lanes and Slap/Plate auxes; start every song from it. XV. Troubleshooting: targeted fixes Air adds harshness: back off the shelf ~0.5 dB, lift the de-esser slightly, and low-pass the returns around 6–7 kHz. Vocal buried by 808: dry the sends in verses, add a hair of presence, and automate a subtle mid dip on the beat during lines. Clicks/crackles: increase buffer for mixing; disable look-ahead/heavy analyzers until bounce; close background apps. Preset sounds different on bounce: check quality/oversampling toggles, avoid master clipping, and bounce at the session rate. Chain feels flat on your mic: reduce low-mid cuts, ease the de-ess, and try a tiny 150–180 Hz lift for chest without mud. A/B bias: use the final Trim/Gain so loudness doesn’t decide the winner. XVI. One-page game plan Recall a Track Preset and calibrate input so raw peaks sit at −12 to −8 dBFS; Comp A glides at ~3–5 dB GR. Shape sibilance → body → presence → air with small, wide moves; keep FX tasteful in verses. Send to Slap/Plate auxes, filter returns, and sidechain-duck the Slap from the Lead. Store role-specific Track Presets (Lead, Doubles, Harmonies, Ad-libs) and use a session template. Print clean, keep headroom, and leave loudness for mastering. Used with intention, presets are a laser-cut shortcut—not a crutch. Keep headroom generous, make restrained moves, automate the few moments that matter, and the vocal will sit forward without grit or glare. When you want chains built for this exact ecosystem, start with the Pro Tools templates and lock in your own best-fit versions for repeatable results.

더 알아보기
How to Use Vocal Presets in Mixcraft

How to Use Vocal Presets in Mixcraft

In Mixcraft, a “vocal preset” is a reusable effects chain—EQ, compression, de-essing, tone color, delay, and reverb—that you can load on a track in one move. This guide shows how to pick and load the right preset, set healthy gain, shape tone, route sends, automate scenes, and save role-based versions for lead, doubles, harmonies, and ad-libs. Want a quick head start?  I. What a “vocal preset” is in Mixcraft Mixcraft supports several preset containers that make vocal chains easy to load and reuse: Effects Chain preset — a saved insert stack (order + settings) you can apply to any audio track. Track Template — an audio track saved with its chain, routing, color, and sends (e.g., Slap/Plate). Great when you want a full lane in one click. Project Template — a starter session with lanes (Lead, Doubles, Harmonies, Ad-libs) and Send tracks already set up. Using a preset is more than loading it—you’ll adapt input level, de-ess, presence, air, and FX balance to your voice and song. II. Pre-flight (so presets behave) Pre-flight checklist Audio device & buffer: select your interface; 64–128 samples to track, raise later for mixing. Session rate: 44.1 kHz for music (48 kHz if delivering to video). Input target: sing at performance volume; aim raw peaks around −12 to −8 dBFS before any FX. Track layout: start with one audio track named Lead Vox plus two Send tracks (A = Slap, B = Plate). Pop filter & distance: 10–20 cm from mic; keep stance consistent to stabilize tone. III. Load a vocal preset (four reliable routes) 1) Effects Chain preset (fastest) Select your Lead Vox track → open the FX window. Load an Effects Chain from the preset menu (or drag it from the Browser onto the FX area). Confirm the order: EQ → Comp A → De-Ess → (Color/Sat) → Comp B (catcher) → Utility. Immediately save your working copy with a clear name (e.g., Lead — Clean (YourName)). 2) Track Template (lane + sends in one move) Right-click in the track list → Insert Track From Template → choose your vocal template. Set the track input to your mic channel; arm and monitor. 3) Project Template (start ready every time) File → New Project → pick your “Vocal Starter” template (Lead/Doubles/Harmonies/Ad-libs + Slap/Plate sends). Set inputs and record; everything else is pre-wired. 4) Drag-drop from Browser Keep a _Presets/Vocals folder in the Browser; drag a chain onto the track when needed. IV. Gain staging: make or break Mic pre first: set the interface so unprocessed peaks hit −12 to −8 dBFS. Trim into Comp A: use the chain’s input/trim to hit ~3–5 dB gain reduction on phrases (ratio 2:1–3:1; attack 10–30 ms; release 80–160 ms). Don’t slam 10–12 dB constantly. After the rack: keep track peaks around −6 to −3 dBFS; loudness happens later in mastering. Level-match A/B: add a final trim/utility so preset comparisons aren’t biased by “louder wins.” V. Five controls you’ll touch on every song De-Ess (6–8 kHz): turn until earbuds stop complaining; stop before consonants blur. Body (120–200 Hz): add warmth if thin; if the booth sounds “boxy,” reduce 250–350 Hz instead. Presence (3–4 kHz): tiny, wide lift only if diction hides. If hats/claps are bright, carve the beat rather than boosting the voice. Air (10–12 kHz): micro shelf only after sibilance is calm. FX balance: slapback 90–120 ms and short plate 0.7–1.0 s (20–50 ms pre-delay). Verses drier; hooks open. VI. Lead vs. stacks: build a “family,” not clones Lead: mono-true center; minimal widening; automate volume to keep the story forward. Doubles L/R: higher HPF than Lead; a touch more de-ess; tuck −6 to −9 dB under; micro-pan left/right; avoid chorus wideners that collapse in mono. Harmonies: darker EQ; wider than doubles; optional +0.5–1 dB near 5 kHz for shimmer only if needed. Ad-libs: narrow bandwidth (HPF ~200 Hz, LPF ~8–10 kHz), side-panned, short throws on transitions. Save one preset per role—Lead — Clean, Double — Tight, Harmony — Wide, Ad-Lib — Phone—so recall is instant and consistent. VII. Time & space: Send tracks do the heavy lifting Create two Send tracks: A = Slap and B = Plate. Color them for quick spotting. On track A, add a short delay (≈90–110 ms), filter 150 Hz–6 kHz, low feedback. On track B, add a bright plate (0.7–1.0 s) with 20–50 ms pre-delay; HPF/LPF the return. Duck the Slap: place a compressor on A, sidechain from the Lead; fast attack/release so echoes bloom in the gaps. Automate sends: +1–2 dB into hooks; lower in dense verses; keep returns filtered for phone translation. VIII. Stock “safe chain” (rebuildable anywhere) EQ (first): HPF 80–100 Hz; wide −1 to −2 dB at 250–350 Hz if boxy; tight notch near 1 kHz if nasal. Compressor A (shape): ratio 2:1–3:1; attack 10–30 ms; release 80–160 ms; ~3–5 dB GR on phrases. De-Esser: center ~6–8 kHz; reduce until S/T/SH are comfortable on earbuds. Compressor B (catcher): faster 1–2 dB GR to stabilize sends and peaks. Color (optional): light saturation/tape; output matched so “louder” doesn’t fool you. EQ (polish): +0.5–1 dB broad at 3–4 kHz only if diction hides; tiny air shelf last. Delay & Reverb (sends): slap on A; plate on B; filter returns. Wrap it as an Effects Chain; save as Lead — Stock Clean (MX) and branch lighter/heavier versions per song. IX. Fast audition (without fooling your ears) Loop a 10–20 s phrase that includes quiet and loud words. Keep a final trim at the end of the chain; level-match before judging. Toggle chain presets; choose what translates on earbuds/phone, not just the brightest option. X. Two-track beat survival (bright hats, heavy subs) Carve, don’t fight: if the instrumental is a stereo file, cut small overlaps instead of “more bright” on vocals. A gentle dip around 2–4 kHz on the beat during vocal lines (via automation) lets consonants pop. Splash control: keep the Lead’s Air conservative; LPF returns ~6–7 kHz if hats are icy. Mono check: temporary mono on the master; the story should still land on a phone speaker. XI. Tracking vs. mixing: what to print Record dry, hear wet: monitor through the preset on the track but print a clean take. If a collaborator needs “demo vibe,” route Lead to a PRINT track and record a wet safety (Lead_Wet). Commit late: Freeze or render heavy FX near the end; keep an _FXPRINT audio track for recall. XII. Automation that sells the line (micro, not macro) Volume rides: +0.5–1 dB into downbeats; −0.5 dB on tongue-twisters. De-ess threshold: slightly tighter on bright syllables; looser on dark phrases. FX choreography: lift Slap/Plate into hooks; lower in verses; keep tails filtered. XIII. Organization & recall (minutes now, hours later) Names that sort: Lead — Clean, Lead — Air+, Rap — Punch, Harmony — Wide, Ad-Lib — Phone. One per role: separate chains for Lead/Doubles/Harmonies prevent over-de-essing stacks or over-brightening the center. Template: keep a “Starter — Vocals (Mixcraft)” project with lanes and two Send tracks. Duplicate for each new song. XIV. Troubleshooting (problem → focused move) Harsh S’s after adding Air: raise de-ess slightly; reduce Air by ~0.5 dB; LPF returns to ~6–7 kHz. Vocal sinks under 808: keep verses drier; add a tiny Presence lift; reduce delay feedback; consider a small 2–4 kHz dip on the beat during lines. Preset sounds different at export: check plug-in quality/latency modes; avoid master clipping; render at session rate. Clicks or crackles: raise buffer for mixing; disable heavy oversampling until render; close background apps. Chain feels “dead” on your mic: ease de-ess; reduce low-mid cuts; a tiny 150–180 Hz lift can restore chest without mud. Levels jump in A/B tests: match outputs with a final trim; louder wins the ear unfairly. XV. Quick action plan (copyable) Load an Effects Chain or Track Template; set input so raw peaks land −12 to −8 dBFS; Comp A kisses 3–5 dB. De-Ess to “soft-bright,” add tiny Presence only if diction hides; keep Air conservative. Route Slap/Plate on Send tracks; filter returns; duck Slap from the Lead; automate sends into hooks. Save role-based versions (Lead, Doubles, Harmonies, Ad-libs); keep a project template. Render roughs with headroom; keep the master unclipped; leave loudness for mastering. Used well, vocal presets are reliable shortcuts—not crutches. Keep headroom healthy, make small moves, automate what matters, and your voice will sit forward without harshness—song after song. When you want to start from chains already tuned for modern pop, rap, and R&B , explore vocal presets and lock in your own “best-fit” versions for fast, consistent sessions.

더 알아보기

믹싱 서비스

노래를 전문적으로 믹싱 및 마스터링해야 하는 경우, 저희 믹싱 및 마스터링 서비스를 자유롭게 확인해 보세요.

지금 탐색하기

보컬 프리셋

보컬 프리셋으로 보컬 트랙을 손쉽게 향상시키세요. 탁월한 성능을 위해 최적화된 이 프리셋은 다양한 음악 장르에서 뛰어난 보컬 품질을 달성하기 위한 완벽한 솔루션을 제공합니다. 몇 가지 간단한 조정만으로도 보컬이 선명하고 현대적인 우아함으로 돋보이게 되어, 보컬 프리셋은 모든 녹음 아티스트, 음악 프로듀서, 오디오 엔지니어에게 필수적인 자산으로 자리잡습니다.

지금 탐색하기

BCHILL MUSIC

안녕하세요! 제 이름은 Byron이고 저는 10년 이상의 경력을 가진 전문 음악 프로듀서이자 믹싱 엔지니어입니다. 오늘 믹싱/마스터링 서비스 문의하세요.

서비스

우리는 업계 표준 믹싱 서비스, 마스터링 서비스, 음악 제작 서비스뿐만 아니라 전문 녹음 및 믹싱 템플릿을 포함한 프리미엄 서비스를 고객에게 제공합니다.

혼합 서비스

지금 탐색하기

서비스 마스터링

서비스 마스터링

보컬 프리셋

지금 탐색하기
Adoric Bundles Embed