![]() ![]() The CLA plug-in helped a lot in this case. Gee elected to go with a parallel channel to help pull the vocal out of the mix by giving it some extra beef. I didn’t use a DeEsser because I didn’t feel I needed it but there is still some Ess’s that I need to pull down a little bit.” Most dips as for the Ess sounds or sibilance. Sometimes they are too low that the compressor doesn’t get it and with the automation I can get it right away. It’s just a final layer of leveling out the vocals.Īll the peaks are when the vocal is a little lower because Amos is a dynamic singer and certain words were a little low. “The automation is one of the last things I do after I get tones and effects – all that kind of stuff. Bring up certain words that were too quiet.So here we go…īefore we start if you do want to contact Gee here are the best ways to do so:įor the automation in this record Gee’s primary focus was on three things: I didn’t want to get into a long winded intro for this article so we literally just got right into it by starting with the Automation. In this article we move into the Automation, Parallel Compression and Effects. In part 1 we discussed all the processing that went in to getting the overall tone of the vocal, which ultimately helped place it into the record. ![]() If you haven’t checked out part 1 go do that now because it leads into what we will be talking about today. Okay so we are back in action for part 2 of Mixing Vocals with Ghislain Brind’Amour. ![]()
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