#FL STUDIO RADIO EFFECT FREE#

When: If you want a lot of space around the vocal, but you donвЂ™t want to clutter everything up with reverb you can side-chain the reverb and delay to duck out of the way whenever the singer is singing. The different compression styles will process the vocal differently so you might want more of one than the other. Then blend the compressed vocals underneath to taste. How: Send your vocal to two different compressors, an 1176 FET style compressor and LA2A Opto compressor for instance. When: If you want to retain the dynamics of the main vocal track but add thickness and punch, you can add multiple compressors in parallel to get the best of both worlds.

How: Depends on what DAW and what tools you have at your disposal, but the goal is to line up the phrasing exactly to the main vocal track. YouвЂ™ll end up with a perfect double instead of two vocal tracks that sound slightly out of sync with each other. This is especially easy with modern flex-time editing tools.

If you have the ability through editing, you can make the vocal track stronger by tweaking the phrases to match exactly. When: Singers canвЂ™t always double their takes perfectly. Tweak pre-delay to 20 вЂ“ 40 ms to hear how the reverb pushes back away from the initial phrases of the vocal. How: Most reverbs have a pre-delay setting. When: Pre-delay can make the reverb sound bigger without getting in the way of the vocal because itвЂ™s essentially delaying the effect of the reverb by the number of milliseconds you choose. How: Add a reverb after the delay bus and add a shortish delay so that every delay repeat will get diffused by the reverb. When: Sometimes you want to soften up a delay and make the delay repeats sound smoother. An advanced way to do it is with two mono delays panned hard left and hard right with one pitch shifter detuning the vocal 10 cents while the other pitches the vocal up 10 cents. Add the send under the main vocal track until youвЂ™ve achieved the desired ambience needed. Then use a pitch-shifter to detune or pitch up the vocal about 10 cents.

How: Send the vocals to a stereo delay with 21 ms on the left and 29 ms on the right. ItвЂ™ll make the vocal larger and more present without adding any reverb tail that could clutter up the mix. When: Use this technique when you want vocal depth without space. You can replicate this without the Kramer tape by using a slap echo and some analog saturation. How: I use the Kramer Tape plug-in and use the slap/delay section to add it to the main vocal without using it as a send. It makes the vocal sound like itвЂ™s recorded in an old-school studio with the instruments all around it. Add in the stereo widening until the vocal starts sounding larger 2. How: Send the vocal to a bus, add a compressor and a stereo widener. When: For subtle widening of vocals to add depth across the stereo spectrum. Whether youвЂ™re looking for parallel processing tricks for larger vocals, cool slapback echoes, advanced double-tracking or aggressive megaphone effects, youвЂ™ll learn them in here. The easiest way to make your vocals stand out in a song is the clever use of vocal effects to make the singer jump out the speakers.

#FL STUDIO RADIO EFFECT FREE#

GET YOUR FREE VOCAL PRODUCTION CHECKLIST: 47 THINGS YOU NEED TO DO WHEN YOU PRODUCE VOCALS

Fl studio radio effect