Mix Tips by Stos: 3 Ways to Get More Creative with Mixing Vocals

Spending some time to be creative on vocal parts can really change the game regarding your mix. Although time is usually of the essence and projects have deadlines with budget constraints, there’s something to be said about approaching a mix from a creative standpoint as well as a technical one.

I’ve assembled a few of my favorite vocal techniques here for SonicScoop readers. There are some super-quick tips here, along with other processes that are more in-depth.

To hear some of Christos Tsantilis’ vocal mixing moves in action, experience “Light Me Up” by NOSUGA-HOT GIRL:

Let’s Go for a Ride

An old but very effective trick: mixing lead vocals and ad-lib /backgrounds in mono to get a great harmonic blend, before opening up to stereo and adjusting the panning.

This is something that I’ve done for years and it has never failed me. A mono mix of vocals instantly shows what vocals overlap each other. Harmonies can be adjusted so that the blend works without any vocal taking charge unless, that’s what you’re looking for. Usually after the blend has been completed in mono, switching to stereo and adjusting the panning gives a great stereo image without any vocal competing against the lead vocal. Especially in these times where many people will just utilize their computer or phone to listen to music, the mono mix is just as important.

Nothing beats riding the vocals via volume, EQ and compression. Here’s how I do it:

Ride the lead vocal to get it ready for the compressor.

First, I ride a lead vocal to prep it for whatever compressor I will run the vocal through once the rides are complete. This tends to give me smoother compression with fewer artifacts.

Next, let’s ride the threshold of the compressor while automating it. This adds a definite ebb and flow to the overall vocals.

Sweeping certain boosted or cut frequencies on a vocal, or simply rolling off the top end while the vocalist sustains a note, can add drama and help duck that vocal as it fades out. This allows the new vocals to jump in without losing the first word or so.

Volume riding the vocal and adjusting each phrase or even word to harmonically Gell with the instrumentation is very important. Envisioning a vocalist dramatically pulling away from the mic would allow you to recreate that feeling on parts that the artists didn’t actually move away from the mic. This can bring some serious drama to a mix.

Did anyone say, “What about reverb?” Well we can’t leave out the ‘verb! One great trick is to utilize a mono verb with the lead vocal and have it positioned almost center with the lead vocal. This adds colorization and room tone to the lead vocal but keeps the tone localized. This is great when you have other room tones in stereo, because they don’t clash in the stereo field.

I also like using a different take of a lead vocal that is similar but as a reverb track…mostly washed out. With a nice EQ to flatten out this track and create a shimmer to it, it sounds great mixed lower in the mix as a backing track — it tends to thicken up a lead without getting in the way. Think of it as a ghost track just there for vibe. I tend to ride this track in and out to create dynamics where I deem necessary.

Now for some delay! Dial it in tight between 4 and 12 ms, used on many vocals not just the lead. This tends to act as a thickener and can add space that doesn’t eat up much room in a mix. Remember, it’s just there for flavor — it doesn’t have to be the same level as the lead!

Note: Utilizing different reverbs for different sections can add dimension, tonality and depth. You can create blends of colors (reverbs) to add dimension in a different manner. Riding the reverbs, delays, compressors, EQ and the overall vocal level can add so much more life to a song.

The EQ (Re)Generation

Many times I regenerate frequencies below 80-100 hz on vocals simply because of the frequency discrepancies that occur during the recording.

By filtering those frequencies, and regenerating utilizing a sub synthesizer the vocal recording gains a somewhat fuller sound. Keep in mind that those frequencies should be balanced in the mix, of course, so that they seem natural. This technique can compensate for problem areas of the recording due to low-frequency standing waves inherent in the fingerprint of a small vocal booth. Some would argue that vocals don’t really have those frequencies fully present  but harmonics play a role nonetheless.

Precision Detune

Christos Tsantilis (l) in the studio with Alissia Benveniste.

While it has become quite the standard to Autotune vocals, sometimes detuning a vocal part at just the right time can add some flavor and realism — especially if you get the vocal to ring just right with the harmonics and the background music. This technique is NOT for the faint of heart!

Using an uncompressed lead vocal to drive reverb while having a duplicate lead vocal have the compression on it is a cool trick in regards to keeping original dynamics of vocal in play.

Try utilizing a duplicate vocal with a low-pass filter set between 100-200hz and driving a reverb. Utilizing this reverb with the original vocal part can add some serious warmth and depth. This same technique can be implemented for, say, just the top frequency of vocals to drive reverbs if you need some shimmer in the mix without having a full bodied reverb getting in the way.

Applying vocal mixing techniques such as the above takes more time, but it’s so worth it at the end. By taking this approach you will find your own tricks to utilize — and then have the pleasure of sharing them with the rest of us! If you’d like, please share your own vocal mixing tips and tricks in the “Comments” section at the end of the article.

Christos “Stos” Tsantilis has 30+ years experience as a mixer, producer, and studio designer. His credits include P. Diddy, Dr. Dre, Just Blaze, Saigon, Pharoahe Monch, Big Pun, Terror Squad, Cuban Link, Ghosstface Killa, Mos Def, The Roots, Beatnuts, Fat Joe, Foreigner, Yes, Chris Theberge (Groove Collective), Mary j Blige, Queen Latifa, Wu-Tang Clan, and many more.

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