So unusually we've got two lead vocalist on this song, and an extra backing vocalist. Keep reposting backing vocals, so listen to the main vocalist who's doing the doing most of it. I can be the one. They could sound quite full sound, I'm just gonna take out some of the low mids and I'm gonna stick the compressor in. I'm gonna start compressing first then EQ it. So the manly over here, just check that there's that one.

Yep. So it's a compressing. Not too much affair, but I've got it on a not too fast attack a reasonably fast attack reasonably fast. decay And I'm gonna put the high pass filter and I got Scott Shawn, but here's some of the low mids I'd like to make money. That's okay. Now what I've done is I've taken out some of the low mid and that's kind of cleaned up the vocal and live it's always difficult if you start trying to boost the treble the job is to start boosting top treble is you run into the, the likelihood of feedback says Be very careful and EQ judiciously so I'm going to kind of like to have a tendency to leave the mid highs and the tops pretty flat.

So I'm going to do that and I'm just going to take roll off some of the bass low, mid Put the high pass filter into get rid of any stage rumbling noises that are below the vocal range. And I'll just be okay. Probably nicer at the end as well the amount of spill that's down that vocal that you just can't get away with. Just to demonstrate once again, this sort of come out. So we've got the vocal that's not used. Person singing in this microphone is actually playing keyboards on this track.

So it's just an open mic in the middle of the stage. And there is quite a successful mic up the entire band microphone. And this is another thing to come back to, you've got to remember that it's you've got to see it all as one big picture. You can't just look at channels. It's not like in a studio. This is the big difference between live and studio work is that when you pull down the faders, the noise just doesn't go away.

There's still a band playing up there. So this is always going to be going there's always going to be something spilling in. So you Got some, you know, you've got to be aware of the way that all the sounds interact. So we are always constantly listening to everything that goes on around, which is why I tend to leave the lead vocals up during soundcheck because they're always going to be there. So we'll quickly run through all the different phone calls. We've done the same thing, we've put the high pass filtering on each channel, taken out a bit the load method just to clean up the sound a bit.

I'm just gonna have a listen. I'm just going to try and get a start looking at some facts as well. I'm just going to get a vocal reverb sound. And I'm gonna stick some lexicon on it. Okay. I've got a place where I'm not really very happy with that.

It's not really doing what I want to do. So I'm going to load the second vocal play sound More kind of sound I'm looking for. So I'm actually sending in the mon I'm sending it pre so that I can send it to the reverb units without having to have the vocal channel on so I can just listen to the reverb. And I kind of know what I want to do this. So I'm kind of using this as a reverb in the chorus for those wee bits, which I want to spin out a bit, not so much for the verse and it's probably going to be used mainly on the backing vocalist just kind of make it gel into a nicely beautiful singing thing. So I'm actually going to EQ slightly as well.

I'm going to try and take Some of the sort of annoying frequencies that I don't like this is obviously this is all kind of a personal This is part of mixing. This is part of the creative process. This is what I'm doing. I'm changing things to suit my purpose. So I'm EQ in reverse, I'm eking vocals to make a point. And I'm constantly changing things.

So I apologize if I do things that you kind of miss, but you have to kind of just do things as you go along as you feel it right. So hopefully this is we're probably not gonna use much reverb. It's not kind of an effect heavy sound draft on this. We'll have a quick listen to the snare drum as well while we're while we're at it. Once again, we're going to do the same thing. Just send some snare drum.

And I've got of this we're using one of the SPX is Originally I've used the snare plate sound, not just because it's called snare, but because it's quite nice sort of sound for this, this should fit in nicely. So I'll switch it back to posts or disappears when the drums disappear. Once again, I'm just going to use a small bit of it just to get a bit of space. I don't it's not gonna be a big, enormous specially when he's doing that kind of rolling stuff on the on the snare. If you put too much reverb on, it's just going to disappear into mush. So I'm just going to give it a tiny bit of space.

So just the smallest amount of reverb on there.