Hi, There's after the problem fix stratagies but the real solution is to print what you want. In this case the vocal is popping. How would I prevent that? 1. I almost always sell the band on vocal and lead instrument overdubs. 2. I run seperate studio room (headphone) and monitor (control room) mixes. These are both equally important but the second one might be more interesting to us because it's a technical solution that's achievable with a software feature. If the following capability doesn't exist in a DAW, then it should. I achieve distinct mixes with an external digital mixer by sending all signals to both the monitor buss and Aux busses 1,2. The studio rooms, musicians, listen to Aux_1,2 while I listen to the monitor mix. If I've done a solid sound check; the drums sound great and their levels are safe, guitar levels are safe, bass ..., keyboards, and the vocals are extra loud in the monitor mix because they're, during the print stage, the biggest and most uncontrolable variable. On external mixing consols the monitor source is selectable so the engineer can listen to either one or the other of these mixes. And you can change the levels of one mix without affecting the other mix. If you've got to print keeper vocals during the initial tracking stage, then learn to pay very close attention to the vocals. Also, don't be afraid to use compression during the print stage. It's an oversimplified idea to claim that you shouldn't print effects--compression is an effect. If you're afraid to print compression then do it in sessions where you're going to overdub the vocal anyway. It's an opportunity for learning how to do it. If you need to use extreme compression ratios to control the singer, then teach them to "work" a microphone. For example; with one foot 12 inches in front of the other, loud parts are song off the back foot, quite parts off the forward foot. During the print stage, it's all about the musicians. I've learned to take pride in the quality of my studio mixes. If a musician doesn't hear everything the way they want, will they deliver their greatest potential performance? Probably not. If you're using multichannel headphone amps, send a click out to a channel that's distinct from the stereo mix. This way the drummer can have a much louder click track... I'm a big fan of printing what I want and not fixing problems. Of course, I'm a dumbass and invariably there's something to fix but those things should be trivial. Vocal pops aren't trivial. If I've taken the time to setup a session, I can focus on making sure the band is having its best studio experience to date rather than thinking about technical bullshit. BTW, a week ago, with all the above accounted for, I printed a keeper vocal that has pops in it. LoL ron --- Daniel James <daniel@xxxxxxxxxxxxxxxx> wrote: > > I've got a vocal track that I recorded using > ardour, and I have some > > serious pops in it from the singer being way too > close to the mike and > > taking off my lovely > pantyhose-over-a-wire-hangar-loop filter. > > > > I'm at a loss as to what filter/tool I might be > able to use to reduce the > > severity of this... any clues? > > First, you could compress the vocal to even out the > levels - I use the LADSPA > Dyson Compress or SC4 plugins for this. > > You'll still have the distortion from the pops > though. I suggest you make it a > feature, by adding some artifical effects - > distorted vocals are all the > rage! > > Cheers > > Daniel __________________________________________________ Do you Yahoo!? Yahoo! Shopping - Send Flowers for Valentine's Day http://shopping.yahoo.com
