subject: The Use Of Compression And Eq When Recording Female Vocals And Mixing Music [print this page] Generally when you learn how to mix songs with a lead female vocal, there is a certain traditional method of processing the vocal track to fit in with the rest of the song in order to produce a professional sounding mix. But as a female music producer of both my own creative music and producing the music of others, I believe there could be a trend changing that is for the better.
In the pop industry there is a certain standard chain of command that takes place when recording a song with a female vocalist. She may work with a band, a producer and a studio recording engineer. And how the song sounds as a finished product can most often decided by the investor (the female artist's manager, producer or record label). The studio engineer and producer tend to work out how to mix the songs in more detail. And this includes how the lead female vocal is treated in terms of compression and EQ. Sometimes the female artist or vocalist may not even be present in the studio at this part of the process once they have completed the recording of their vocal part, their job may be done. And they do not again get to hear the outcome of their recording until it is approved by the aforementioned investors or industry professionals.
And the standard way of treating or processing a female vocal recording seems to be to heavily compress the vocal track bringing it to the forefront of the mix as its role is central to the song. One only has to listen mainstream radio for a few hours to hear that the vocal line is often the most prominent part of a song that gets airplay. Using heavy compression basically makes the vocal come out as more similar volume hence less quiet and loud dynamics. This is also fitting for radio play so the voice does not disappear or jump out at the listener too much. But recently I have noticed female music producers and female musicians such as Bjork and Kelly Clarkson are requesting less compression on their vocals. They want their music to sound more like their voices. And they want to have a say on this issue. I think this is an interesting and potentially empowering trend for female musicians and vocalists.
As a female vocalist and recording engineer myself, I have also noticed that many engineers tend to treat a female vocal in a certain way in terms of EQ treatment too. This usually means rolling off the lower end of the frequencies sung by the female vocalist. I understand that this makes mixing the song easier as it creates more separation between the voice and other instruments of the song. But the fundamental (lowest) frequencies of my voice are part of my voice. And I think one can lose a lot of warmth and depth by taking out these lower frequencies. So I often choose to retain them as much as possible in my mixes and creative music. I really like how Leanne Ungar has made the most of the Leonard Cohen's deep vocal tones.
So, how to mix songs with a female vocal can be a chain of interesting choices to make. And it is fun to make use of those choices and not just do the standard settings. And ultimately our job as a studio producer and recording engineer to make the most of the artist we are working with. And it is therefore our job to learn how to mix songs that the female vocalist will be happy with - a recording that sounds like their voice and characteristic personality. And if that means they want the lower frequencies of their voice intact and not too much compression then their wish should be our command.
