Let’s face it: vocals, are often the most delicate to mix.
Even if your recordings are made with very good vocal microphones, you must constantly ensure that the vocal tracks remain natural, intelligible — and at the same time, it is important that they do not stand out too much in the mix, otherwise it will really sound “amateur” in the wrong sense of the term.
To achieve this, you must of course use effect plugins (or hardware) to control the frequencies and dynamics of your tracks.
That said, not all plugins are suitable for this use: some compressors will be too aggressive, some EQs will not target the right frequencies, and some reverbs will hinder the understanding of the lyrics.
So, I thought I would share with you this list of six of my favorite plugins for vocal mixing.
Be careful, these are not the only ones that can fulfill this role (in fact, they can themselves be used for a large number of other applications). But, as I write these lines, they are among the plugins I use most regularly for vocals, so I am sure this article will give you some ideas — or even set you in the right direction if you are just starting out in mixing…
Cakewalk CA-2A
There are many plugin versions (VST, AU…) of the LA-2A, the famous compressor designed in the 60s by Teletronic Engineering, but I regularly return to the CA-2A version designed by the Cakewalk brand.
(Admittedly, Cakewalk recently went through some ups and downs, but the CA-2A is still available online.)
The operation of this compressor is quite simple, as it combines a tube amplification circuit and an ingenious compression system using a small electroluminescent panel called a T4 Cell. Simply put, the audio signal is converted into a light signal, and photosensitive diodes retrieve the signal again — compressed due to the use of the T4 Cell.
Result? A wide and warm compression, ideal for smoothing the voice in the mix (especially if you simultaneously apply these few compression techniques).
Generally, a few decibels of gain reduction are enough to achieve the desired sound. Moreover, there is no need to adjust the attack and release of this compressor, as it does not have such controls. It turns out to be really very simple to use, with two main knobs: gain and amount of compression.
The CA-2A will not eliminate the fastest transients: that is not its role. However, in practice, you will likely find that it is very useful for homogenizing the level of a vocal track and thus making it stand out easily and naturally in the mix.
A very good compressor!
For more information on the Cakewalk CA-2A, visit the official plugin page.
PSP FETpressor
For me, the almost mandatory companion of the CA-2A for vocal processing.
Indeed, the FETpressor from PSP Audioware is inspired by the 1176, another famous compressor, but offers a number of additional settings. Thus, it includes a parallel compression option, which gives it a certain personality compared to other 1176 simulations.
Specifically, the positive aspect of FETpressor is that it can react extremely quickly to transients, thanks to its attack that can be set as low as 0.1 milliseconds!
So, there are at least two ways to use it:
- either you choose to use it only to capture and attenuate peaks, and you add a CA-2A right after to level everything out;
- or you decide to use it alone, in which case with a longer release, so that a larger part of the signal is impacted. This often allows for a more “rock” sound, more direct, more aggressive (in the good sense of the term).
For more information, feel free to read my complete test of FETpressor or click here to see the current price.
Waves API 550A & 550B
I wanted to mention an EQ in this list, but the choice was really complex. Referring to a precision, surgical EQ like the Pro-Q 2 by Fabfilter wouldn’t have made much sense, since it is quite obvious that its fairly neutral operation can be applied to vocal equalization.
On the other hand, there are a plethora of options for more colored equalizers. It is even possible to use free equalization plugins, such as those from Sonimus, with very professional results!
In the end, I turned to the API 550A and 550B from Waves.
On one hand, because I use them quite often. But on the other hand, because they are perfectly capable of bringing a vocal track to life.
Simulating hardware from the 60s, these plugins stand out with a fairly limited number of controls: the 550A has only three bands, while the 550B has four.
Even though they are similar, their sound is slightly different while remaining in the same vein: these equalizers are indeed quite colored, quite punchy, and highlight vocals well thanks to very musical equalization curves.
In particular, I find the 550B really ideal for sculpting sound and bringing clarity to your vocals, thanks to the additional frequency band that allows for more precise adjustments.
You can find more info about these API plugins on their official page (and don’t forget that by using this link you will access an additional 10% discount coupon on the price).
FabFilter Pro-DS
Often, vocal recordings are subject to sibilance phenomena — you know, those hissing sounds that stand out in the mix, especially every time the letter “S” is pronounced?
Of course, there are many techniques to control this sibilance, but in many cases, a good de-essing plugin, that is, a de-esser, can effectively manage the problem.
There are free de-essers, but the plugin that stands out the most for me is Pro-DS from the highly respected brand Fabfilter.
First of all, the interface ergonomics are excellent — this is a characteristic found in all Fabfilter plugins, and something truly appreciated.
Then, the algorithm is excellent: it almost suffices to add the effect to the track, adjust the amount of de-essing with the “Threshold” knob, and that’s it. I might be exaggerating a bit, but it is genuinely possible to achieve a very interesting result in just a few seconds!
And of course, for those who prefer to have more control, Fabfilter Pro-DS also includes a number of features/settings to really get into the details. For example, it is possible to adjust the frequency band targeted by the effect, to tailor its action to the style of the vocal track.
In the end, a very adaptable tool!
For more information and to see the current price, click here.
PSP Nexcellence
There are not just EQs and compressors for mixing vocals: you also need to have a good reverb to create a sense of space, a 3D sensation.
There are many nice reverbs available, and while building this list I hesitated with plugins like Little Plate from Soundtoys or even some free reverbs, in the end, I chose PSP Nexcellence.
This is a spring reverb simulation (spring reverb in English) that is somewhat specific, as it is “in collar”. In other words, the plugin is inspired by a very precise analog reverb model where the springs are hung in the form of collars rather than stretched horizontally between two points.
In short, technical details aside, Nexcellence stands out (the pun is unintentional) primarily for the quality of sound it provides. This sound, very warm and colorful, is quite vintage in character. The transients are leveled pleasantly; the sound is softened.
However, by spending a bit of time adjusting the (numerous) available settings, you can achieve lighter tones that will suit modern productions quite well.
All that remains is to mix everything subtly with the vocal track to highlight it and link it with the rest of the instruments in the mix.
The sound signature of the effect may not suit everyone, but I strongly recommend you test it if you are looking for a plugin that is both original and effective 🙂
For more information, read my review of PSP Nexcellence and take a look at the current price.
Soundtoys Echoboy
Just like the spring reverb I mentioned above, having a good delay is crucial in many mixes. Indeed, it helps create space around a voice, but not in the same way as a reverb.
More specifically, a delay will often be less dense than a reverb, which will optimize the intelligibility of the lyrics.
For this type of use, the Echoboy plugin from Soundtoys is probably my favorite delay. Especially for the impressive amount of sound options it provides: colors and tones of the repeats, fully adjustable echo modes (ping pong, slapback…), saturation adjustment, etc.
Everything is possible, or almost: it is a very versatile tool, producing high-end sound — but at the same time, it tends to always add a certain character to the tracks on which it is used.
Finally, even though I am not always a fan of presets, I must admit that those included with Echoboy are both numerous and form a good basis for starting to use the effect.
A safe bet to add without hesitation to your plugin arsenal! 🙂
For more information, visit the official plugin page.
To go further
Using quality plugins is undoubtedly a first step to mixing vocals.
But it is even more important to know how and in what order to use them.
To learn more about the subject, I recommend you read my guide on mixing vocals which will likely answer many of your questions… 🙂