Transcripts
1. Course Intro: Ladies and gentlemen,
welcome back to another tutorial with
yours truly key Orion, the man who is obsessed
with making great music and teach you how to make your own
ended today's masterclass, I'm going to teach you
how to make vocals like do a Lipa that sound like this. Nice. And baby, please. Hi. This is way too far. Disregarding the fact
that I can't sing, I was still able to make this kind of uptempo
dance track. And I'm super stoked to show you all how to do this today. So put aside 3540 minutes.
We're going to dive in. I'm going to show you what
I use as a reference track, how I crafted this vocal using mostly studio rack waves
plug-ins to get this dually. But ish vocal, is
it the exact same? It's absolutely not. But to me, I wanted to craft something
up-tempo, retro dance vibe. And I think we got pretty close. So let's dive in. I'm going to show you
what we get started with. See you there.
2. Starting Your Track: Okay, Also, when it comes to this track first things first you got to have
a reference, right? So I like to use this track. Something went wrong
on something else. We're going to search
for dual Lipa. And this was her track on those called potion is right and your brand
should go without saying. But if you listen to
this and headphones, it's gonna make a lot more
sense than if you don't. And so pretty much
what we're doing here is getting sort of a vibe
of what to shoot for. And then I've turned
off some additives and doubles so that I
have more bandwidth. But this is kind of the
basic vibe of my track. And no money, bag
and baby please. So obviously, we're going to start
with the tuning, right? And so I have this
tuned pretty hard. Returns to p27, it's low
male. I've seen the key. I normally turn
this humanize it, but I want to have a little
bit more of that kind of electronic synthetic sound. And then I have the format on, as always, the first
thing we're gonna do is we're going to
clean up the vocal. And I like to use
Wave studio wrap, but you can obviously
use whatever EQs compressors that you have. Don't feel like
you have to ask do you do for this that said, if you want these waves plugins, you can use my affiliate link down in the description below
if you want to support. But this is a simple
approach to mixing. A smoky is approached the vocal mixing is you
cut out the crap. You don't like. You clean it up first and then you make it louder and
then you add effects, then you may be tapered
off at the end. Super simple approach. So I'm going to show you each
of these step-by-step, what it sounds like and then
we're going to be them. So we're going to
also solo this. And don't judge me, but this is recorded
in my kitchen. So these vocal sound terrible
with nothing on them. The nominees, bag
and baby, please. Let's have that
conversation, right? So here's the thing
though. You can get decent sounding vocals out
of terribly recorded vocals, but it's probably better
to just re-record them. But since I'm
working with what I got, I'm rolling with it. So here's this EQ, the
difference if AB this EQ before The nominees and
after bag and baby, please. Let's have that conversation. So you can tell I've
a lot of boomy, mid-range. It's really boxy. I'm going to try to
cut all of that out. So I'm doing pretty
high IQs here and decent gain,
nothing super crazy. And then I have
this SSL channel. This is pretty much
just another EQ in a compressor. Both together. This The QCI, this is the
more of the compressor side. So this is what, this, this
is with more frequencies. If you don't know what this
means, these are pretty much, this is the amount, this is the frequency
you're targeting and this is the
queue. Pretty simple. It's just in the analog way. Avenue on my knees. Begging baby, please. Let's have that conversation. So still cutting, right? We're still just cutting here. I'm adding a little
bit of compression and maybe somewhere like that bag. Nothing super crazy. And then a d'Azur, this is to be honest, I just, I just leave this at
whatever frequency they have it and then I'll
just dial this part is to make your Ss without a little bit monies vague and baby get really fierce,
have that conversation. So those, those other essays, this is kinda like a compressor, but it's a super
targeted compressor. This S4, I love this is
a multiband compressor. All it's pretty much means is
you can compress different frequency ranges with
different amounts. So if we look at this avenue, moneys, I'm compressing
baby, please. Again, like I said,
it's kinda like boxing mid-range area
that I don't love. I'm compressing this way more
than I am this higher-end. So this part, yeah, you can kind of get really a lot more specific
about where you want to target your your compression. And no money, bag and baby
please compare to the highest. Have that conversation. See this, I'm doing
some but not a ton in Omaha compared to this, I'm doing a lot more, pretty fast attack and release. I'm just clamping down on it. And then you can affect
each little mini threshold, which is pretty cool. So that's kind of the main
cleanup phase for me, is it's gonna be, it's gonna be EQN, compressing, EQ and compressing in
these little steps just to start to tango
and wrangle the vocal. And then we're going to jump into actually getting
the volume back, which we jump into next.
3. Compression: So all of this, I've done solo. I haven't had the beat in. I've just done this
all with the vocal. This next piece I will
do with the vocal. Excuse me. I'll do this with
the beat playing because now I'm going to start
to try to start to get my levels closer to
where I want them. And as you can tell,
this is added a bunch of gain back in because this is
probably a little overboard, but this is just
the way that Iraq, because I've cut so much out
of it and so much cutting. And so this without the arc
and this isn't a huge ratio, 2.5 to one, something like that. Fast attack, decent release. This is within without
enough funding to the bag and baby, please do. So. I really got real engineer. They would probably break in all types of rules doing this, but that's just the
way that I do it. I added a bunch of my volume back in with these compressors. And then I love this as
another parallel compressor, but the first one
I used to kind of team frequencies,
bring things back. This is one I'm using to like push frequencies
that I like. So I'm going to add,
as you can tell, a lot of compression on the
high-end get a little bit. Huge difference. Listen to the difference
between these two. No money, bag and baby. When Omaha. So this, I start with
this pop vocal preset and then I like to dial into thresholds may be the
range is a little bit, maybe the gain depending
on what I want. But I like, I start
with this preset and this gives me pretty close just with his political
preset period. But as you can tell, now, the sharp frequencies are
starting to poke out. So I use this siblings. It's pretty much a fancy ds
or at the end of the chain, Tao this and to start to, again because we pushed
things up again. And so I want to wrangle
them back up enough money, bag and baby, please. When this way sue for this
guy isn't working super hard, he's just doing a little bit
of clean up at the very end. Where he's really going
to work is when you jump into effects because
that's what the rest of our volume and really get that dual Lipa vibe that
we'd be shooting for. We'll jump into that now.
4. EFX: So now let's listen
to do a leap, attract one more time, get kind of a vibe of what
her effects were. But she's kinda got going on. Is right. And your brand, to be honest, it doesn't
sound like there's a ton. She's actually has
a huge reverbs. A ton of flangers are phasers
or anything like that. But this is where we can
have some fun with it. So I'm gonna get, I
like my vocalist, maybe a little bit more, effect it out then hers, at least in this song, this is where, this is where I'm kinda diving
into more key steps. So check this out. This is, we're going to turn each
of these on one at a time. So we're going to
start with this. This is a little bit
of eighth note delay. Avanade. I'm going to solo these,
you can hear them, but you should add these effects and with
the beat as you go. My knees, begging baby please. It's pretty much like a slap
back delay more or less. And then fourth or delayed
if I'm pretty sure. My knees begging
baby, please, please. These sound. If again, if you just listen
to these without the beat, you can hear them pretty
well with the beat playing. You wouldn't be able to
hear these as great, but these will start to be more present as you add more effects. So just keep that in mind. As you're creating
your effects chain that don't do it in a silo. Because as soon as you add the beat back and you probably will be
able to hear it. A little bit of
vocal plate reverb. On my knees. Begging
baby, please, please. Let's have that conversation. It just sounds like kind of
puts it in a room for me. It puts it into space. This is where getting a lot
of my reverb on my knees. Begging baby, please
have that conversation. That affects sales.
Probably a little bit disrespectful, maybe not. I could probably die that
in a little bit better. So it's not quite so
long of a decay time, but I liked that Tory lanes are really long
reverb decay tails. So again, this is where
I'm starting to add my kind of KIA
preferences to it. Bit of a double-edged
sword, widen the vocal a little
oven on my knees. Begging baby, please
have that conversation. And then this flanger, I have this in, I love
this simple, medium, coarse doubt in the nominees, bag and baby, please
have that conversation. Continuing to kind
of widen the vocal, add a little bit of flair to it. And then this is a
renaissance acts that I'm slam in with this
preset type vocal. And then just barely of this, just to kind of get
us some volume. So listen to this width, the beat, the presence
that this one thing, this one plug-in brings my
knees back and baby, please. When I've been on my knees,
begging baby please. Feels present. It feels more exciting to me. That's a game changer. Just because I feel like it really is that final
spice that I'm looking for when I'm
adding effects to levels.
5. Doubles + Final Touches: So the last thing I want to
show you are these doubles, because these are apart that
you'll find in this next, in this kind of do
a leap attractive. We listened to her stuff, what I think I'm thinking
of a different track, but this is, I liked this part and this where
the double-stranded come in for me and they add
some real effects to it. But I'm going to take my
computer can handle them. Let's see. I don't know where the
passion we don't care who you would have to want to
be clear, no accident. Spell it out for you.
All caps like this. Go who are you kidding me? You must be out of your mind. I'm saying, oh no, you know, if you can tell there's
like there's like those shouts that
I have going on. Just because I
like I like stuff. Sounds a little
bit more dynamic. So check these out. This, spell it out for
you. All caps like this. Go, who are you kidding, babe, you must be
at a young man. I'm saying, oh no, you did a masters. So to me, these add just that
extra layer that I like. And for these devils, I'm not
doing anything super crazy. The studio rack, again, I've just copied and pasted
a student from before. So I have all the same effects. And then I'm just dial
these in differently. So obviously my doublers way up, my flanger is way up. Delays and reverbs are way up just because I want
my doubles to feel a little bit different than my main vocals so they stand
out a little bit more. And then in terms of my ad libs, these, I have
tuned, super tuned. And then these have their
own kind of studio rack. And I also have some effects, one and here from sound toys. So I like this kind of
Post Malone reverbs out, sort of additives like this. We will maintain. So it's more of just a
vibe than it is actually, you hear the doubles clearly. So that's my approach
to making vocals, especially as do a Lipa. I hope that that was helpful. Thank you so much for
tuning as always, if you want any of
my vocal templates, you can check those out
in the description below. If not, hit me online key, key Orion, and I'll
check you next week. But, but neither masterclass. Thanks so much for tuning. Appreciate you. Peace.
Kia Orion, Artist & Music Producer
