If I may ask, I would like to post them here:ДЎ. I will be forever grateful to you and for sure I will mail you the first CD of my band which IвЂ™m mixing at the moment.

My whole mindset got revolutionized and I work faster and simplier than ever before! Your insights really helped me a lot and changed my focus and improved my skills. So those are my tips on mixing vocals to an instrumental track.I love your tips! I watched the every single video and I subscribed to your newsletter. This takes a while to get a feel for, and is somewhat subject, but itвЂ™s highly effective. Finding a similar reverb/delay, and EQвЂ™ing the reverb to match the tonality of ambience in the instrumental will help bond the vocal and instrumental in the most transparent way. This will expose the quality of the reverbs used in the instrumental. If you have a mid-side processor, solo the side signal, or turn the center signal way down. Obviously donвЂ™t do it if itвЂ™s too detrimental, but itвЂ™s something to consider. If the track has a distorted or saturated quality to it, you may want to purposefully distort the vocals. This goes for the rest of the frequency spectrum, and overall tonal qualities like distortion. A bright vocal on a dark track will sound a little unglued. You may want to lean your vocal EQ to compliment this. The instrumental may be very bright or very dark. If you are careful in your approach you can get the vocals pretty darn compressed without them sounding вЂњbadвЂќ. This takes a lot of tact, and often requires a number of compressors working in tandem in order to reduce the negative artifacts of over compressing a voice. You can minimize this effect by compressing the vocal until it starts to compete with the density of the instrumental. Neither of these are great, but if I were to err, IвЂ™d lean toward the side of the vocal being over the mix. The result here is that the vocal will always either sound like it is buried by the instrumental, or so loud that it feels like itвЂ™s hanging over the mix. CompressionДЇor example, the instrumental may be highly compressed, and your vocal may be very dynamic. The idea is to make the vocal sound like it belongs with the instrumental. Once the vocal is in a good place on itвЂ™s own, there comes the game of вЂњmatchingвЂќ it to the instrumental. Since the information on vocal treatment is covered elsewhere, IвЂ™m going to focus on working the vocals with the instrumental, and treating the instrumental. There are some great tutorials for this right here on the site. Get the vocals sounding the best you can on their own. We need to approach this mix with the forethought of compensating for whatever quality the instrumental is coming in as вЂ“ highly compressed, mp3, possibly in mono, the list goes on.Д«ut first thingвЂ™s first. By this token вЂ“ the louder the instrumental вЂ“ the quieter the end mix. In fact, the first thing one has to do is turn the instrumental down in volume significantly in order to make anything work. The issue is that if the track is exceedingly dense, there is no room for the vocal. After a certain point, loudnessВ can only be achieved by increasing the density of the record, rather than the volume. The challenge here is that loudnessВ isnвЂ™t as simple as turning the level up. The InstrumentalДЄ pre-mixed instrumental is probably somewhat compressed (or, sometimes highly compressed). Because Hip Hop producers mix their tracks with this intention, thereвЂ™s a unique set of skills that comes into play for throwing vocals into the mix. On rare occasion that vocal and instrumental would be released as the actual song.В In Hip Hop, this is fairly common, and comes with the intention of the combined vocal and instrumental being the final release. The idea of recording vocals to a mixed down instrumental has been around for decades. Mixing vocals to pre-mixed instrumental is an issue that just about every engineer will encounter.

Mixing vocals over instrumentals