# How do you guys make your screaming vocals sound huge?



## Metalus (Mar 24, 2012)

I always find myself doing a main lead vocal track and then adding any layers I see fit. The one thing Ive noticed lately is that sometimes layering doesnt seem to make the vocals sound better. Is this a problem of the vocalist or is there something I can do other then layering to make the vocals sound bigger? This seems to be very problematic when the screamer has a thin voice :bah:

A good example of my question is this band:



There doesn't seem to be a lot of vocal layering yet the guy sounds incredibly brutal. Any suggestions guys?


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## WhiteWalls (Mar 24, 2012)

I found that smashing the vocals in tape saturation helps a lot, also try to experiment with different kinds of delays, reverbs and stereo enhancers (very useful if you don't want to put too many layers), but the brutality has to be there at the source!


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## DespoticOrder (Mar 24, 2012)

You can duplicate the layer, eq the duplicate slightly different, and put a heavier reverb/delay on it. Then push it further back in the mix. Maybe do that twice just a little differently each time and pan each one slightly left and right, if it didn't sound good with just one.


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## The Uncreator (Mar 24, 2012)

I record them like guitars, two times and keep them both centered/panned the same to produce a natural like distortion.


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## KingAenarion (Mar 24, 2012)

Holy parallel Compression Batman. 

Seriously. Do a separate parallel compression on them. Get a really smashed vocal. 

Also a subtle stereo chorus works. 

Also double tracking screams works well


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## Metalus (Mar 29, 2012)

WhiteWalls said:


> I found that smashing the vocals in tape saturation helps a lot, also try to experiment with different kinds of delays, reverbs and stereo enhancers (very useful if you don't want to put too many layers), but the brutality has to be there at the source!



Thanks a bunch dude. Any specific tape saturation plug in recommendations?



DespoticOrder said:


> You can duplicate the layer, eq the duplicate slightly different, and put a heavier reverb/delay on it. Then push it further back in the mix. Maybe do that twice just a little differently each time and pan each one slightly left and right, if it didn't sound good with just one.



Definitely didnt think of this one. Thanks man!



The Uncreator said:


> I record them like guitars, two times and keep them both centered/panned the same to produce a natural like distortion.



Every single take?



KingAenarion said:


> Holy parallel Compression Batman.
> 
> Seriously. Do a separate parallel compression on them. Get a really smashed vocal.
> 
> ...



This sounds like it would sound phenomenal. Thanks dude!


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## JamesM (Mar 29, 2012)

When I parallel compress vocals, I compress one really hard and compress the other even harder. 

The breakup you get (depending on the compressor...) really makes it able to get BIG with the right reverb. 

HINT: (at least for me) process highs and lows separately. 




EDIT:
As far as double takes, that only works sometimes and only in certain situations...


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## Metalus (Mar 30, 2012)

The Armada said:


> When I parallel compress vocals, I compress one really hard and compress the other even harder.
> 
> The breakup you get (depending on the compressor...) really makes it able to get BIG with the right reverb.
> 
> ...



Any tips on how to process highs and lows separately? Is it safe to assume to not over compress the highs but smash the lows? Or the other way around? Any EQ tips?


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## JamesM (Mar 30, 2012)

Well, start by putting the highs on a track and the lows on a different track. 

If the vocalist has Suicide Silence kind of highs, with some screechy gurgle, I over-compress them (don't get too carried away). It smooths the "liquid" sound out by overdriving it without distorting it. Any other kind of high I compress it "appropriately." DEFINITELY high pass and looking around 1.2-4.0 kHz to boost if it isn't standing out. Think about De-Essing too.

Lows in amateur vocalists tend to blow. Due to them being much more quiet (usually) than highs, nothing is pushed as hard so I tend to compress the fuck out of them. You'll find that this levels everything out to a single dynamic. Downsides? No dynamics. Well, goodie, most vocalists aren't good enough to create dynamics anyway so who cares. You can do all your "dynamics" with automation. EQ is trickier here. Is he a dumb asshole who cups? You need to look and cut out mud in the high lows and low mids (still high pass this, you should all the time usually). If he doesn't, it depends where his lows sit, but generally you're looking in the same place as the highs. 

If you want em bigger, try parallel compression.

Keep in mind, this is just my amateur experience. I just know what works for me!


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## The Uncreator (Mar 30, 2012)

Yep, every single take recorded individually for the vocals. I usually have 16 tracks, 8 for growls and screams (lines usually cross over). Compressions is your friend like others have stated as well.

I am sure that band used a good vocal processor too, a distressor too maybe.


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## Metalus (Mar 30, 2012)

The Armada said:


> Well, start by putting the highs on a track and the lows on a different track.
> 
> If the vocalist has Suicide Silence kind of highs, with some screechy gurgle, I over-compress them (don't get too carried away). It smooths the "liquid" sound out by overdriving it without distorting it. Any other kind of high I compress it "appropriately." DEFINITELY high pass and looking around 1.2-4.0 kHz to boost if it isn't standing out. Think about De-Essing too.
> 
> ...



You are the man James 



The Uncreator said:


> Yep, every single take recorded individually for the vocals. I usually have 16 tracks, 8 for growls and screams (lines usually cross over). Compressions is your friend like others have stated as well.
> 
> I am sure that band used a good vocal processor too, a distressor too maybe.



Now im gassing for a Distressor


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## Sepultorture (Mar 30, 2012)

a combo of outboard compressor, layered vocals, and then some para eq in the mix later on just to add a little flavour


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## BTFStan (Apr 1, 2012)

damn this is some good info, im also trying to pick up some vocal recording tips. Anyone wanna mention any particular plugins that really do work on vocal tracks?


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## Metalus (Apr 2, 2012)

I love the SSL plugins


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## KingAenarion (Apr 2, 2012)

Waves API Plugins

My God do they sound good for compression and for colouring EQ (I wouldn't use them for surgical EQ)


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## Metal_Webb (Apr 2, 2012)

From the limited experience I've had, I've found reverb, a bit of sneaky delay and compression to be key to getting a good full sound. Use the compression to bulk it up and the reverb/delay to spread the sound out. Have the outputs from the reverb and delay barely audible to stop it sounding like you recorded in a sewer 

If you want to add balls to it, try tripling out the track in question. Turn one copy left and the other right to suit. Eq these two differently and add a smidge of distortion. When I say smidge, I mean the tiniest amount you can add to start getting that crackle to the vocals. Turn the overdubs down so that they are barely audible with everything going and see how it goes.

Also, experiment! Try lots of different things and something will eventually work


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## prh (Apr 2, 2012)

if you wanna cheat a little, after compressing/EQing the track to taste, duplicate it twice, pan one hard left, one hard right, and pitch shift each of them +/- about a tone. then chuck delay on all three tracks (the two panned ones should be a bit quieter than your main centre vocal)

don't overdo it but you can get blend some cool fake gang vocals into certain phrases this way


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## IronGoliath (Apr 2, 2012)

If I was allowed to show my example I would but in lieu of that I basically add exciters and harmonics as well as EQ to the voice with a 10 band EQ and a couple others just to add some more dynamic to the raw recording. Little reverb and echo always helps as well as a vocal transformer with some cents down from the recording (not a 100% mix but let's say 15-30) in an effort to keep it tasteful. 

The best vocal mixing I've ever heard in any kind of metal comes from a little band from France called Yyrkoon. Sounds mighty the entire way through every song off of Unhealthy Opera. Cheers mate!


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## Metalus (Apr 30, 2012)

IronGoliath said:


> If I was allowed to show my example I would but in lieu of that I basically add exciters and harmonics as well as EQ to the voice with a 10 band EQ and a couple others just to add some more dynamic to the raw recording. Little reverb and echo always helps as well as a vocal transformer with some cents down from the recording (not a 100% mix but let's say 15-30) in an effort to keep it tasteful.
> 
> The best vocal mixing I've ever heard in any kind of metal comes from a little band from France called Yyrkoon. Sounds mighty the entire way through every song off of Unhealthy Opera. Cheers mate!



Whats your example?


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