JOEY STURGIS, JOEL WANASEK & EYAL LEVI: Recording Pro Vocals, Creative Vocal Layering, Modern Mixing Techniques

Speaker 1 (00:00):

Welcome to the Unstoppable Recording Machine Podcast, brought to you by Ivans Guitars and Basses. Ivans strives to make high quality cutting edge musical instruments that any musician can afford and enjoy. Visit ivans.com for more info. And now your host, Joey Sturgis, Joel Wanasek and Eyal Levi. Welcome

Speaker 2 (00:22):

To the Joey Sturgis Forum podcast Tips and Tricks. Special episode Today we're talking about vocals and we've seen a lot of chatter on the private Producers club, people talking about different things with vocals related, and I know you guys have a lot of questions out there, so hopefully this episode can help you out. You should listen to this episode if you're struggling with vocal techniques in terms of production, vocal mixing and vocal editing, and we're going to try and cover a little broad range of all three of those topics and vocal topics in general to kind of help you guys out with that. So the first thing, obviously with vocals is the recording process, right?

Speaker 3 (01:03):

Oh yeah, the vocal list himself

Speaker 2 (01:05):

Capturing the vocals. So what do you guys do to start with when? What's the first thing you do? You walk in the room, you've got the song queued up, and the guy's standing in front of the microphone. What do you do?

Speaker 3 (01:16):

Okay, so you're assuming that I'm already set up. We already chose the microphone, we already chose the preamp. We already treated the area. The first thing I do is I make him just kind of take a little bit of a warmup round through the song. I need to know what's going on.

Speaker 2 (01:35):

There's a lot of good points about a warmup round. First point for me for my brain is how loud are you going to be and how quiet are you going to be? I want to know how to set my preamp. Very important.

Speaker 3 (01:46):

Yeah, how's his headphone mix? That's another thing that's huge. Does he know the material? Are we going to be able to get longer takes? Are we going to need to do this word by word? And also just the fact that he's getting warmed up because even if he does vocal warmups on his own, it's still not the same as going through the material a few times. Absolutely. You

Speaker 4 (02:07):

Can also hear the problem areas of the singer, for example, maybe they're very sibilant, for example, or they struggle with certain dictation on particular words. So you can really use that as a time to kind of analyze what problems you're going to have and predict and say, Hey, when you hit that part, don't screw this up, don't do this, blah, blah, blah. Try doing it like this. If

Speaker 2 (02:26):

You did not start out with a mic shootout, you're probably going to immediately hear if you chose the wrong mic or not during this warmup round, and that should be an indicator of, Hey, maybe I should try a different microphone. Or maybe he's getting too close to the mic, the pop filter's not working right or something. If there's a problem, don't be lazy, fix that stuff because this,

Speaker 3 (02:49):

But that's the time to fix

Speaker 2 (02:50):

It. Yeah, this is going to layer up. If you do vocals like I do, the problems will escalate from here, so fix it before it gets too far.

Speaker 3 (03:01):

Now one thing I was wondering about is how do you guys go about giving the guy a headphone mix? Because I've used the hear back units, which I think are beyond the price range for a lot of the guys listening to this. And for anyone not familiar hear back unit is one of those units where you pipe the music out to a personal mixer and then the vocalist or the drummer, whoever's getting it, can make their own personal mix. And that way I don't have to hear the same thing as the vocalist and he can have any weird version that makes him feel the best.

Speaker 4 (03:39):

You're so generous.

Speaker 3 (03:40):

How do you guys do that?

Speaker 4 (03:41):

I don't.

Speaker 3 (03:42):

So what do you guys do

Speaker 2 (03:43):

Punish them? Same thing here. Yeah, I mean Cubase kind of lends itself to be that way. I guess it is a little bit because cumbersome to set those kind of things up in Cubase. Most people with a Cubase rig don't really have it properly. I mean, you can do it. It's definitely there. And I would imagine people that have buildings that don't do a lot of multitasking and then just straight up record records in probably have it set up properly, but

Speaker 3 (04:13):

Real quick, it's actually really, really easy. All you do is send stuff out to an output on your thing, on your interface or your converters, and then that goes to the hear back unit and that's it done super easy.

Speaker 2 (04:28):

What I've done is I've always made a special mix. Usually I have to kind of just guess what it's going to be, but sometimes I'll ask, and occasionally I'll get a person who knows what they'll be like, I don't like the guitars array allowed, and I'll be like, oh, okay, didn't know that. So thanks for telling me that because turn the guitars down. I'll make a special mix just for the vocalist and I'll bounce it down as a stereo file so that the only thing in my session is the one track of the bounce down of the vocalist favorite mix, and then tons and tons and tons of vocal tracks, and I'll just bear through it with them if they like to hear it bass heavy or guitar heavy or whatever, I'll just deal with it. It doesn't bother me. I'm mostly focused on the vocals anyway.

Speaker 4 (05:13):

I do it pretty similar to that too. I mean, I don't give 'em any reverbs or anything like that, even if they ask because I really just want to hear and have them hear what's exactly coming out of their mouth and if there's a bunch of effects on it, it kind of gives you that feeling. I guess there's some psychology with that, but I like to mess with people a little bit and kind of throw 'em out of balance. I should say that I am for getting a really awesome vibe and depending on the song, the first thing I'll do is I'll go in and really try to work out a vibe. So if it's a fun song or something really upbeat, I'll make jokes and we'll have fun. If it's kind of sad and depressing, I'll bring the mood down and talk a little bit slower and kind of set that sort of tone. But after that stuff, when that vocalist is doing that first pass, I'll always ask them, Hey, how does it sound in your headphone mix? You need 'em louder, quieter, having a hard time hearing. Do you want more guitars, bass? And then we just kind of do a little bit of a tweak and then we record the song and never think about it again.

Speaker 3 (06:10):

I think no matter how you get their headphone mix, whether you are using Hear Back or you're doing it within your own computer, the most important thing is that they feel like they're on stage in front of 10,000 people. I think they just got to feel great. They got to feel comfortable. They have to feel like the song is slamming or whatever the song is supposed to be. They just have to be able to put on those headphones and be inspired to perform over it. And if you take care of that, your performances will be orders of magnitude better, and that right there will solve a lot of problems.

Speaker 2 (06:47):

I think the producer that grumbles over comments on the mix from a vocalist is the guy that doesn't realize that it's hurting his own what you're requesting of the vocalist. If you want the vocalist to be stoked and give you the best performance of their life, then they've got to be stoked about what they're hearing. So if they're telling you, dude, this snare drum sounds whack, like you better change it, man. And I know there's guys out there that are just like, come on, so take it seriously. I think it's something that's very important.

Speaker 4 (07:21):

Yeah, it's very important too to gauge the vocalists psychologically and especially if it's the first time you've worked with the band, you want to go outside and if the guy smokes, have a cigarette with 'em and just bs a little bit and ask questions and figure out what they're maybe playing video games. So talk about video games for 10 minutes. Just find something that they like that's interesting, that gets 'em all fired up and excited and then walk into the booth and you have that little bit of rapport and connection and they're going to trust you and they're going to feel good about working with you, and then you can let the magic flow.

Speaker 2 (07:48):

Now, the next step in this I think is another common question we get a lot is, should I double my vocal? Should I triple my vocal? And this is kind of the speaking to the next step after you've recorded it. So here's what I think when you are listening to the vocalists perform and they're doing the part that they wrote for this part in the song, you should really analyze how you feel about it and you should really hold your standards high. And I think this is where the start of everything's sort of avalanches from is when I hear somebody sing me the part that they wrote for this song and they sing it for me into the mic and I listen to it, I'm going most of the time, I'm like, really? That's all? Is that it? That's all that's going to be here. That's boring. And that just comes from having a high standard, and I don't mean to be a snob about it, but definitely open your mind to the fact that you should not just be complacent and don't just accept everything that comes down that microphone.

Speaker 3 (08:56):

Also, one thing that people might encounter if they're not well-known producers yet is resistance. And by the way, well-known producers also encounter resistance, but the best way, in my opinion, especially with vocalists to overcome resistance for instance, one of the issues that happens all the time in genres that I've recorded is that there's too many words just start to finish. Just like a wall of words never ending, no differentiation between the parts, just one long run on sentence of just brutality. And that doesn't make for a good song. And so if you start cutting that up, sometimes you're going to get a vocalist who feels like you're impeding on the meaning of the song or on their voice, their artistic voice. I don't mean their physical voice and your skills will really show if you take what they wrote and keep the meaning intact, but change it to where they like it better, but it doesn't alter anything at all. And the best way to get them to not resist is to show them a better way to do it rather than argue there's something to be said for actually having a result that's listenable that kind of solves all arguments about music.

Speaker 4 (10:22):

Yeah, definitely. Well, let's talk about editing and layering because I think that's really important. I see a lot of people ask about that on the boards.

Speaker 2 (10:30):

Let's separate the two editing wise,

Speaker 4 (10:33):

Layering first, just tracking. I want to make a point about that. Then we'll talk about editing. What I wanted to say about layering, and I'm sure you guys will have something to say too, is that I think it's really important, and I see this question all the time on the forums, people are like, Hey, I've got this rock vocalist. What should I do on the chorus? Well, you have to find something that you think sounds awesome. It's really important to listen to the song and be like, okay, I'm in the verse. What words need dubs? What parts need harmonies? The producer in you should intrinsically speak and come through and just be like, I want to hear that word. It sounds really awesome. What if we had a gang vocal behind it and doubled the vocal a couple of times for impact, and then that part should be mono, and then we should do a filtered flanger lo-fi thing on this voice, and then, okay, we're going to get to the chorus and it's got to be huge in poppy, so we're going to triple the vocals.

(11:18):

We're going to run two octaves on the side, and then we're going to do a high up the center and then maybe a pair of stereo split harmonies or something like that. So the song is really going to dictate the production, and it's really important I think, as a producer to sit down and listen to the genres of music that you are trying to compete in and figure out what types of vocal production. And if you sit there with a pair of headphones and a know pad, you can be like, okay, we're doing genre X and on the choruses right now on the radio for example, they're doing this, this, and this and this. So that's a pretty good indication of how to get a chorus really huge. I hear low vocals, I hear middle vocals, I hear tripled vocals and side vocals, or maybe it's just a single mono vocal vocal for example. So it's really important to just kind of take notes and then kind of put your own twist on it and figure out what is right for the song.

Speaker 2 (12:04):

Until you've heard something like a chorus that is very produced and has a lot of layering until you've heard that broken down into individual parts, I think on first, listen, it just sounds like magic and a lot of new guys coming up don't have that ear to hear that, oh yeah, I can hear that there's two doubles in there, three harmonies, a low octave. Those are the kind of things that I think are hard to pick out at first until you start to hear it broken up into little pieces, and hopefully you get an opportunity to do that soon if you haven't yet. But for me, I know that I can listen to the vocalist just singing the regular main part and instantly my brain just tells me, this is exactly what you need to do. You need to add this harmony here, add this double there, layer this with these two things, and it'll sound exactly how you want it. I think that intuition comes from just working on a lot of material, and this is part of the thing where we say, don't spend too long on one song because it is just one song, and that will limit your palette and your ability to branch out and try new things and discover new things as well.

Speaker 4 (13:18):

And that's really important. I'll reiterate that. You need to try things, so if you don't know what an octave sounds like up the center, then record one and listen to it, then record two more and hear it split left and right behind a set of harmonies or something. Just try a bunch of different combinations and feel free to experiment and you'll know right away what you like and what you don't like

Speaker 3 (13:35):

And also what the capabilities of the vocalists even are,

Speaker 4 (13:38):

Which is very important for how many layers you can do. Absolutely.

Speaker 2 (13:41):

And if you are spending all night on doubling harmonies, because it's so hard for the vocalist to remember what the harmony is or even perform it because it's so high or something like that, that might not be the right direction for that band because that's just something, if there's a lot of resistance and it's not it's physical resistance, then you really should be responsible and not push the person to a point that they're not comfortable reaching.

Speaker 3 (14:10):

How have you guys dealt with vocalists that have physical limitations? Like they crap out after 30 minutes or they just don't have the stamina?

Speaker 2 (14:23):

You might not like my response, but I always baby the vocalist. If the person,

Speaker 3 (14:29):

Oh, I like that response. That's what I do too.

Speaker 2 (14:32):

I don't think Joel's going to like it, but I

Speaker 4 (14:34):

Always, I baby the vocalist too. Sometimes I whoop their ass. But it depends if they have the right personality to take that because not everybody responds well, some people respond well to it, quit being small time and they're like, okay, I'm going to show this dude, watch this, and then they belt it out. But some people if you do that, they go into a little bit of a shell and cry. So you got to gauge the person and you have to know who you're dealing with and how they're going to react to it.

Speaker 2 (14:55):

And I always am very mindful of the fact that what I'm requesting from the vocalist has to be potentially possible. If I notice they're starting to go downhill performance wise, it's stupid of me. It's counterintuitive and counterproductive of me to ask them to keep going because it's just going to keep getting worse. It's at end of the day, it's the human body can only go so far before it changes the sound and the performance starts to suffer. So I always make sure to keep in mind if I really want this song to turn out good and I want these vocals to sound great, I need to stop right now. That's the best decision for what I should do now to get these vocals perfect. And yeah,

Speaker 4 (15:40):

It is so much better to stop and rest a vocalist that's kind of starting to get hoarse or parched in the throw it than it is to keep pushing them because the next day if you push them too far, they'll be gone and then they could be shot for two or three days. Absolutely, and then all of a sudden a week

Speaker 3 (15:53):

Or longer

Speaker 4 (15:54):

Or blow up their voice and then they're out for three months and then they come back after rehab and they're terrible. So I think that's amazing advice, Joey, and it's so important because I've seen it happen so many times. So as soon as a vocalist is like, eh, I'm getting a little bit, and you should ask them too, like, Hey, how is your voice holding up every 20, 30 minutes they say, I'm starting to get a little rough and just stop and work on something else. Yeah,

Speaker 2 (16:16):

We're done. It's

Speaker 4 (16:16):

Not worth it.

Speaker 2 (16:17):

And there's not always a magic serum or potion or drink or technique or nothing can save you from the downhill spiral that can occur when it starts. So don't just be like, let's take a break. Let's drink some tea. Let's smoke less cigarettes tomorrow. That's not going to help you very much.

Speaker 3 (16:39):

No, no, no. When you start to notice the decline, you stop right then and there.

Speaker 2 (16:45):

Absolutely.

Speaker 3 (16:45):

The T and all that stuff, all that does is when the vocalist is feeling good, it extends their ability to stay in the good zone. But once they've already passed that and gone into that zone where they're starting to deteriorate, the tea's not going to help.

Speaker 4 (17:02):

Absolutely.

Speaker 3 (17:03):

So you got to cut things off before they get to that point.

Speaker 4 (17:06):

So how tightly do you guys edit your layers? Because I know Joey, you love to do tons of vocal production and I'm kind of like you no matter what genre I'm producing most of the time, if it's appropriate, I'll approach it like a pop song and I will do a ton of unnecessary layers, and even if they're very quiet in the mix, they just add that extra bit of polish. But I think it's really important to talk about the editing because this is something I see a lot on the mixing side is I get tracks and I'm like, why do I have a 10 stack of vocals here? But the S's and the T's don't line up and they don't start an edit at the same time and it sounds like absolute dog shit when I start compressing and queuing them, how am I going to make this sound good?

Speaker 2 (17:47):

Yeah, here's how I feel about that. That man, if you're going to go about layering it to a point where there's so many layers and the Ss and t's really matter, you got to at least do a good job and get those lined up. It really doesn't make sense to go that far with the layering, but then have the editing be sloppy. How are you going to be like, oh man, this is going to sound great when we layer it up and then not even get the edits close enough to even be pleasing to listen to.

Speaker 4 (18:12):

Do you guys ever cut the ss and t's out on some of the dubs? If it's too much, for example, a really or sibilant vocalist, we'll be like sometimes you got to get rid of that nonsense on the dubs for sure.

Speaker 2 (18:26):

Yep, yep. That is something I've done. I've also automated out. If I don't want to necessarily cut it completely, I might do a little tiny automation volume dip to kind of just get it out of there and get it out of the way for a quick second and put it right back up to the normal volume. I got a funny story about

Speaker 4 (18:45):

That, but go ahead, finish.

Speaker 2 (18:46):

I was just going to say as far as to answer your original question about how tightly I edit them, I would say that I try to get it as close as freaking possible.

Speaker 4 (18:55):

Yeah, absolutely. I do mine stupidly. Perfect. Alright. So funny story time. I had a record where I had a ridiculous amount of layering on it and really awesome singer with incredible endurance and just great tone and I went to town with him. He just was a great singer and we had an amazing synergy. So I sent him his live tracks and he freaked out. He was like, he wanted to track all the harmonies and things. He's like, I don't understand. I sound stupid, but I'm thinking, I'm like, there's no s's and t's on any of my harmonies and it sounds really weird. And I'm like, oh shit. I cut them all out because when it came time to mix, he was a little sibilant and I had to pull that all out, but it made more sense to just have it on the mono vocal up the middle and it carried it for all the rest of the harmonies and you couldn't tell in the mix and it sounded way better. So he freaked out. He called me screaming like, dude, what's wrong with my vocals? What did you do to my voice? Blah, blah, blah, blah. And I'm like, oh yeah, sorry.

Speaker 2 (19:51):

That's a perfect example of something we've talked about before, which is don't assume that something that you're going to do is going to gel well with the artist. And this is something that I always tell my guys that I train. I'm saying like, Hey, if you remove all the breaths from a vocal performance, that's actually disrespectful. I

Speaker 4 (20:13):

Hate that. That

Speaker 2 (20:13):

Is actually slapping the vocalists in the face and saying, I don't want the audience to hear you breathing in the mic. What kind of bullshit attitude is that? Now, that's not always the right way to go about it though, right? There are situations where you do need to remove the breaths. Now this is the second part to this is the communication. Always know who you're working for and what their expectation is because if they trust you and they know that you're going to remove a breath wherever you need to, then that's great. That's a perfect situation to do it.

Speaker 4 (20:46):

Absolutely. I think that's great. It reminds me of another story, I guess I'm just full of stories today, but I had a rapper in once many years ago and he was like, he came back and his only mixed revision was, I need you to duck every single breath in the song. And I just turned around. I'm like, dude, are you out of your fricking mind? Is there a brain on that head? Why would you want to sound like a robot? You sound silly. And he wasn't tee painting his voice and auto tuning it where he sounded, he was actually singing and rapping, but he made me duck every single breath to the point where it is nearly inau audible and it sounded so awkward. It was just the weirdest delivery I've ever heard in a song. And then he came back three weeks later, he is like, dude, can you bring all the breaths back up? And I'm just like, I will kill. So it was rough. Very rough.

Speaker 3 (21:34):

That's a lot of breaths.

Speaker 4 (21:35):

Definitely. It was a few hundred of them per song and it was like five or six songs.

Speaker 3 (21:41):

I'm going to just agree with what you guys are saying, but I mean you guys covered it, but I'm just going to say I agree. You're slapping an artist in the face if you just assume that they want their breath removed or not. It should definitely be whatever serves the artist or the music the best.

Speaker 2 (22:01):

Yeah, and it could be, it's not always a one, a singular direction. For example, the song Photographs by Nickelback has zero breaths in it. You should listen to it sometime and listen to that in amazement. Probably never noticed that before, but if you listen to that song, there's not a single breath anywhere in the song and you listen to the next Nickelback song on that record and there's breaths in there. So not always a total tarion point of view and just know who you're working for and what your expectations are. If you guys are still struggling with layering vocals, I want you guys to just experiment. Don't be afraid to try stuff. And if you're not sure how to mix those layers, I would also say experiment, but I think there's a couple of things that we can maybe give these guys in terms of what to do with doubles and triples and what to do with harmony. So I get asked about that all the time. How about you, Joel? How do you handle doubles?

Speaker 4 (22:56):

Well, it depends what kind of sound I want, but generally I'm one of those weirdos that likes to take their doubled vocals and run them in dual mono at equal volume, or maybe one is like minus two to four, but usually equal volume. And I run them into the same compressor, EQ chain, et cetera, as if they were a mono vocal. And to me, that's what I would call the two thousands radio rock song like sound, not song, sorry. You have the really wet sounding vocal and it's something that works great with male singers, especially gritty vocals or screamers. I love a doubled voice dual model up the center. Now I know you like to stereo split your vocals on your dubs, don't you, Joey?

Speaker 2 (23:35):

Yeah, and it's not always though. There are times where I like to have that singular double, and what I mean by that is there's a main vocal and then another take underneath of it and then run that through a chorus or some kind of artificial stereo widener because it has a different sound to it. And I compare the sound. I'll have the vocalist do two, and then I'll listen to the difference of the main and the center and the two unique takes left and and then sometimes I will duplicate one of the doubles and put it in its own center track and mute the left and right channels just so I have a comparison and just see what it sounds like just to have the singular double because sometimes it's a little tighter, prefer to have that tightness. And I like to test myself to see how easy is it for the vocalist to double himself?

(24:27):

How hard is it going to create for the editing problem? Am I going to have to edit tons more vocals and is it going to be difficult to make those edits if I do to doubles for every single main vocal line? So I take that into consideration. And then in terms of mixing it, I like to have a compressor on every single take because every single take is a little different and I don't want the compressor reacting to a bunch of voices going into a singular compressor. I want the compressor to react to a singular voice, and I will do unique EQ per take, except if I have two doubles, I'll do the same EQ settings on both just so it's not wacky. But my main vocals tend to have a lot more trouble than my doubles, and my doubles tend to have a lot less bass than my main. I don't know if you guys do that too. Yeah, definitely. Yeah,

Speaker 3 (25:19):

For sure. One thing I'll also say is that the weaker, especially with screams, the weaker the vocalist, the more I'll layer them.

Speaker 4 (25:28):

Oh yeah, totally.

Speaker 3 (25:29):

And I don't mean different sounding layers, I mean layers of the same lead part. If it's a shitty screamer, then you better believe there's going to be four to six doubles and layers of just the main line. And if there's a backup line or a layered a tonal layer to that, say that we've got highs and lows at the same time, I'm going to layer up the highs like four times and then the lows four times because at least in my experience, that's the best way to make a bad screamer sound better, is make him get as much of him as possible so that you can't hear the individual problems. I think

Speaker 4 (26:10):

That's the best trick you can possibly do for a really crappy screamer is just double 'em because that's how you get that thickness. And if they can't bring it from power, you have to simulate that. So I'm absolutely in love with that technique. I think it's great.

Speaker 3 (26:23):

Well, the good ones can just do it. They just sound great. So you can get your man in a double and you're good to go, unless if you want more for a particular type of part, but with a shitty screamer, since they can't do it, since they don't sound like the voice right out the gate, you have to create a voice for them in a way.

Speaker 4 (26:45):

Well, let's touch on vocal harmonies. I'll start out real quick here. I generally like to put them wide. I'm on kind of a stereo harmony kick. I used to like the mono for many, many years and just in the last year, if a harmony isn't stereo, it kind of irritates me. I like having it slightly wider than the main vocal. So I usually like to double my harmonies or artificially widen them and then put them behind a main. Or if it's a chorus, I'll split 'em out really hard, double them and then stack them on the sides. I usually don't like to run harmonies up the center anymore. What usually lately

Speaker 2 (27:17):

I've been doing a lot of stereo harmonies. I'll do mono harmonies when the layering is very complex. So if there's two harmonies, I might even potentially pan one of those harmonies a little bit to the left, like 20% and the other harmony a little bit to the right 20% and just keep a mono. Because if you've got multiple harmonies and you start doubling those multiple harmonies, you start to get a little bit too much. I feel like now a benefit though of doing that is being able to have control, completely control over placement. I think if you've got a lower third and you've got two of those and then you've got a higher fifth or something like that, and you've got two of those, you can make the higher harmonies, 100% left, and the lower harmonies like 20% left, and that gives you a little bit of more spatial balance and be able to better control the entire image of the vocals altogether.

Speaker 3 (28:16):

That's why I do that.

Speaker 2 (28:17):

But not always the right decision kind of depends on how many guitars and synths and stuff is going on in that part.

Speaker 3 (28:24):

Well, just because you track it doesn't mean you need to keep it. I mean, though, you should be making decisions with the big picture in mind,

Speaker 2 (28:30):

But

Speaker 3 (28:31):

Absolutely, just as a safety, I like to get doubles of harmonies for the exact reason you said, and if it just makes sense in the mix to not go wide or to not go for that balanced sound, then you can make that decision in the mix. But I would hate to get to the mix, realize that I wanted to get it balanced through that method and didn't have the tracks for it.

Speaker 2 (29:00):

So yeah, guys, we're interested to hear what you think about this episode. So after you listen to it, please go to the Private Producers Club, make a post and let us hear your thoughts on various vocal mixing and editing techniques. And if you have any additional questions, feel free to ask. We'd love to expand on this topic and really just getting started with vocals and maybe we can cover some more in the next episode. So also, if you guys have any questions, feel free to send us an email at jsf [email protected], and hopefully we'll see you soon.

Speaker 4 (29:32):

Yeah, we're going to have a lot of fun. Let me just quickly add mixing vocals this month on Nail the Mix because we have a alternative rock slash poppy song and there's a lot of vocal production in it, so I'm really looking forward to harmonies and layers.

Speaker 2 (29:46):

Yeah, we'll give you guys a little taste of some of the examples of what we've been discussing and show you a little bit more in depth about how to mix layered vocals. So definitely do not miss that. Check it out. And if you aren't already registered, go ahead and go to the live registration page before January 30th and we'll see you there. The

Speaker 1 (30:07):

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