If you want to make a vocal sound more spacious, add some delay. In other words, delay is a great tool for filling empty space. It can make an instrument sound like it’s in a cartoon cave with multiple layers of echo, or a voice sound like it’s doubled, and almost everything imaginable in between. In case you’re not yet familiar with it, delay is an effect that makes a sound repeat itself at certain intervals. Do Delayĭelay, when used effectively, can give a song some much-needed space. It’s a good idea to keep the main vocal track somewhat upfront (not panned too far in either ear), and bass should rarely ever be panned. But all that other stuff - pan away until you’ve got a full and balanced sound.
I’m talking 60-100% panned in some cases. It depends on the instrument, but you can usually be more generous with panning than you probably think. I used to be timid with panning, but now I throw things hard left and right. Panning is an amazingly simple tactic to widen your track. Try record yourself singing the melody twice on two separate tracks or record the same guitar part a second time but with a different mic or mic placement or record three layers of claps. But layering too much can quickly turn to muddiness if you’re not careful, which is why the next point is important. The simple act of recording another layer of the same instrument or adding a harmony or a second melody can change things. Thin productions and mixes are often a problem with songs recorded by home producers who are learning. Layering up your tracks is the easiest and most obvious way to fill out your mix. Look at all the layers (and you’d see more if you saw him scroll).
Layer UpĪbove, you’ll see a screenshot from one of Collier’s Breakdown videos. Go check out this in-depth and awe-inspiring new course, Kimbra: Vocal Creativity, Arranging, and Production, exclusively on Soundfly. Well, here are five simple little tricks I’ve personally learned from watching his Logic Session Breakdown videos on YouTube, by getting advice from an audio engineer friend, and through my own experience producing.īut first, for all you singing producers out there, Soundfly just launched a brand new course with Kimbra, in which she herself demystifies her variety of vocal techniques and the creative inspirations behind her most beloved songs. His mixes always sound fleshed out, both in depth and width. How does he do it? And what can we learn from him? But one thing he’s particularly good at is creating fullness. Jacob Collier is a veritable master when it comes to a lot of things.
+ Ryan Lott (of Son Lux) teaches how to build custom virtual instruments for sound design and scoring in Designing Sample-Based Instruments.
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