As mentioned, I have changed the way I mix after at least 2 decades and I find the auto deess in MD just sounds unnatural when pressed a bit harder. Great for manual but Im not doing mousework anymore…seriously great analog mixes without that time lost. One of the keys is def a great deesser on the vox (depending on mic/pre)
Glad you are happy with it…the older you get the faster you realise you must be…time is finite and creativity rests in spontaneity
?!? verbal input? track pad? touch screen? thought projection?
lol
vs practising the part, capturing a great performance on the way in so you dont have to actually edit…like they did in days gone by, sat together laughed, pressed record and magic happened instead of iron humanity out for the sake of product…
by mousework I mean not spending more than a couple of minutes and keeping the fun going…if you like spending hours on the mouse…and Im saying add up the hours days weeks. When melodyne first came out I spent weeks makiing stuff perfect and now I realise I was missing a lot of the art for the sake of product
right, you are talking about making music
in a studio setting, of course get it recorded right: as little post as possible
Live and Location do not have that luxury…and the majority of my SLP work is Location and Live
I’m getting incredible results mousing in SLP…do I like it? not really, the results are stunning tho…I realize that is not the subject of this thread
Yeah live is a different game
I must say though…I did FOH for quite a while…doesnt do much for your hearing but it completely changed the way I mix…it really does change the studio perspective
Ive coded most of my life as well so less screen time, more music is a beautiful thing hence me headed for a lot more hardware
Learn how to sing.
Todd Rundgren - Izzat Love?
Art Garfunkel - Briii -dsh ovur Twubbard OoAughturz.
Get the picture?
Okay..not sure of the picture.
Reword: Accurately express your art…whatever that is 
I think the reference is to singers who:
Gotcha
Its a delicate balance, some voices are raw and would sound wrong with the classical approach.
Harmonies dont matter at all, they get smashed or even spectrally sidechained, there can only be 1 leader or use a ribbon mic
Dropping consonants sounds good for broadway (maybe not) but for folk or celtic etc…it just doesnt happen. I think its too far the other way then.
I recorded this incredible singer about 20 years ago…so perfect, intonation, diction etc. It was so perfect it was no longer engaging
Thats why I like speech level singing…its just natural in tone and expression not faux. BTW I think thats actually Art Garfunkels natural diction hehe
Yes. Art Garfunkel does talk like that. Actually, my favourite party-piece used to be my impression of Rolf Harris singing Bridge Over Troubled Water - until he got caught.
Bear in mind the originators of that Folk and Celtic would sing it probably with no teeth, Ricketts, Pleurisy, and a multitude of diseases and debilitating infections. Not to mention the lung-robbing, low oxygen-density in the air around them - cause by the toxic stench of their own filth evaporating on their unwashed bodies.
Modern Folk and Celtic singers might have indeed sought to improve the diction and intelligibility of the sung word by having better teeth these days, but the issue of the intolerable smell, the dodgy personal-hygeine, and the risk of catching something from them - really does tend to limit them to either Pub open-mic nights, or more Civic soirées, put on by leftie councillors who are equally capable of assaulting the olfactory and auditory senses.
If you watch 50 Feet From Stardom you’ll see some incredible mic technique from very experienced singers recording close mic’d without a pop filter.
Alison Krauss is engaging. Barbra Steisand is engaging. I could go on.
Lol
I hear you…although my dear Irish friend would take offence and likely clean you up with a mace
I was thinking more Clannad, Edens Bridge…or even Zeppelin
Alison Krause live, is amazing but I find the studio versions quite ironed out
Would your Irish friend also rearrange my face if i declared Kate Rusby to be engaging?
But my point re singing technique was more about small movements during close (or near) mic’d recording which mean such singers don’t need pop filters, de-essing or compression.
Gotcha…well the comments were a bit brutal although in this forum of free speech and civil reciprocation…we remain, well…civil
What you are saying is true…im just adding that not all singing is eloquent or cultivated for a mic. Sometimes when a singer is lost in the expression it can be almost an overwhelming wave where its primal and bypasses those graces. However the engagement is universal and powerful so I guess its learning to manage those freedoms as well.
I agree of course technique is important but I prefer the unfettered emotion…might need some extra processing?
Both is even better but I observe that only those smooth and considered vocals can achieve that.
Watch 50 Feet From Stardom. the singing I refer to isnt smooth or considered. It’s really just excellent mic technique, which singers nowadays dont bother to learn.
Well here I am
@Henrik_Hjortnaes and others…you are right
I went back to my old school way of doing it by just using cubase audio editor/process/gain like I use to…so much better for sure
BUT
The crossfade has been removed…SERIOUSLY making that application useless
I think Apulsoft Split-S is the most useful tool,for me is a “Set & Forget”
Doesnt let me tag solution for 2 peeps but thanks to both of you
Yeah still doesnt work on this track in its standard form by itself
There are quiit parts of the sibilance which turn into a lisp where as the louder parts are better controlled…but not a perfect solution by any means even if I fiddle a bit with it (although I havent used it much yet…its still needs a bit of further process…)
BUT!
Voila…
You can still grab all the ess parts and clip gain/tweak if needed
…wow, fast and quality.
Why SL is not capable of splitting like this…just wow what a great tool. That would be a useful tool I would pay to upgrade SL along with finally getting a phase rotation but Ill likely buy this instead I think
Thanks to all for the help…its literally perfect
EDIT: I found I was able to trust it realtime once I got around the plug a bit better
Using a stereo track for you vocal
Insert split twice in a row
Go to plugin in routing and route insert 1 to mono on left
Route instance to mono and route to the right
Adjust the first instance so its operating properly in non S solo and copy paste settings to the other instance but on the second, solo S
Add a comp/limiter into the 3rd slot and also set mono/right so its levelling just the ess component
Finally add a mix 6to2 to bring it back to mono and add normal plugs after that
Simpler and all realtime on a single track, might even be worth dropping into a StudioRack instance so its just 1 plug wrapper
Oh, I hadn’t read @Mariscal’s comment. He was the first to mention it. It’s a tool that, along with your favorite de-esser, can make a great combo. I’m glad you at least have a direction to follow.
