0:51

Hey , inside the Mix podcast fans . It's Anthony

0:53

from Technic Tone . You can find me on

0:55

YouTube and SoundCloud with my latest release

0:58

, body and Spirit . You're listening

1:00

to Inside the Mix podcast Now

1:02

. Here's your host , mark Matthews . Hello

1:04

and welcome to the Inside the Mix podcast . I'm

1:07

Mark Matthews , your host , musician

1:09

, producer and mix and mastering engineer

1:11

. You've come to the right place if you want to know

1:13

more about your favourite synth music artists

1:15

, music engineering and production , songwriting

1:18

and the music industry . I've

1:20

been writing , producing , mixing and mastering music for

1:22

over 15 years and I want to share what I've

1:24

learned with you . Hello , folks

1:27

, and welcome to the Inside the Mix

1:29

podcast . If you are a new listener , make

1:31

sure you hit follow wherever you get your

1:33

podcasts , and if you're watching this on YouTube

1:36

, make sure you hit subscribe so you get notified

1:38

of new episodes . And , as always to

1:40

the returning listeners , a huge welcome

1:42

back . So in episode 159

1:45

, I went through one of my favorite music production

1:47

techniques for vocals , which was using the Waves

1:50

Doubler , and I was also

1:52

then trawling through my YouTube

1:54

channel and there is a video that I

1:56

posted about two , maybe three years ago , and it's

1:58

a very crude video , again much like in episode

2:00

160 , where I

2:03

demonstrate how to quickly create a

2:05

doubled vocal in Logic Pro without

2:07

using any third-party plugins . This

2:09

technique is particularly useful if you've

2:12

got a vocal sample , or maybe you've got a

2:14

recording of a vocalist and you don't have

2:16

any vocal stacks . So

2:18

I've decided that I'm going to redo that

2:20

video from several years ago , I'm going to improve

2:22

it and flesh it out in this episode and

2:25

yeah , I'm in Logic Pro , but you can do this in any DAW

2:28

we're just creating a really basic

2:30

vocal doubling effect . So

2:32

let's dive in here . We are in Logic Pro

2:34

and we are going to go from

2:36

this . I wanna be

2:38

free . Yeah

2:41

, it'll never

2:43

be the same . To

2:46

this . I wanna be free

2:49

. Yeah , it'll never be the same . Yeah , it'll

2:52

never be the same

2:54

. So , to begin , I've got one vocal track

2:57

and on that track is the vocal sample

2:59

and it sounds like this . So this is the complete

3:01

dry vocal sample . I

3:06

wanna be free . Yeah , it'll

3:08

never be the same

3:10

. So then what I did is create

3:13

two additional tracks . I've got Vox left

3:15

and I've got Vox right . If you don't know how

3:17

to create tracks in Logic Pro , you can just go to track

3:19

new audio track and

3:22

then make sure snap to grid is on

3:24

. It's on smart , and

3:28

then I'm going to option , drag this region , audio region , this vocal , down to Vox

3:30

left and down to Vox right . And if I play

3:32

it now effectively , I'm

3:38

going to have the same vocal

3:41

sample three times , so it's just

3:44

going to sound louder . And

3:46

that's not what we want . It's just making it sound

3:48

louder , right , we could just push to the level if we did that

3:50

. So what we're going to do is this I

3:53

am going to go to the

3:55

beginning of the audio region with the playhead

3:57

, I'm going to command right to zoom in

3:59

, so I want to see the waveform in greater

4:01

detail it's probably too far and then

4:03

I'm going to turn snap to grid off . Now you can

4:05

do that at the top here in Logic Pro , in the

4:08

editor window , or

4:10

you can just press command G and it'll turn it off . So

4:13

then what I'm going to do is I'm going to slightly

4:15

move these out of time , because that's kind of what

4:17

a singer would do , right ? Or a guitarist or

4:19

a musician when they double track . The

4:22

double is going to be slightly different

4:25

to the original , which is how you get that luscious soundscape

4:27

. It's particularly with vocals here , and

4:30

I'm going to nudge the

4:32

Vox Left audio region

4:34

slightly to the left . So I'm gonna option

4:36

and left with the keyboard to

4:38

nudge to the left , and I'm gonna do the

4:40

opposite with the right . I'm gonna option right

4:43

, and that's nudging the Vox

4:46

Right to the right . So they're slightly out

4:48

of sync now . They're slightly out of time

4:50

. So that's nudge . If you didn't know , in Logic Pro it's

4:52

option , then direction arrow . So

4:54

I'm going to Command Left to zoom out and

4:57

let's play this now . So with the left and

4:59

right , slightly out of time with the original . I

5:01

wanna be free , yeah

5:04

. You

5:09

can see it's dropped in level and there's

5:11

some phasing issues going on there . So

5:15

now what we're going to do is this I'm going to go back

5:17

to the beginning of this region

5:20

with the playhead , I'm just going to drag to the

5:22

left and I'm just going

5:24

to zoom out a touch more as well so I can see more of the audio region

5:26

. What we're going to do now is I'm going to

5:28

pan the Vox left . I'm going to pan

5:30

that minus 45 . So I'm going to use similar

5:32

settings that I used in the Vox

5:35

Doubler in episode 159

5:37

. And then I'm going to go 45 with

5:40

the right . So I've got the Vox left

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is panned minus 45 , vox

5:44

right is panned 45 . So

5:46

let's play it now . I wanna be free

5:48

, yeah , 45

5:53

. So let's play it now

5:55

. Listening

5:59

to that . If you're listening with headphones , you could probably hear that the left sounds a bit

6:01

louder than the right . So there's some phasing going on there . And actually if I

6:03

press X , rather here

6:05

, and then go to the multimeter and we play

6:07

this and we're looking at the correlation

6:09

here . So I'm going to play it now and the correlation

6:12

. Let's have a look and see what this does

6:14

. I want to be free . Yeah

6:17

, it'll never

6:20

be the same . Yeah

6:22

, it's kind of jumping around the middle there , so

6:24

maybe too much in terms

6:26

of phasiness going on . So I'm actually going

6:28

to reduce this the left and right . I'm going

6:30

to go to minus 25 and I'm going to get a plus

6:33

25 and see how that sounds , see

6:35

if that's an improvement . I want to be free

6:37

. Yeah , it'll

6:41

never be the same

6:43

. Yeah , I think that does

6:45

sound better . In the grand scheme of things , this isn't

6:47

going to be as loud , or these left and rights

6:49

aren't going to be as loud as the center vocal anyway . But

6:52

looking at the correlation meter as well , we're

6:54

not dipping into that out of phase-ness

6:57

on the correlation meter , so I'm

6:59

happy with that as it is . So we're going to go minus

7:01

25 and plus 25 , rather than minus

7:03

45 and plus 45 , like we

7:05

did in the vocal doubler . Then

7:07

, on each one of these tracks , I'm

7:10

going to use the pitch shifter plugin , so I'm

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going to enable it . So , on the left , and

7:14

I'm going to use the default of vocal doubler

7:16

and I'm going to drag that . I'm actually going to drag

7:18

it to minus seven . I like to use between

7:20

like minus five and minus seven , so I'm going to

7:22

do minus seven in cents . So

7:24

minus seven in cents . So I'm not using semitones

7:27

and I'm going to boost the mix all the way

7:29

up to 100% , all the way up to 100%

7:31

on this , and I'm going to do the

7:33

opposite on the other one

7:35

, on Vox Right . So , on this pitch shifter , I'm

7:38

going to go to vocal doubler and I'm

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going to drag it to seven cents

7:42

and then I'm going to do

7:44

100% in terms of mix . So

7:47

now let's play this . I wanna

7:49

be free . Yeah

7:52

, It'll never be the

7:55

same . Cool , it's getting

7:57

to how I want it to be . It's getting

7:59

there . So now what I'm gonna do is I'm gonna highlight

8:01

vox left and vox right , because I want

8:04

discrete control over both channels at

8:06

the same time , and I'm gonna go to

8:08

options and I'm gonna create a

8:10

new VCA , a voltage controlled

8:12

amplifier , and I'm

8:14

going to use this to control the level of

8:16

Vox left and Vox right , this doubling effect , basically

8:19

. So I'm going to rename this to Vox

8:22

, I'm going to call it Vox dub

8:24

. There we are , and I'm going to

8:26

drag this all the way down , cause at the moment

8:28

, this doubling effect that I've created

8:30

is at the same level as the lead vocal

8:32

, which is not how I want it to be . So let's

8:35

drag it all the way down , and then I'm going to gradually

8:37

drag it up , so it's just tucked underneath

8:39

the main vocal . So let's give

8:41

that a go . I want to be free

8:44

. Yeah , It'll

8:47

never be the same

8:49

. I want to be free yeah

8:54

, it'll never be the

8:56

same . There we go . So I've got that

8:58

set at minus 9 dB for

9:00

this . I'm using the VCA to control these

9:02

channels here , so I've got it set at minus 9

9:05

. And that sounds pretty good to me

9:07

. Now , ultimately , you could play around with the pitch

9:10

, the sense in the pitch shifter . You could

9:12

play around with the nudge of

9:14

the audio regions themselves , you could play

9:16

around with the panning , but basically

9:18

those are the core settings for this doubler

9:20

effect . You have a left

9:22

and right , you pan them left and right and

9:25

then you use the pitch shifter and then you

9:27

just blend in what you have with the

9:29

original audio . And

9:35

the beauty of using a VCA and I don't use them enough is that if you have discrete groups for like

9:37

drums , bass , pads , vocals , guitars , you can actually

9:39

control the level of individual

9:42

instruments in different groups

9:44

, which is the cool thing about a VCA Don't

9:46

use them enough and you can automate the level of a VCA

9:48

as well . You can just right click on it and then

9:50

create track and you can automate that level of

9:53

that doubling effect in Logic Probe

9:55

. So again , let's play it . I'm going to play it without

9:57

the doubling effect and then I'll play it with . I

10:00

wanna be free . Yeah

10:04

, it'll never

10:06

be the same . And

10:08

this is with . I want to be

10:10

free . Yeah

10:14

, it'll never be the

10:16

same . In fact , let's quickly check

10:18

it with the multimeter , let's check

10:20

the correlation meter . So I'm going to play

10:23

it now and have a look at the correlation meter . I want

10:25

to be free . Yeah

10:32

, it'll all good . I mean , I wouldn't hold that as gospel

10:34

, but I think it's good to check the correlation meter

10:36

. When you're doing things like this , when you're duplicating

10:39

audio regions , instruments

10:41

, and then you're processing them

10:43

like this , it's always good to check correlation because you

10:45

don't want some weird phasey shit going on . So

10:47

always a good one to check . But there we go

10:50

, folks . A quick recap . I think I did a recap just now

10:52

, but I'll do it again . We had Vox

10:54

1 , which was our main lead vocal

10:56

with the audio region , two additional

10:59

tracks left and right . We option

11:01

drag the audio region down onto those additional

11:03

tracks . Command G to turn off , snap

11:05

to grid . Then we used option left

11:07

and right to nudge those tracks left and right . Then

11:10

we panned them left and

11:12

right . In the end I settled for minus 25

11:14

and plus 25 because I felt it was too phasey

11:17

, some weird shit going on when I had it

11:19

. Minus 45 and plus 45 . Pitch

11:21

shifter I used a vocal doubler preset

11:24

. I probably don't need to use the preset , to be

11:26

honest . Sense minus seven on the left

11:28

, hundred percent mix plus seven

11:31

on the right , hundred percent mix . Create a

11:33

VCA , had the VCA control

11:35

him the overall level of the doubler effect

11:37

and drag that up until it was tucked underneath

11:39

the main vocal and we got to minus nine

11:42

DB . There we go a quick way

11:44

to create a vocal doubling

11:46

effect in any DAW . So

11:48

I hope you found this tip useful and

11:50

, if you did , I would love to

11:52

hear from you . I want to

11:54

include your review or feedback

11:57

of an episode on Inside

11:59

the Mix so you can click the link in the episode

12:01

description . It's a SpeakPipe link and

12:03

you can record a quick , less

12:05

than 30 seconds audio review

12:08

why you enjoyed the episode , why you

12:10

would recommend it . It doesn't have to be this one , it can be any episode

12:12

. Give yourself a shout out . Who are

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you , where

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can the audience find you online , social media handles and or your website ? So not only

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will you feature on the podcast itself and forever be part

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of the podcast each month , those who enter or submit audio

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and audio review and feature of the podcast . Each month , those who enter or submit audio

12:28

and audio review and feature on the podcast

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12:37

. Either way , I'll pick your name out of a hat and

12:40

you will have the opportunity to win a Starbucks

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, give it to someone else and pretend you bought it for

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them . Coffee Voucher and if you don't like coffee , give it to someone else and pretend you bought it for them . You're doing a good thing . Don't tell them it

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came from me . Anyway , folks , so

12:51

click that link in the episode description . I cannot wait

12:53

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recommendations .