Vocal Production in Logic Pro X

Vocal Production in Logic Pro X


Want to learn how to do a radio-ready production
using only Logic Pro? Today, I’m going to show you how to go from
this…to this…using only Logic Pro stock plug-ins. Hello everyone. This is Dylan with Musician on a Mission here
today with another mix tutorial for you. So, vocals are the most important part of
the mix. Everyone knows this. It’s what the listener focuses on throughout
the track. So, getting your vocal chain right is essential
to a radio-ready song. So, keep watching. And don’t forget to download the free vocal
mixing cheat sheet. It covers the most important parts of this
video plus we added our three favorite techniques to create thicker vocals. It’s a fantastic reference to keep by your
side while doing your own vocal production. Click the link in the description below to
grab it. All right, before we start I have to give
a disclaimer. I’m going to give you a lot of tips in this
video but you have to remember use your ears. These are only recommendations. Every voice is different and I’m only doing
what’s best for this person’s particular voice. So, do what fits your voice the best and use
what I am telling you more as recommendations more as guidelines and not as hard rules. Okay, so the first step to doing a vocal production
using only Logic Pro stock plug-ins is gain automation. Now, that’s not necessarily what you would
expect the first step to be. So, one of the biggest issues with vocals
is the fact that they are very dynamic. Now, that’s great for some genres jazz or
classical or folk where the point of them is to be very dynamic. But in most popular genres, stuff that shows
up on the radio, you need to have a more consistent vocal sound. Something that’s more dynamically consistent,
so that the processing remains the same the whole time. So, that it’s not overly compressed one
second and too little compressed in the next second. So, gain automation sounds like a more confusing
concept than it actually is. Really all it is, is making sure that the
gain of each of these little sections, all right here, is fairly consistent. So, you can see even just by looking at the
waveform you know this is quieter than this, which is louder than this, which is quieter
than this so on and so forth. So, all we want to do is go forth separate
all of them and change up the gain. So, there is an easy way to do this. So, if you go down to this little dropdown
box, the toolbar, and go to remove silence you can actually just separate all of these
vocal clips into their own little sections, so that you can adjust the gain accordingly. Now, you might have to go down here, change
up the threshold. I am not doing much to actually get rid of
the silence. I want to keep the breaths in. I want to keep all of the sound of the vocal
itself. I am just basically wanting to separate each
of these little vocal chunks. So, I might need to change my minimum time. I might need to change my pre-attack time. It depends on your vocals needs. But this one is pretty good for me. I’m looking at it it’s looking pretty
good. So, I’m going to hit ‘okay’ and you
can see that it’s separated all of these into little individual regions. So, I can go and change the gain of these
individual regions. To change the gain we’re going to need to
go in hit this little dropdown box and you can actually change the gain right here of
the one individual region. So for instance, if I turn this up, let’s
make it drastic, 10 decibels you can see it gets really loud in the waveform. But it doesn’t affect anything else. It’s just this one a little bit. So, you can honestly just eyeball this. It doesn’t have to be exact. I can obviously tell that this region is much
quieter than this region. I don’t need to go and measure each one
with a VU meter and make sure that it’s exactly the same volume. So, if I was to go very quickly I might say
this one is fine, this one is maybe a little loud, and this one is a little quiet you know
I’ll increase that by four. This one is fine. This one is a little loud and so on and so
forth. I’m not going to do all of it because we’re
really only going to listen to a few bars of this song. But you could do that pretty quickly. It’s maybe a five minutes step. So, the next thing you’re going to want
to do is Surgical EQ that’s step two. Surgical EQ. So, what is Surgical EQ? If you are just getting into mixing there
is a difference between what we call Tonal EQ and Surgical EQ. Surgical EQ is where you are doing an EQ sweep,
which I’ll talk about it in a second, you’re doing EQ sweep and cutting out any of the
nasty stuff you hear. Like if you hear something and it’s just
like ah that sticks out, it sounds gross, it’s louder that’s probably room resonances,
room nodes, you know parts of the vocals that maybe cracked up, parts of the walls around
you that are sounding very strange when you’re recording in your bedroom or in the studio
you’re going to want to cut that out. And it’s going to be usually a much steeper
cut and a much narrower cut, which we’re also going to do is do some low-end filtering
to get rid of some of the rumble that just happens naturally in the low-end of the frequency
spectrum that’ll help to clean up your vocal track. So, the first thing we’re going to do is
do this EQ sweep. So, I’m going to boost my vocals pretty
dang high and I am going to increase the cue, so it’s fairly small. We’ll say around two. That means it’s targeting a specific part
of the frequency spectrum. And an EQ sweep is literally just that. It is sweeping around the frequency spectrum
to hear something gross. So, I’m going to hit ‘play’. I’m going to sweep around until I hear something
that’s sticking out to me. Okay, I’m hearing something around here
that is really sticking out to me. Yeah, right there, right there. So, I am going to take it down and I’m actually
going to increase the cue even a little bit more just to take that rogue frequency out. Now, it’s not necessarily something you’re
going to hear incredibly audibly. Once we do all of our vocal processing it’s
going to be much more obvious that you’ve taken out one of these frequencies or rather
it’s going to be much more obvious that you haven’t taken out problematic frequencies. The point of this is actually that that problem
doesn’t show up. So, it’s a lot more smooth. It’s a lot more subtle. So, the next thing we’re going to do, and
I was talking about this earlier, is we’re going to add a high-pass filter. All the means is that we’re letting the
highest pass through and we’re filtering out the low-end. And we’re really just going to be filtering
out below the vocal itself. We’re not trying to cut into the sound of
the vocal really at all. We’re just trying to get some of the rumble
that happens naturally in the room. So, I’ll hit ‘play’. I’d say around there is fine. Again, it’s not necessarily something you’re
going to be able to audibly hear. But you start compressing your vocal it’s
going to be a little bit more obvious. We just want to get rid of it now. So, step three, and this is optional, but
it’s important if you need it and that is de-essing. So, let’s bring up Logic Pro’s de-esser
right here. So, what de-essing is it is the process of
getting rid of sibilants, so if I’m saying a lot of Ss, Ks or Ps or stuff like that. This is going to be targeting those frequencies
in the frequency spectrum specifically and turning them down, so that they’re not crazy
loud whenever you’re processing your vocals. Not all vocals need this. Don’t do it just because you think you have
to. If it doesn’t need it. It doesn’t need it. So, here is how you use this. We’re going to change the monitor to the
detector, which is this section right here and we’re going to listen around for where
the Ss are in this vocalist’s vocal, and I am going to loop a section with a lot of
Ss in it so it’s a little bit more obvious. I’m actually going to solo it as well. See that’s static. There it is. Right around there. So, the next thing I am going to do I want
to turn my monitor back to the regular vocal. And first off we’re going to put the suppressor
at the same place. Now, the detector is just basically finding
the frequency that’s a problem. The suppressor is what’s actually compressing
that little section of the frequency spectrum. So, we’re going to want to turn the sensitivity
up a little bit. We’re specifically wanting the activity
light to light up only on Ss and nothing else. So, I’m going to adjust the sensitivity
until that’s the only time it’s lighting up. You saw light up right there. Okay, yeah that’s pretty good. Let’s change the strength. It’s a little too harsh for me. So, I’m going to say let’s just take it
down to six. That’s better for me. It’s a little bit more natural. Let’s listen in context. Perfect. You’ll hear all those sibilants have all
gotten lower just to a regular level. So, the next step is step four, which is compression. So, most people when they record and mix vocals
they’re going to use some kind of compression in order to make the vocal more consistent
dynamically. We actually talked about that earlier with
gain automation. Most people will use a single compressor. I actually don’t do this. I use two, sometimes even three, sometimes
even four compressors on my vocals. That’s because I use a system called serial
compression. And this is a big secret of pros. A lot of pros do this and it really helps
a vocal sound natural while still getting a lot of gain reduction. So, serial compression the reason you do this
is that whenever you have a single compressor and let’s say you’re compressing five
or 10 or even 15 dBs of gain reduction that’s a lot of compression and you’re going to
hear it in the vocal. It’s going to be very obvious that it’s
been processed. That it sounds unnatural. That it sounds too harsh. It might even start distorting. But whenever you split up the compression
over a few different compressors all of a sudden it sounds a lot more natural. It sounds a lot more smooth. You’re still getting the same level of gain
reduction. You’re still getting that same dynamic consistency. But it’s not nearly as aggressive and harsh
as it would the other way around. So, there are actually two different kinds
of compressors that you’re going to use. The first is a dynamic compressor. So, a dynamic compressor is meant to compress
the attack. It’s not necessarily meant to change the
tone of the vocal. It’s just meant to control the dynamics
overall. So, what we’re going to do is we are going
to play the vocal and we’re going to listen and we’re going to have a fast-attach. We’re going to have pretty fast release
and just a little bit of gain reduction, not too much. So, let’s listen. Let’s start. The attack is pretty high. I’ll just slowly move down until I like
it. Make it more obvious for me. And like around there. Let’s make this ratio a little bit smaller. And we’ll turn that right down. Great! So, this is only supposed to have one, two,
maybe three dBs of compression. It’s supposed to be pretty light. It’s only meant to level the vocal out. It’s not meant to be aggressive especially
for this type of vocal. It’s a pop vocal but it’s still very intimate. It’s still very sweet. So, what I’m actually going to do and this
is something that’s specific to Logic Pro’s compressor plug-in, and I love it, is I’m
going to add just a hint of distortion. Wave distortion, it’s not really distortion
so to say as much as it is color. It’s saturation. It’s just adds like a little bit of niceness,
a little bit of sweetness to the vocal. Now, usually I’ll do this on my tonal compressor
but I am just feeling like doing it on here today. Let’s see what that sounds like. Yeah, I like that. I’m actually going to turn the makeup gain
down just a hair because adding distortion turns the volume up. Usually you’ll turn the makeup gain up to
compensate for the volume that you’re losing but with adding a little bit of distortion
we’ll turn it down just a bit. Moving on to our next compressor, which is
our tonal compressor. That’s the second compressor in the serial
compression concept. Now, the point of this is actually to change
the tone of the vocal. You’re wanting to not only level out the
vocal but you’re wanting to make the vocal just like sound a beefier, a little more consistent,
a little bit more powerful. I’m going to go and use one of Logic Pro’s
different emulations. These are all different emulations of classic
analog compressors that are pretty beloved. I’m going to use the Vintage Opto. Now, this is based off of the LA-2A compressor. It’s one of my favorite vocal compressors
in the world. I love it. I use Vintage Opto on a ton of my vocals. It’s very sweet, it’s very nice. And we’re going to try to get a slower attack. You know the last attack was really, really
fast. We’re going to try to get a little bit of
a slower one, and then I’m actually going to put the release on auto. And the auto button just means that the compressor
itself is measuring where to let go of the compressor, where to go back to zero. And for stuff like this where it’s more
meant to shape the tone I’m totally fine with that. I’m just going to let the compressor do
its thing. Let’s turn this up to about three and see
what this sounds like. Turn this up to make a little more obvious. This sounds pretty good. Let’s turn this way back down. Okay, so that’s sounding good. I kind of want a little bit more dynamic control
in this. So, I’m actually going to copy this – actually
first I’m going to need to add a little bit of a makeup gain. That would have been bad. Yeah just to make sure that it’s sounding
about… Perfect, about
the same volume. So, I’m going to just duplicate this. Here we go. I’m going to just duplicate it and I now
have two compressors that are exactly the same. I’m going to make sure that I’m getting
the same amount of gain reduction. A little bit more. Perfect. So, just listen to before and after. So, it’s sounding a little bit more dynamically
consistent. It’s sounding a little bit more thick. A little bit more powerful. So, let’s move onto the next step, which
is step five Tonal EQ. Now, this EQ is meant to improve the tone
of the vocal itself. It’s meant to change how the vocal sounds. The first EQ was meant to just take out the
gross stuff. This is meant to enhance the vocal. So, rather than using the Channel EQ, which
is just the digital EQ. It’s pretty cool. It’s pretty exact. We are actually going to use – let’s grab
this Vintage Tube EQ, we are going to use Logic’s Vintage EQ selection. Now, this is actually a cool new feature of
Logic that they put out in one of the recent updates. So, this particular Vintage EQ is based off
of the Puig Tech EQ, which is an EQ that is used in a ton of studios all over the world,
sounds amazing on vocals. I’m a big fan. We are going to go in make some wide boosts,
some slightly wider cuts, and really make sure that this vocalist is sounding good. First things first, I’m actually going to
give this a little bit of air. Let’s go to this. Now, what that means is that I’m going to
boost some of the top-end to just make it feel a little bit more shimmery. So, I’m going to go over to, let’s say
the, high boost and I’m going to turn that up really high. Make the bandwidth quite a bit wider and I’m
just going to sweep around up in the top-end of the frequency spectrum, and we are going
to see what sounds best. Obviously real harsh at first so we’re going
to turn it down. Sounds pretty good to me. You know this vocal feels like it could actually
use just a hint of low-end. So, I’m going to go to this low peak and
we’re going to boost that up to 10, same as before, and sweep around and see if this
could use a little something. Okay, you know I’m hearing a little bit
of harshness up there at the top, so I’m going to go in with my dip. I’m going to dip it all the way and I’m
just going to sweep around until I find something. That sounds pretty good. Good that takes that out and you know I’m
wanting just a little bit more presence. In the presence area of the frequency spectrum
is kind of one 1 kilohertz to roughly 6 kilohertz, so I’m going to use this high frequency,
right here, it’s high peak. Same thing boost it up to 10, sweep around
and see if we could find something interesting. That sound pretty good. Great! So, this is sounding pretty good to me. So, let’s listen before. And after. Let’s just boost this up a little bit. So, that’s sounding a little bit more balanced,
a little bit more enhanced to me. So, I’m going to move on from there to step
six, which is saturation. This is another one of those optional see
if it works for you kind of things. Everything from here on out is actually going
to be on a send. So, let’s go over here I’ve actually got
them pre-made and first of let’s talk about what saturation is because there is a big
amount of confusion around the difference between distortion, saturation, overdrive
and you know I could spend an hour talking about this. But the main difference is that distortion
is usually digital, it usually is a lot harsher, it’s a lot more aggressive. Saturation is usually pretty soft. Usually it’s meant to fatten, it’s meant
to thicken. Saturation is what comes from using old analog
equipment like these old compressors or old EQs you know whenever you put a lot of gain
through those old compressor or those old EQs that would cause them to overload their
systems, and it would usually give like a nice musical effect. So, we’re going to actually try to replicate
that effect. Now, Logic has not for a very long time has
not had a great saturation system like a saturation plug-in. They’ve had great distortion not great saturation. So, they’ve actually just now created Phat
FX. It’s not usually used for vocals. It’s used for other things, but the distortion
section which has some saturation is fantastic. I love it. It’s really simple. You don’t get as much control as I would
like but it sounds great. So, we’re going to use that. Now first things first, you’re going to
want to go and just turn everything off. You don’t really need anything but the distortion
section and also make sure it’s on that’s important. Now, I’m going to turn this all the way
up. I’m going to make sure that I am sending
all of my level that I need to the ‘send’ because we want to make sure that this is
mixed in parallel. We don’t want it to be on the track itself. We want to be able to mix it in subtly once
we get the tone that we like. So, let’s see what this soft saturation
sounds like. It’s not really aggressive. It’s honestly pretty subtle, but it just
thickens it up nicely. You obviously don’t need a 100%, you could
go back. That sounds good to me. Now, I also like the exciter distortion in
here. Exciters are usually happening on more of
the top-end of the sound source that you’re using. Saturation tends to be more in kind of the
lows, the low-mids, the mids. Exciter is more on the top-end. So, let’s see what that sounds like. So, that’s sounding pretty good to me. It’s given it some low-mids, thickness. It’s giving it some good high-end brightness. Now, I obviously do not want this to be all
the way up, it’s very loud. So, we’re going to turn that down and what
we’re going to do is we’re going to subtly mix it in and once it sounds good to my ears
I’m going to take it back just a hair. Yeah, nice and subtle like that. Great! That sounds good to my ears. So, you can see I’m not really putting that
much in it all just a little bit, but it’s adding just a nice, again a nice thickness,
a nice brightness. All of the processing you are doing on the
vocals is honestly subtle. It’s the fact that you’re doing so many
small things together that really makes it sound good. That really makes it sound like a radio-ready
vocal. So, let’s move on to the next step, which
is step seven and that’s going to be our stereo slapback delay. Now, this is actually a pretty good trick
for doing pop vocals, for doing rock vocals, for doing any kind of vocal that you want
to be really close to the listener. You don’t necessarily want it to be really
pushed back in the mix. You want it to be right up front, right on
top, sitting on top of the mix. Now, what this is, and again I’m going to
make sure that I’ve got that all the way up, a stereo slapback is just a very, very
fast delay that happens at different times in the left channel and the right channel. So, you know regular slapback is just a single
slapback. It’ll be like dah, dah very, very quick. Stereo slapback is more like dah, dah, dah
but you are going to mix it in so quietly it’s just going to add a nice sense of space
around the vocal, so that doesn’t stick out quite so much. So, right now I’m going to actually turn
these up. It’s going to sound pretty strange for a
bit and we’re going to see what that sounds like. Very weird as you could tell. That’s good. So, usually I time my delays to the actual
BPM of the track. So, right now because this is just an example,
I am not going to do that but this sounding pretty good to my ears. Usually with a stereo slapback delay you’re
going to be doing somewhere between 50 milliseconds and 150 milliseconds maybe even 200 milliseconds
and you’re going to have the left delay and the right delay be somewhere between 20
and 50 milliseconds apart from each other. So, you can see I’ve got 28 milliseconds. Now, I’m going to have just a little bit
of feedback. You really don’t want more than 10% honestly
I want to decrease that. You could even have 0%. I like having just a little bit because it
smooths it out. You can also take out some of the lows to
help it mix in, so like that and take out some of the highs to help it mix in as well. Great! So, let’s play this mix it in quietly. That’s sounds good to me. So, again the point isn’t to hear it audibly. The point is for the listener to be able to
listen to it and say oh there is a slapback delay on that. The point is just to give it a sense of space
to make it feel like it’s in the space as everything else. So, as simple as that. Let’s move on. So, the next step is optional again, and that
is reverb. So, if you are mixing a song that’s a little
bit more natural or a little bit more vibey let’s say you might absolutely want reverb. Again your jazz, your folk, your classical
vocal reverb is making a huge comeback in indie even pop and rock often times uses reverbs. The big problem with reverb on vocals is that
it pushes the vocals back in the mix. Now, it doesn’t necessarily have to push
it back horribly but usually it creates a sense of space a little bit too obvious to
the ear. Now, for these vocals in particular I actually
want some reverb like it’s sounding just a hair too dry to me. No, I’m actually using Stems from a mix
I did a few years back. So, the first thing I’m going to do is add
just the room reverb that I used on the entire mix. This is a whole different concept that I can
get into in another video, but just for the sake of keeping it consistent with my mix
I’m going to add that. Now, that’s already all mixed in I don’t
need to do much of anything. So, let’s add an actually vocal reverb. Now, the vocal reverb that I wanted to use
and I am using the space designer plug-in, I’m going to create a reverb that is fairly
long but it’s also pretty quiet. It’s only there just to add like I said,
just a little bit of vibe, just a little bit of texture to the vocal. So, right now this is the reverb that I’ve
created before the video. I’ll turn it up so it’s more obvious. So, let’s go over what I’ve done. First of I’ve added a little bit of a pre-delay
and I’ve actually timed it to the BPM of the song. Let’s see what this is. Yeah, roughly the 47. So, pre-delay basically starts the reverb
a little bit after a piece of audio actually goes into the system rather than the reverb
starting right when the vocal start and that actually is very, very good if you’re trying
to separate your vocal from your reverb. If you’re trying to keep your vocal a little
bit farther in the front of the mix. So, I’ll usually do somewhere between 25
to 75 milliseconds, but again timing it to your BPM is fantastic and luckily Logic actually
as a button to do just that. So, for the length, this is just the length
that felt good to me. I actually moved it forward, I moved it back. I really tried to find where it fits best
inside of the mix and to me 2 seconds was perfect, and that was really all I did for
this particular reverb. I also have picked a vocal plate. Now, there are lots of different types of
reverbs. In Logic specifically there is rooms, there
is halls, there is plate reverbs, spring reverbs, there’s even just extra random spaces that
they’ve sampled. So, plate reverbs are these big plates that
studios used to have where you would basically run your sound through them and they’d vibrate
and they’d have a little pickup that would pick up the vibrations of that plate and they
would use that as the reverb. This is before digital reverb ever existed. For whatever reason plate reverb just sound
really, really good on vocals. You can try out all the different kinds of
reverbs that you want. They are all going to have a different tone
for me my favorite especially for this kind of sweet pop vocal I love, love plate reverbs. So, this is the reverb that I went with. Let’s just do it again. Now let’s mix it and very subtly. Right about there, perfect. So, right now the vocal has got a nice sense
of space. It’s feeling like it’s fitting in with
the mix. It’s more dynamically consistent. It’s more tonally consistent. We are almost done. One of the last steps, again this is optional,
I love doing it on my vocals, is actually adding just a little bit of modulation to
give it a little bit more vibe, to give it a little bit more of a stereo presence. And specifically when I say modulation this
could mean a lot of different things. It could mean phasing. It could mean flanging. It could mean using some weird effects that
you’ve created on your own or you’ve gotten from different companies. I’m going to use chorus. Chorus is kind of the classic effect and it’s
great. Again, it’s really, really great to mix
it in subtly. Now, the chorus plug-in that I love is Ensemble
from Logic. They’ve got two different chorus plug-ins. The other one is lot more simpler but I just
think this one sounds better and I love using the doubler preset. It’s really simple. It’s literally just the random line set
at a 2.7 hertz, 39% intensity. You want to make sure that your output mix
is all the way that’s because we’re mixing this in parallel. It’s not going directly on the channel itself. We’re making sure that it’s just going
to be in really, really quiet, ever so quietly in there just to spread the vocal out a little
bit. And let’s just listen to what this sounds
like. So, pretty weird, right? But when you mix it in quietly it’s really
good. Let’s listen. Just like that, so simple. Now, as I said, we’re almost done. We’ve pretty much mixed this. We’ve gone through and we’ve done our
EQs, we’ve done our de-essing, we’ve done our compression, we’ve added our space,
we’ve added our saturation, we’ve even added a little bit of modulation. Now, the last step for vocals is our volume
automation really, really simple. You’re just wanting to turn up any words
that are getting lost in the mix and turn down any words that are sticking out of the
mix. So, in order to do that we’re going to going
to want to open up our automation lane. I do this by pressing ‘a’ on the keyboard
and you could see already that volume has been set for you. So, I’m going to go in you know I could
turn this up…or I could turn it down…really, really quietly. Now, there is actually a better way to do
automation – I want to just get rid of this, there is a better way to do automation and
that’s with your Marquee tool. Right here you can see I have it selected. If you hold down ‘command’ you can see
how my pointer is changing to this little cross. If you hold down the Marquee tool you can
actually select one particular region and if you click it after taking the command key
off it creates a little piece of automation just for that section. That means you don’t have to draw in your
automation like I just did like this for every single word you’re wanting to turn up and
down. It’s a huge time saver. I’d absolutely recommend using that. So, let’s listen through and see if there
are any words that are sticking out. I’d actually say no. It’s just a little bit too quiet, so we’re
going to just turn it up like that. Let’s see what that sounds like. Now, I’d also say that the umms right here
that’s a little too quiet and all of it is a little too quiet. Let’s see what this sounds like. Same thing here. This is just a little bit too quiet. That’s a little bit too quiet. So, you’re kind of starting to get the picture. Luckily this song is fairly repetitive but
a lot of it’s not going to be the exact same automations on every single stanza or
every single line. You know it’s going to be some words are
sticking out some words are a little bit too quiet. This is really nitpicky. You’re going to need to go through and make
sure that you’re grabbing every single little thing. This might seem unnecessary to you. This is the final step that all people who
get on the radio all of their engineers do. It’s really just to make sure it’s fitting
in the pocket. It’s really making sure that there’s not
anything that’s sticking out. All of the compression you’ve done, all
of the gain automation you’ve already done. You’ve gotten it to where all you have to
do is 1 dB moves here, 1 dB moves there nothing really too drastic at all. If you hadn’t done any of that compression
you’d be moving these things up a lot larger. But that’s really it. We’ve gone through not that many steps. It’s something that you can do really quickly
and the more you do it the easier it becomes. It becomes muscle memory. So, just to go through again what we did;
gain automation, Surgical EQ, we used our de-esser, serial compression, so we used a
dynamic compressor first and then a tonal compressor. Tonal EQ, saturation, send, stereo slapback
delay, we added just a little bit of reverb, chorus effect, and we added just a little
bit of volume automation. So, let’s try this again. Let’s see what this sounded like unmixed. Now, let’s see what it sounded like mixed. And
that is it. If you follow these steps you’ll be able
to create radio-ready vocals just like you hear out in the world. You’ll be able to make your songs sound
like the stuff you hear on the radio. So, I want to know what’s been the most
challenging thing for you in your vocal processing? Has it been compression, has it been EQ? Let me know in the comments below. Also, don’t forget to download the free
vocal mixing cheat sheet. It’s got even more tips to make your vocals
sound like the pro’s. Click the link in the description below to
grab it. And if you’re new here don’t forget to
subscribe and hit that notification bell. That’s all from me. This has been Dylan with Musician on a Mission
and remember Create Regardless!

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100 thoughts on “Vocal Production in Logic Pro X”

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