How to mix vocals: Essential Techniques for A Perfect Fit

Audio production is a fiercely competetive field. And the ability to mix vocals that seamlessly blend with your track is what separates professional-sounding releases from amateur efforts.

In this post, I’ll guide you on how to mix vocals using techniques that I’ve learned in my 10-year production career that will guide you on how to mix vocals that not only sit well in your mix but perfectly fit the sonic landscape of your track, enhancing its overall quality and listener appeal.

From foundational concepts like EQ and compression to advanced techniques such as multi-band processing and creative effects, we’ll explore everything you need to elevate your vocal mixes to new heights.

You can check out my ultimate vocal production guide to see how mixing fits into the bigger picture of vocal production. And, you can also find some of my favorite mixing tools in my rundown of the best vocal production gear.

TLDR: How to mix Vocals

Laying the Foundation: Preparing and EQing Vocals

Let’s dive into laying that solid foundation for your vocals. You don’t want to skip this part.

First up: proper vocal recording techniques. If you do this step right, you’ll set up the rest of the process for success. And while a lot of recording mistakes are fixable, you want to save yourself the hassle and get it right from the get-go.

Here’s a quick comparison of what to do vs. what not to do:

Do’s	Dont’s
Use a decent mic	Rely on your laptop’s built-in mic
Find a quiet space	Record in a noisy room
Use a pop filter	Ignore plosives and sibilance

It’s amazing how these simple steps can make your life so much easier down the line.

Now, once you’ve got your vocals recorded, it’s time to clean house. Organize your tracks, label them clearly, (Use colors! Clients love colorful sessions), and do some basic clean-up.

Your future self will thank you when you’re not hunting for that perfect line in a sea of unnamed clips at 2 AM.

Let’s talk EQ. It’s not about boosting everything; it’s about surgical precision.

Here’s a quick reference table I use for EQ decisions:

Frequency Range	Effect	Potential Issues
100-250 Hz	Fullness	Muddiness
250-500 Hz	Boominess	Boxiness
2-4 kHz	Presence	Harshness
5-8 kHz	Sibilance	Lisping
10-15 kHz	Air and Brightness	Excessive Hiss

A good trick: use a narrow boost and sweep through the frequencies. When you hit a nasty spot, cut it out. 

Sometimes, you gotta give your vocals a little love in the right places, but don’t go overboard – too much air and your vocalist will sound like they’re singing from Mount Everest.

Pro tip: subtractive EQ is your best friend. Instead of boosting frequencies in your vocals, try cutting those same frequencies in other instruments. 

It’s like carving out a cozy little sonic home for your vocals.

Lastly, create a reference mix. Having a well-balanced rough mix to compare against can save you hours of second-guessing and help nail that vocal placement.

Remember, this foundational stage is crucial. Get it right, and the rest of your mix will fall into place so much easier. 

So take your time, trust your ears, and don’t be afraid to experiment.

Your Vocal Mixing Toolkit

While mastering techniques is essential, having the right tools can significantly enhance your workflow.

Popular software options like iZotope Nectar 3, Waves Vocal Rider, and FabFilter Pro-Q 3 offer powerful features specifically designed for vocal mixing.

Each of these tools provides unique capabilities that can help you achieve professional-quality results more efficiently.

Here are few popular options you can start experimenting with:

iZotope Nectar 4

A comprehensive vocal processing suite with modules for EQ, compression, de-essing, and more. It offers intelligent assistance to help achieve professional-sounding vocals quickly.

Waves Vocal Bundle

Another great bundle option combining all main plugins you will need for vocal mixing.

FabFilter Pro-Q 3

A highly flexible and intuitive equalizer with dynamic EQ capabilities, perfect for precise vocal shaping and problem-solving.

Dynamics and Depth: Mastering Compression and Effects

Let’s dive into the world of dynamics and depth. 

This is where the real magic happens – where we take those clean, EQ’d vocals and turn them into larger-than-life performances. First up, compression!

Compression

As someone who is heavily engaged in music education, I regularly find that compression is one of the least understood parameters of mixing.

So let’s take it step by step.

Here’s a quick rundown of compression parameters:

1. Threshold: Where the compression kicks in

2. Ratio: How much compression is applied

3. Attack: How quickly the compressor reacts

4. Release: How quickly it lets go

Think of it like this: you’re a bouncer at a club (the compressor), and the loud parts of the vocal are rowdy patrons.

The threshold is when you step in, the ratio is how firmly you deal with them, attack is how quickly you react, and release is how long you keep an eye on them after they calm down.

Now, let’s explore two powerful techniques: multi-band compression and parallel compression.

Multi-band Compression: The Frequency Bouncer

Think of this as having multiple compressors, each working on a different frequency range of your vocals.

Why it’s great:

• Control specific frequency ranges without affecting others
• Tame harsh mids or boomy lows independently

Quick guide:

1. Set up 3 bands: low (50-250 Hz), mid (250-2000 Hz), high (2000-20000 Hz)

2. Start with gentle settings (2:1 ratio, light threshold)

3. Adjust each band to address specific issues (boominess, harshness, sibilance)

4. Use makeup gain to balance the bands

Example: Tame sharp high notes without losing energy in lower frequencies.

Parallel Compression: The Clone Technique

This involves blending a heavily compressed copy with your original vocal.

Benefits:

• Adds punch without losing natural dynamics
• Brings out quiet details
• Improves vocal consistency

Quick guide:

1. Duplicate your vocal track

2. Apply heavy compression to the duplicate (low threshold, high ratio)

3. Blend the compressed track with the original

Example: In a ballad, bring out breathy verse details without over-compressing the powerful chorus.

Pro tip: Try combining both techniques for even more control over your vocal sound.

Remember, start subtle and trust your ears. These tools are powerful, so a little goes a long way!

Effects

Moving on to effects – this is where we add that sparkle and shine.

But remember, with great power comes great responsibility. I’ve definitely been guilty of drowning my vocals in reverb like I was mixing for Enya. Not a good look (or sound).

Reverb: Creating the Atmosphere

Reverb simulates the sound of a voice in a physical space. It’s like adding a sonic environment to your vocals. When used well, reverb can:

1. Add depth to your mix
2. Create a sense of distance or closeness
3. Glue different elements of your song together
4. Enhance the emotional impact of the vocals

The key to great reverb is subtlety. Too much can make vocals sound distant or muddy. Start with a small amount and increase gradually until the vocal sits nicely in your imaginary space.

Pro tip: Try using pre-delay (a short delay before the reverb starts) to maintain clarity. This keeps the initial vocal sound clear while still adding space.

Remember, different reverb types suit different genres and moods. Experiment with room sizes, decay times, and wet/dry mix to find what works best for your track.

Here’s a quick comparison of reverb types:

Reverb Type	Character	Best Used For
Room	Intimate	Close-up vocals
Hall	Spacious	Ballads, epic choruses
Plate	Smooth	Vintage vibes
Spring	Bouncy	Rock, blues

Delay: Adding Depth and Space

Delay is like an echo effect for your vocals. It can add width, depth, and excitement to your mix. Here are two main ways to use it:

Slapback Delay:

• This is a very short delay (usually 60-120 milliseconds).
• It adds thickness and width to vocals without sounding obviously “delayed”.
• Try panning the delayed signal slightly left or right for extra width.
• Great for rock, pop, and country vocals.

Tempo-Synced Delay:

• This delay is timed to the rhythm of your song.
• Use longer delays (quarter notes, eighth notes) for dramatic effects.
• Perfect for creating those big, spacious moments in ballads or stadium rock.

Pro Tip – Panned Delays:

• Instead of center delays, try using two delays panned left and right.
• Set different delay times for each side (e.g., 1/4 note left, 1/8 note right).
• This creates a wider, more immersive vocal sound.
• Adjust the feedback and volume to taste – less for subtle width, more for obvious echoes.

Remember, with delay, a little often goes a long way. Start subtle and increase until it enhances the vocal without overpowering it.

Saturation and Distortion: Add Character to your vocals

Think of saturation and distortion as seasoning for your vocals. Used sparingly, they can add flavor and character. Overdo it, and you might ruin the dish!

Saturation

• Adds subtle harmonic content to your vocals
• Creates warmth and fullness
• Can help vocals cut through a busy mix
• Start with gentle tube or tape saturation plugins
• Try it on specific frequency ranges (e.g., add warmth to low-mids)

Distortion

• More aggressive than saturation
• Can add grit, edge, or aggression to vocals
• Great for rock, metal, or edgy pop vocals
• Experiment with different types (tube, fuzz, bit-crushing)
• Consider using it as a parallel effect for more control

Tips for using both:

1. Start subtle: Use low mix levels or drive settings
2. Listen for harshness: Back off if you hear unpleasant frequencies
3. Try different placements in your signal chain
4. Use in conjunction with EQ to shape the distorted sound
5. Consider automating the effect for specific vocal parts

Remember, the goal is to enhance the vocal, not obscure it. A touch of saturation or distortion can make vocals more exciting and help them stand out in the mix. But always serve the song – sometimes a clean, pure vocal is exactly what you need!

A/B Testing

The key to all of this? Balance. It’s like cooking – you want to enhance the flavors, not overpower them. I always keep a clean version of my vocals on hand to do some A/B testing. If I can’t understand the lyrics anymore, I know I’ve gone too far.

You also want to change one variable at a time. Like a scientist, you want to have full control and monitoring of what causes what. 

So don’t try changing two different parameters at the same time.

Remember, these tools are here to serve the song, not the other way around. Don’t be afraid to experiment, but always ask yourself: “Is this making the vocal better, or just different?” 

One mistake that I’ve always fallen into as a rising producer is that I felt an obligation to add at least one of each type of effect. It felt like I was doing something wrong if I skipped something.

But that is part of the maturity we gain, you can say “no”. If you like the sound, then you don’t need to add more. 

But if you’re still learning, it’s to want to try everything at first. Bit by bit, you’ll develop your unique sound and process. 

Integration and Balance: Fitting Vocals in the Mix

I want to specifically help you find the right relationship between vocals and the rest of the track. 

Nothing is more frustrating to me than having two great mixes, music and vocals, that sound amazing separately, but horrible and muddy when put together!

So let me share with you some of the lessons I’ve learned over the years to solve this very common problem.

Carving space for your vocals

First up, creating space in the mix. I used to think the solution was just to crank up the vocal fader. Spoiler alert: it wasn’t. Here’s a trick I learned:

1. Identify the frequency range where your vocals shine (usually around 2-5 kHz)

2. Make subtle cuts in that range on competing instruments

3. Voila! Your vocals now have a cozy little home in the mix

It’s like carving out a vocal-shaped hole in your track. Trust me, it works wonders.

Sidechaining

Now, let’s talk about sidechaining. This technique is like having a polite conversation at a party – when the vocals speak, everything else quiets down a bit. Here’s a simple setup:

Source	Destination	Amount	Attack	Release
Vocals	Instruments	2-3 dB	5-10 ms	50-100 ms

Start subtle and adjust to taste. It’s amazing how this can clear up vocal intelligibility without sounding obvious.

Automation

Automation is your secret weapon for dynamic vocal presence. I like to think of it as conducting an orchestra – sometimes you want the strings (vocals) to swell, and other times you want them to blend into the background. 

You will need to move that fader and tweak those effects throughout the song.

In my course, 10 Day Singer-Producer, I teach you how to automate not just volume, but also effects and EQ. That is how you give character to an otherwise monotonous track.

Panning

You want to think of your vocals and harmony like a renaissance painting. One of my favorite ones is the school of Athens by Raphael.

As you can see, you have a lead (in this case two individuals, Aristotle and Plato), they get the attention and focus even though there as so many other persons and details in this painting. 

This is how I like to think of vocals and harmonies.

Here’s my go-to approach:

• Lead vocal: Center, full presence 
• Main harmony: Slightly panned, touch of reverb
• Wide harmonies: Hard panned, more reverb
• Ambient layers: Extreme panning, lots of effects

Processing-wise, I tend to go easier on the background vocals. They don’t need as much presence as the lead, so I’ll often back off on the compression and EQ. A touch more reverb can help them sit back in the mix too.

Balancing Vocals with Instruments

Finally, balancing vocals with other instruments is the ultimate juggling act. Here’s a priority list I use:

1. Vocals

2. Drums (especially kick and snare)

3. Bass

4. Main melodic elements (guitar, synth, etc.)

5. Supporting elements

Remember, this isn’t set in stone. A guitar-driven rock track might prioritize elements differently than a pop ballad.

Pro tip: Use pink noise as a reference. Set it to the same RMS level as your mix, then balance your elements against it. It’s like having training wheels for your ears!

Pink noise has equal energy per octave, providing a neutral reference point. Adjust each track so you can just barely hear it over the pink noise – this helps achieve a balanced mix across all frequencies.

And if all else fails, remember: there’s always the mute button. (Just kidding… mostly.)

Polishing and Perfecting: Advanced Techniques and Final Touches

Alright, creators of sound, we’re in the home stretch now! It’s time to put the finishing touches on our vocal mix and really make it shine. 

This is where we separate the pros from the amateurs.

First up, let’s talk about some advanced processing techniques. 

De-essing

As my former-dentist-turned-partner Jow says, de-essing is like dental work for your vocals. Your S’s are affected by the relationship of your front teeth (central incisors). The tighter the space the sharper the S!

I remember the first time I used a de-esser, I went way overboard and my singer sounded like she had a lisp. Not cool. 

Here’s a quick guide:

Frequency Range	Sibilance Type
5-8 kHz	Standard
8-10 kHz	Whistling
10-12 kHz	Air/Breath

Start gentle and increase until those S’s smooth out. Remember, we want natural, not robotic.

Pitch Correction

Now, pitch correction. It’s a touchy subject, I know.

But used tastefully, it can be a lifesaver. The key word here is ‘tastefully’. I like to think of it as makeup for the vocals – enhance, don’t mask. 

Here’s how to use it tastefully in Melodyne:

1. Start Gentle: Use a low “pitch drift” setting (Melodyne’s version of retune speed). This allows some natural variation in the voice.

2. Be Selective: Don’t correct every note. Focus on the ones that stand out as off-key.

3. Preserve Emotion: Look at Melodyne’s pitch curve. Those little wobbles often carry emotion. Don’t flatten them completely.

4. Handle Transitions: Pay attention to how notes connect. Melodyne lets you adjust the transitions between notes to keep them smooth and natural.

5. Use the Scissors: For long notes that drift off-pitch, try cutting the note and only correcting the part that needs it.

Remember, the goal is to enhance the vocal performance subtly. If listeners can’t tell you’ve used pitch correction, you’ve done it right!

Vocal Doubling and Layering

Think of your vocals like a painting. The main vocal is your primary color, and layers add shades and textures. Here’s a breakdown:

1. Main Vocal:
   • This is your lead, front and center.
   • Keep it clear and present in the mix.
2. Tight Double:
   • Record an identical take or copy the main vocal.
   • Pan it slightly left or right (10-20%).
   • Nudge it a few milliseconds off the main vocal for width.
   • Tip: Lower its volume so it supports without overpowering.
3. Wide Harmonies:
   • Record actual harmonies or use pitch-shifting plugins.
   • Pan these wider (30-100% left and right).
   • Use different EQ settings than the main vocal to create space.
   • Example: For a three-part harmony, pan one left, one center, one right.
4. Effect Layers:
   • Get creative! Try whispers, shouts, or vocoder effects.
   • Use extreme processing: heavy distortion, pitch-shifting, or reverb.
   • Pan these wide and keep them low in the mix for subtle texture.
   • Tip: Try singing through a paper tube for a unique effect layer.

Remember, balance is key. Start with your main vocal, then gradually add layers, constantly checking how they sit in the full mix. The goal is depth and interest, not a muddy vocal soup!

Finalizing Your Mix

When it comes to finalizing your mix, reference tracks are your best friend. 

I used to be too proud to use them, thinking my mix should stand on its own. Big mistake. A good reference track is like a map when you’re lost in the woods of your own mix.

Try Different monitoring systems

One of the most frustrating realities about music and vocal production is that people will listen to our mixes on less than optimum monitoring systems (i.e. cheap speakers).

We spend so much money to get the most accurate headphones or speakers, but the hard fact is people will listen to your music on their phones, laptop speakers, car stereo, and at best case scenario, on some earphone.

So if you really want to understand how your audience perceives your music, you have to check your mix on different systems is crucial.

I’ve got a whole routine:

• Studio monitors
• Cheap earbuds
• Car stereo
• Phone speaker
• Laptop speakers

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If it sounds good on all of these, you’re golden.

Pitfalls To Avoid

Now, let’s talk about some common pitfalls:

1. Over-compression: Vocals need to breathe, let them!

2. Too much reverb: Unless you’re going for the ‘singing in a cave’ effect

3. Neglecting automation: Static mixes are so last century

4. Ignoring the low end: Don’t let those plosives ruin your mix

5. Focusing too much on solo’d tracks: It’s all about context

Maintaining objectivity is tough, especially when you’ve been listening to the same track for hours. 

Here are some tricks I use:

• Take frequent breaks: Fresh ears are happy ears
• Listen at low volumes: It’s amazing what you hear when you turn it down
• Try the ‘walk away’ test: If you can hear the vocals clearly from another room, they’re probably too loud
• Get feedback: A fresh perspective can work wonders

Remember, creators of sound, perfect is the enemy of good. 

There comes a point where you need to step back and say “It’s done”. Trust your instincts, and don’t be afraid to commit to your decisions.

And here’s my final piece of advice: have fun with it! We’re making music, not performing surgery. If it sounds good and feels right, then you’re doing it right. Now go forth and create some vocal magic!

Emerging AI Technologies in Vocal Mixing

As technology continues to advance, AI-powered tools are beginning to play a role in vocal mixing.

Platforms like LANDR AI Mastering can help balance vocals within a full mix, while open-source tools like Spleeter offer new possibilities for vocal isolation and remixing.

While these AI tools shouldn’t replace your skills and ear, they can be valuable additions to your mixing toolkit, offering new creative avenues and potentially speeding up certain aspects of the mixing process.

Here are some of the emerging AI-Powered Vocal Mixing Tools:

LANDR AI Mastering

While primarily for mastering, it can be used to balance vocals within a full mix. It uses AI to analyze and optimize your track’s overall sound, including vocal prominence.

Spleeter (by Deezer)

An open-source AI tool that can separate vocals from instrumental tracks, useful for remixing or isolating vocals for focused processing.

iZotope VocalSynth 2

While not entirely AI-powered, it uses intelligent algorithms to create vocal effects and harmonies, expanding creative possibilities in vocal production.

I am thoroughly interested in what AI can present. Many see it as a threat, but I see it as a great opportunity. Hopefully, this blog will help you get ahead of the curve.

Conclusion

Mastering vocal mixing is a journey that combines technical skill, creative intuition, and persistent practice.

By applying the techniques we’ve discussed – from precise EQ and thoughtful compression to creative effects and meticulous balancing – you’re now equipped to create vocal mixes that meet the high standards of modern music production.

Remember, great vocal mixing enhances the emotional connection between the artist and the listener.

Trust your ears, don’t fear experimentation, and keep refining your skills. With the knowledge from this guide and your growing experience, you’re well-positioned to craft vocal mixes that will resonate with listeners in 2025 and beyond.

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