Post processing for screaming vocals?

[markgov]

Hey guys. Just been wondering how you guys go about processing scream vocals? I am currently using either an sm57 or an sm58 for both cleans and scream vox. I find that the cleans turn out fine after some processing, the only issue I have with my cleans is that they sort of sound maybe a bit darker than they should be and could even benefit from a bit more depth.

Now with my scream vox tracks, I am dealing two vocalists that usually scream more in the mid to high range and I feel that post processing I want to low pass filter them a bit to get rid of the high end harshness.

My signal chain is either sm57/58 > Rme fireface 400 > Cubase
I usually try and put the preamp gain on the rme to about -25db (a bit of headroom before it starts clipping)

Anyways, just wondering what you guys usually do for processing vox clean and dist.?

Also, would it make that big of a difference if I was to upgrade my vocal mike to an Sm7b?

Thanks, Mark

 

[markgov]

anyone?

 

[Plant]

My usual chain for extreme vocals: eq (depends on vocals) and 1176-styled compressor (push it hard, with fast attack and release).
Sometimes add a bit saturation after compression.

And some words about mics:
sm7 sounds thicker and a little softer than sm57. And it has more lows.
Some history: blog.shure.com/shure-notes/sm57-on-steroids-the-shure-sm7-b-story/

 

[AntonioPetrole]

used staged compression on these kinda of vocals and hit them hard. If you are using excessive EQ then look at the 3.5khz range on your guitars and cymbals. Those are common trouble areas for vocal mixing

 

[TheDepthsWillRise]

I'd go for a SM7B all day long, and use it on damn near everything in the room lol. EQ and compression always vary a good bit for me depending on the vocalist and the performance, so I'd be hesitant to suggest anything to specific. However, for screaming, the SoundToys Decapitator always finds its way onto the chain. It has a killer pair of passes, a very musical "tone" knob, and the drive can go from subtle to face melting.

 

[sear]

Flatten with compression to the point where you start to get distortion, but not too far. Makes the vocal sound much more present in the mix. Beyond that I use a heavy amount of EQ, usually taking off everything below 150-200 hz and giving a 6ish dB bump around 1-10 khz depending on the song and performance. PSP Vintage Warmer or another tape saturator can really warm up a vocal too. Higher-pitched vocals tend to sit pretty well without too much work.

I never use an SM57 on vocals, or I should say on my own vocals. Sounds completely flat, muffled and kills the high end detail you need to stand out in a mix. Even a bargain-basement condenser is better.

 

[Batsinthebelltower]

Agree with the above, Loads of compression , keep it all the same dynamic volume. When i record growl vocals , sometimes i will do "buildup growl" takes seperately after ive laid the initial vocal , kindof like "ggggrrrRRRR - VOCAL" it makes it sound more epic and aggressive. It is also good to layer up the vocal takes on the one track for a thicker sound. Keep it all panned centre

For effects i use MADSHIFTA vst , which is good for lowering the pitch. Even when you dont want very deep growls , its cool to have a second track of your vocal take, with this pitch reduced effect on it, at low volume. It adds depth to the sound without creating extra bass frequencies keeping it tidy

OHMICIDE distortion is a great plugin too , and will add all manner of savagery to your vocals , i think this is one NORTHER have used on their vocals

rock on !!

 

[markgov]

Hmm ok another thing i was wonderingis do yiu guys think my interface has a goodenough preamp? Its an rme firefac 400

 

[Plant]

Rme's pres are good enough. Clean and transparent.