Processing a vocal from a raw recording to something that sits beautifully in a mix involves a specific chain of decisions. Skip steps or apply them in the wrong order and the vocal sounds either processed or buried. This guide walks through the complete process.
Step 1: Editing Before Processing
Before touching any plugin, edit the raw vocal in the Playlist:
• Remove silence and breaths: Use the Slice Tool to cut out between phrases. Remove noisy breaths unless they contribute to the performance.
• Tighten timing: If a note is slightly early or late, use clip properties to nudge the clip position.
• Comp multiple takes: If you recorded multiple takes, assemble the best phrases from each onto a single track.
Editing problems cannot be fixed by processing. Plugins applied to poorly edited material amplify the problems, not the performance.
Step 2: Pitch Correction
If the vocal needs pitch correction, apply it before other processing. FL Studio's NewTone plugin (available in Producer and Signature editions) provides a visual pitch editor where you can see and adjust the pitch contour of each note.
For subtle correction: move notes to their target pitch while preserving the natural pitch movement (vibrato, slides). Fully quantising pitch to perfect intervals sounds robotic on emotional performances.
Third-party options like Celemony Melodyne (if you have it) offer the most detailed pitch editing. Antares Auto-Tune in transparent mode applies real-time correction without the obvious effect.
Step 3: High-Pass Filter
Every vocal should begin its effects chain with a high-pass filter. Set it at 80–100 Hz, steeper roll-off. This removes:
• Low-frequency room noise
• Handling noise from the microphone
• Subharmonics that interfere with the bass in your mix
You are not filtering out anything a listener should hear. A vocal has no meaningful content below 80 Hz.
Step 4: EQ
After high-pass, apply tonal EQ to shape the vocal's character:
• 200–500 Hz (mud reduction): Listen for boxy, nasal, or muddy tones. A narrow cut of 2–4 dB in this range often makes the vocal sound immediately cleaner.
• 1–3 kHz (presence): A gentle boost here adds intelligibility and cuts through the mix.
• 5–8 kHz (brightness/air): A shelf boost adds clarity and polish. Be careful — too much creates harshness.
EQ the vocal with the full mix playing. A vocal EQ'd in isolation may not sit correctly in context.
Step 5: Compression
Compression controls the dynamic range of the vocal — making quiet moments louder relative to loud moments, so the vocal stays consistently audible in the mix.
Starting settings for vocals:
• Ratio: 3:1 to 4:1
• Attack: 10–20ms (fast enough to catch peaks, slow enough to preserve the initial transient)
• Release: Auto or 80–150ms
• Threshold: Aim for 4–6 dB of gain reduction on average
After compression, you may want a second, lighter compressor (serial compression) — the first handles large dynamic swings, the second adds subtle sustain and cohesion.
Step 6: De-essing
Sibilant consonants (S, Sh, T, Ch) often become harsh after compression, because compression treats them like loud peaks and amplifies them relative to everything else.
A de-esser is a frequency-specific compressor targeting the 5–10 kHz range. When sibilance peaks in that range, the de-esser reduces only those frequencies. Apply it after compression.
In FL Studio, Fruity Peak Controller targeting the mixer EQ's high frequency band can approximate de-essing. Third-party de-essers (iZotope, FabFilter Pro-DS) are more precise if you have them.
Step 7: Reverb and Delay
Reverb places the vocal in a space. Delay adds rhythmic depth and excitement.
Reverb: Use a send track. A short room reverb at 15–20% wet gives presence without making the vocal sound distant. A longer hall or plate at lower wet levels (5–10%) adds depth for emotional sections.
Delay: A slapback delay (single repeat, 80–120ms) adds dimension without washing out the vocal. A quarter-note delay (tempo-synced) works for melodic, rhythmic sections.
EQ the reverb return — high-pass at 200 Hz, gentle high-frequency roll-off — so reverb does not accumulate mud and harshness.
The Final Check
Bounce the vocal with all processing and listen on headphones, laptop speakers, and at low volume. The processed vocal should:
• Be consistently audible throughout the track
• Sound like it is in the same room as the other elements
• Not call attention to its own processing (unless intentional)
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