How To Mix Vocals On A Premixed Beat?

This article will discuss how to mix vocals on a premixed beat. 

Premixed beats, also known as “type beats” or “beat leases,” are pre-produced instrumental tracks created by music producers for use by artists and performers. These beats are typically created in a specific style or genre, such as hip-hop, pop, or EDM, and are designed to provide a foundation for artists to write and record their lyrics over.

Premixed beats are often sold or leased to artists for use in their original compositions, either for commercial release or promotional purposes. The lease or sale terms can vary, but typically the artist pays a fee to the producer for the right to use the beat in their work, and the producer retains ownership of the underlying instrumental track.

Premixed beats are popular among independent artists and those just starting in the music industry. They provide an affordable and convenient way to access high-quality instrumental tracks without creating them from scratch. Now let’s get to the main topic of discussion.

How to mix Vocals on a premixed beat?

Producing vocals on a premixed beat involves gain staging both the beat and vocals, followed by level balancing, adding effects like auto-tune, EQ, compression, reverb, delay, etc., on the vocals. Further, you can also EQ the beat and create space in it. Finally, you can add mastering effects like a limiter.

Mixing vocals on a premixed beat is a common practice in the music industry, as it allows artists to create high-quality recordings with minimal equipment and resources.

This (image below) is how a session typically looks when you record a vocal over a beat. It’s always a good idea to arrange the vocals and organize your session by color-coding tracks, renaming them, etc., before starting the vocal mixing process.

The process involves taking a premixed beat, essentially a finished instrumental track, and layering recorded vocals over it. To achieve a balanced, cohesive sound, there are several key steps to follow when mixing vocals on a premixed beat:

• Import the beat

Import the premixed beat and vocals into a Digital Audio Workstation (DAW) software program. Most DAWs have a built-in mixer that allows you to adjust the levels of individual tracks and apply various effects and processing.

• Gain-staging and level-balancing the beat and vocals

Gaining staging vocals is setting the input gain level of a microphone preamp to achieve the best signal-to-noise ratio and avoid distortion. The goal is to get a strong, clean signal without clipping the input or adding too much noise.

To gain stage vocals, start by setting the preamp gain to the lowest level possible, then gradually increase it until the signal is strong and clear but not peaking or distorting. Use a peak meter or waveform display to monitor the signal level and adjust the gain accordingly. It’s important to gain stage before applying additional processing, such as EQ, compression, or effects, to ensure the best possible results.

I recommend that you gain stage the instrumental and the vocals at -9 dB or blow, then start balance of them against each other. Start by setting the volume level for the vocal track. You want the vocals to be prominent in the mix but not so loud that they overpower the instrumental track. Use the fader on the mixer to adjust the volume until the vocals sit comfortably on the beat.

In FL Studio, you can gain stage from the knob in the channel rack next to the sampler window.

Further, you can level-balance the tracks in the mixer window in FL Studio.

• Vocal Tuning

• Equalizer

Next, apply EQ to the vocal track to remove unwanted frequencies and improve clarity. Use a high-pass filter to cut out low-end rumble and a low-pass filter to remove harsh or shrill frequencies. You may also want to boost or cut certain frequency bands to enhance the character and tone of the vocals.

• Compression

Apply compression to the vocal track to even out the dynamic range and make the vocals more consistent in volume. Set the threshold, so the compressor kicks in when the vocals get too loud, and adjust the attack and release settings to create a smooth, natural sound.

• Time-based effects

Time-based effects are a key element in many vocal mixes, helping to add depth and dimension to the sound. Several types of time-based effects are commonly used on vocals:

• Reverb
  This effect simulates the natural reflections of a space, adding a sense of depth and spaciousness to the vocal. Reverb can be used to place the vocal in a specific environment, such as a large concert hall or a small room, or to add depth and dimension to the sound.
  The ValhallaVintageVerb is a versatile and flexible reverb plugin that gives good space to your sounds. The best way to set reverb is to set the Decay time first, followed by the Pre-delay. A formula for setting a medium-sized Decay time is (60,000/BPM) x 8. Similarly, for setting a medium-sized pre-delay, use the formula: (60,000/BPM)/32.
  Next, you can set the mix, low cut, high cut, early and late reflections, and bass multiplier per your taste and needs.
  
• Delay
  This effect creates echoes of the vocal, adding a sense of repetition and rhythm to the sound. Delay can be used to create a sense of space and dimension or to add a rhythmic element to the vocal that complements the beat of the track.
  Below is a screenshot of the H-Delay by Waves, which can sync to your BPM, and then all you have to do is set the delay time. 1/4, 1/8, or 1/8D are the most commonly used delay times. You can also modulate high- and low-pass filters on your delay voices in the plugin.
  
• Chorus
  This effect creates a sense of doubling and thickening by creating multiple copies of the vocal and detuning them slightly. Chorus can add a sense of richness and depth to the vocal and is often used in pop and rock music to create a sense of vocal harmonies.
  
  Chorus by Kilohearts
• Flanger
  This effect creates a sweeping and swooshing sound by delaying and modulating the delayed signal. Flanger can add a sense of movement and dimension to the vocal and is often used in electronic and experimental music.
  • Rate: Controls the speed of the flanging effect.
  • Depth: Controls the intensity of the flanging effect.
  • Feedback: Determines the amount of the output signal fed back into the input.
  • Mix: Determines the balance between the dry (unprocessed) and wet (processed) signal.

  

• Vocal automation

Finally, use automation to fine-tune the mix and ensure the vocals are balanced with the beat throughout the song. You may need to adjust the volume, EQ, and effects settings at different points in the song to ensure a cohesive and dynamic sound.

Alternatively, you can also use vocal adjustment plugins like the Vocal rider by Waves, which adjusts the gain as per the input you feed it, to give a consistent output. It automates the vocal automation process and saves time.

• Tweak the beat

There is a lot of stuff you can tweak in the instrumental. For example, you can do mid-side processing on the beat and cut the fundamental frequencies of the vocals from the beat’s mid-channel, so there is enough space for vocals. Similarly, you can boost the kick, hats, bass, and snare in the beat by EQing it or using a multi-band compression or dynamic EQ.

The image below shows how you can enhance the stereo width by differently treating the left and right channels. Similarly, you can make space in the beat for vocals by tweaking the mid/side channels in the beat.

• Master the final track.

Mastering involves applying the final effects before exporting the track for distribution and industrial use. This process involves using compressors to squash the dynamic range, a limiter to prevent the audio from exceeding -1 dB TP, which avoids distortion and clipping in the final track, equalization, multi-band compression, stereo imaging, and finally ensuring that the track follows the LUFS loudness standards of the platforms the track is being made to be consumed at.

For example, you need to master the track at -14 dB LUFS to be fit for consumption on Spotify and YouTube. You can use plugins like Youlean Loudness Meter or WLM meter by Waves. You have to check the Long Term LUFS ratings and ensure it follows the standard for music & radio streaming, and check the dB True Peak ratings and ensure it stays below 0 dB.

How to create space for vocals in a beat?

Creating space for vocals in a beat is an important part of mixing and producing music, as it allows the vocals to stand out and be heard clearly in the mix. Here are some tips on how to create space for vocals in a beat:

• Equalization

Use EQ to carve out space for the vocals. Identify the frequency ranges where the vocals and beat compete for space, and use EQ to cut those frequencies from the beat. For example, if the vocals have a lot of energy in the midrange, you may need to cut some of that frequency range from the instruments or other elements in the mix.

For example, cut down low-mids (200 Hz – 400 Hz) from the mid-channel in your beat, as the vocal’s fundamental frequency lies in this region. Further, you can also cut down the 3000 Hz area from the beat, as that’s where the crispness of the vocals lies, and that’s the most audible frequency in the entire spectrum.

• Panning effects

Use panning to separate the vocals from the beat. Pan the vocal track to the center of the stereo field, and pan the beat elements to the sides or between the vocals. This creates a sense of space and separation between the vocals and the beat, making it easier to hear and distinguish each element.

If you have a single instrumental track, you can use an L/R EQ to pan the element(s) frequencies in left or right. Similarly, you can pan the backing vocals in various directions.

• Reverb & Delays

Use reverb and delay effects to add depth and dimension to the vocals. Applying a subtle reverb or delay to the vocals can create a sense of space and distance, making it sound like they are coming from a specific location in the mix.

• Sidechaining

Use sidechain compression to create room for the vocals. Using a compressor on the beat elements triggered by the vocal track, you can create a “ducking” effect that lowers the beat volume when the vocals are present. This creates more space and clarity for the vocals to be heard.

• Volume Automation

Use volume automation to balance the levels between the vocals and beat. Sometimes the vocals can get lost in the mix simply because they’re not loud enough. By using volume automation to adjust the levels of both the vocals and beat elements, you can ensure that each part comes through clearly and at the right level.

Conclusion

Shaurya Bhatia

Shaurya Bhatia, is an Indian Music Producer, Composer, Rapper & Performer, who goes by the stage name MC SNUB, and is also 1/2 of the Indian pop music duo, called “babyface”. A certified Audio Engineer & Music Producer, and a practicing musician & rapper for more than 6 years, Shaurya has worked on projects of various genres and has also been a teaching faculty at Spin Gurus DJ Academy.