シャドーイング練習: How to Get Smooth, Bright Vocals - 動画で英語スピーキングを学ぶ
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So the goal of this video is to give you a technique for a super controlled, crispy, high -end vocal sound.
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A lot of us have had clients, and I know sometimes we get that note of, I want my vocals to be bright.
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I'm going to give you a technique to kind of accomplish that.
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Let's do it.
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Okay.
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So right now what I'm gonna do is let's play the raw vocal.
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This is a raw vocal without the technique or the plugins that I'm using for it.
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Cool.
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So I hear a little bit of sibilance and things of that nature.
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Now what I'm gonna do is I'm gonna bypass the technique back and forth.
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Check this out.
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That was the raw sound.
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That was without.
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This is an unmixed song by the way.
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So check this out.
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I'm gonna bypass it back and forth without first.
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So a controlled, but super more high -end, high -fidelity a bright sound in the vocal and at the same time controlling some of those Ss and Ts.
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Now this is an unmixed vocal.
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This is me just showing you the technique, but I'm going to take you plugin by plugin
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and show you the plugins that I use to get this sound and get those vocals to be super crispy, but still very controlled and something usable that you can have in your session.
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Please do not overuse this technique and please follow me in how I set it up and the ideology behind it.
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That's the most important thing is so you understand how to approach it.
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Okay.
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So first plugin within the chain is Speccraft, love Speccraft to death, resonance suppressor, dynamic EQ, whatever you wanna call it.
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What I'm doing with this, particular plugin is this.
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I am listening to the vocal and I know deep down in my heart, if I want to get these vocals really bright or really crispy, what I'm going to have to do is also be mindful of,
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are there parts in the high end that are already pretty sibling?
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Meaning is 9k really peaky?
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Is it a lot of energy at that one spot?
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Well, if it is, then that means that when I add more high end, I'm also accentuating more high end at that 9k spot that is accentuated and is very peaky.
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So What I want to do with this first plugin is I want to get the high end under control.
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Before I add anything as far as EQ or any saturation and stuff like that to the high end, I want to get control over what is there from a semblance standpoint
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or where the abundance of energy is coming from sizzling.
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And I want to control that first.
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So let's get some control on the high end.
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Let's catch those S's and T's and that stuff that's up there that's hot.
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Let's get a more consistent and even high end before I bring anything in.
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So subtraction first.
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All right, without first?
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solo the vocal Thank you.
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So you hear those sizzles, you hear those S's and T's in the siblings.
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Now let's put it on.
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Every time you pull up, I don't know what's up, you'll be in your moves.
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Play my part, keeping it cool, tell me what to do, it's like, I don't know, I'm getting the day.
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So just got a little bit of control just on those S's and T's.
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Again, noticing that there's an abundance of energy in that particular range, in the high end, and I want to get some control on it.
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Now what I'm going to do is I'm going to solo this
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and hone in on that sound by itself so you can kind of hear how it's attenuating that sound.
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Let's solo it.
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Every time you pull up, I don't know what's up.
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You'll be in your moods.
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Play my part, keepin' it cool.
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Tell me what to do.
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It's like, I don't know what I'm getting today.
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Bad mood in a good place.
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You don't want nobody talkin' on your face.
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It'll be.
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So basically with this particular plugin, we are catching those initial sibilant moments and just getting some control on them.
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So all I'm looking for with this first plugin is for our setting up dynamics, EQ or resonance suppressor is honing in on the abundance of sizzle
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or sibilants that I'm that I'm hearing and attenuating that stuff,
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getting control over the high end and making the high end a little bit more even from a dynamic standpoint.
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That's very important.
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That is probably the most important part of this technique.
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Before you add any high end, control those sibilant moments in the song as far as the vocal is concerned.
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All right.
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Next thing I'm going to open up, shout out my guy Ryan Schwab.
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I'm gonna open up high fall from Schwab Digital.
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And it's the same kind of concept.
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I'm trying to catch peaks.
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So I'm using another step of subtraction to really catch those
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high end peaks as far as the sibilance to really get a more consistent and controlled high end.
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So I'm getting the control and evening of the dynamics of the high end.
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That is my initial goal before I do any boosting.
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Again, control.
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This is the secret weapon to me.
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So without first, Every time you pull up, I don't know what's up, you'll be in your moves.
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Play my part, keeping it cool, tell me what to do.
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Every time you pull up, I don't know what's up, you'll be in your moves.
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Play my part, keeping it cool, tell me what to do.
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I don't know, I'm getting the day.
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for the peaks in the audio.
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when it comes to the high end.
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Now, granted, if you're not familiar with high fall and stuff like that, you can check out Ryan's content and stuff like that on it.
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But long story short, I'm taking this slider
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and I'm bringing it down until I'm catching or hearing those peaks of reacting in the plugin.
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And I'm not afraid to be heavy handed with this, but yes, that's kind of how I'm setting it up.
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So again, with those two plugins you just saw, high fall and spec craft,
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I'm using them to when it comes to the high end.
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I'm evening out the dynamics of the high end first.
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Okay?
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Thank you.
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All right.
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Now, that I feel like I got a little bit more of a consistency when it comes to the high -end, I am going to boost.
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This is one of my favorite EQs when it comes to boosting.
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Shout out my guy, Prizzy.
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Shout out TZO.
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Shout out all the amazing and talented mix engineers I see using this strictly for a high -end on vocals.
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It is phenomenal.
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There's something in this plugin that I love.
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It's amazing.
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check it out for yourself.
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It's the UAD Pultec specifically as well.
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So right now what I'm doing is I'm going to take and put the Pultec at 10k 10 kilohertz.
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And I'm gonna boost it about 3 dB within the plugin.
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I'm also gonna compensate for the volume a little bit and turn it down.
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Shout out to the person in the comments on my last video
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that finally showed me that that's my knob to turn it down and turn it up.
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Thank you so much.
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Shout out to my comment section.
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Teach me something.
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Now I'm gonna bypass this back and forth.
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So without first.
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This is me, my first boost of everything.
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Every time you pull up, I don't know what's up, you be in your moves.
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Play my part, keepin' it cool, tell me what to do.
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It's like, I don't know, I'm gettin' today.
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In a bad mood, in a good place.
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You don't want nobody talkin' out on your face.
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It don't matter, 'cause I'll still be on your body.
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Oh, sometimes I feel like you taking advantage of me It really don't matter cause nothing is making me leave.
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I love this plugin when it comes to boosting high end.
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Again, this vocal is not fully mixed or anything like that, so please don't kill me for that.
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I'm just showing you this technique on a pretty much unmixed vocal
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and just give you an idea of just how to add it.
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When I'm adding that 10K boost with this, it's super clean.
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It just opens the vocal up so much.
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And this is really a lot of the heavier lifting is coming from as far as that initial boost in it.
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So to recap, what just happened?
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What we did was before we boosted anything, we use subtraction.
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With the subtraction, what we did was we said, I want the peakiest or I want the transients inside that high end spectrum.
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And I want to control that.
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When I control that, now I get a more even kind of high end that is a little bit smoother.
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So that when I boost overall, now I'm not boosting that peakiness.
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there.
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before I add anything.
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So I want to control those peaks and transients before I add an overall boost to the entire high end.
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So that's that kind of setup so far.
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Are you trying to fix a beat or two track but you don't have the stems?
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Meet the two track surgeon.
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It lets you shape the vocal pocket, low end, width, energy, soft clip, and even more right inside the stereo file.
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Use code HMD20 for 20 % off your purchase at HelpMeDevon .com.
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I'll leave a link in the description.
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Now this one, please don't overuse this.
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I'm gonna open up a multiband compressor.
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My goal with this multi -band compressor is to get more of the nuanced high end out of this vocal.
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What do I mean?
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Long story short, this multiband compressor is at the about
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6 kilohertz range and what I'm looking for is to just attenuate again S's
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and T's but I'm boosting the overall range on this particular our multiband so that
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even the slightest sounds of the vocal are going to have a bit more lift in its high end.
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So basically, the stuff that is sizzling and has those kind of consonant sounds, S's and T's, are going to get attenuated,
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but the stuff that is is going to have a little bit more of the air lifted
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because we're just using pretty much multiband compression to say, compress the high stuff or the loud stuff, and I want you to bring up the quiet stuff.
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So once again, getting a little bit more consistency and leveling out
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the high end but we're also using this to control the sizzly stuff
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so that we can keep that stuff tight so Just listen to what this sounds like.
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Check this out.
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I noticed this a lot in the sexy drill drama, drama, genre in particular with those bright high end vocals that I hear with those guys and girls all the time.
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Check this out, With and Without.
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Every time you pull up, I don't know what's up You be in your moods, play my part, keepin' it cool Tell me what to do, it's like, "I don't know, I'm gettin' today" In a bad mood,
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in a good place You don't want nobody talkin' on your face It don't matter, 'cause I'll still be on your body
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Sometimes I feel like you taking advantage of me It really don't matter 'cause nothing is making me leave Yeah,
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something about you I'm feeling like nobody sees No matter your mood,
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I'm where I wanna be We fuss and we fight, but...
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So you see even in that moment where it's "we fuzz" and "we fight," you notice, oh, it feels a lot brighter even in that subtle moment.
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And it kind of lifts the entire record.
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As far as the vocal is concerned in that, again, I do hear sibilance and we are getting more control over that.
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But you can tell that when I'm actually using this, I'm still trying to catch those S's and T's to say, chill out.
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Just my peak stuff.
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Just hang out for a second.
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Don't go too crazy.
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And then the subtle stuff is getting a big, big lift here.
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The stuff that doesn't have those or its consonants.
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It's more of that nuanced stuff I'm trying to raise up to get
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that whole vocal to just overall sound more open sounding.
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Okay, last plugin is my pretty much kind of like my final catcher.
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And this final plugin is another Speccraft.
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Now with this Speccraft, what I'm doing is, it's that final kind of smoothing of the high end.
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This is my high end smoother.
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I've actually seen Jason Joshua use something similar in Oaksound Soothe.
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You can try this too.
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Where what I'm going to do is, I'm going to put my Speccraft point at the high end.
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But the difference is, I'm going to set a much slower release.
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What you're going to notice with this slow release in the
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high end is you're going to notice the high end get
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so much smoother because it's going to hold the compression of that high end a lot longer.
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So it's going to really, really make the high end feel a lot smoother.
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And this is the secret weapon at the end of this entire chain.
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So, without first, and then I'll put it on.
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And this is really gonna get those S's and T's and similar things in control.
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And then the high end is just gonna feel a lot smoother in that regard.
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Every time you pull up, I don't know what's up You be in your moves, play my part, keepin' it cool Tell me what to do, it's like, I don't know,
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I'm gettin' the day Bad mood in a good place, you don't want nobody talkin' on your face It don't matter,
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'cause I'll still be on your body Sometimes I feel like you taking advantage of me
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It really don't matter 'cause nothing is making me leave.
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Yeah, something about you I'm feeling like nobody sees.
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No matter your mood, I'm where I wanna be
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So you notice the S &T's were popping out and peaking when I didn't have it on.
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And then when I put it on, you notice the S &T's just felt a lot calmer and a lot smoother.
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And thus, it leads me to a sound or this sound.
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Without first.
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Again, vocal is absolutely far from perfect, but I'm just showing you a way to add some crispy high end to a sound,
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but also being mindful of you want it to be useful and not rip people's ears off in the process.
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forgot to mention
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that I do want to bring up is I want to bring up the multiband compressor
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and how I have it set up as far as the settings.
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I am really a big fan of a soft knee with this particular multiband compressor.
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To me, the soft knee just feels a lot smoother and gradual as far as how it's compressing that high end,
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which I think adds so much character and just smoothness to the top end in this process, as opposed to a harder knee.
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It feels a little bit too aggressive for me with compressor.
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multi band and stuff like that that you're using, perhaps a softer knee just feels a little bit more gradual and a little bit smoother, which is what I was going for.
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So I hope you enjoyed that.
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Please leave your comments, questions and concerns.
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And yeah, I had a lot of fun doing that.
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And I hope that it made sense.
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Again, there's a million ways to do a million different things.
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And I totally understand that this vocal is not mixed.
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I appreciate anyone that if you caught anything from this, cool, you can let me know in the comment section below.
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We can have conversations.
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I'm all for it.
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I hope you enjoyed that.
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And yeah, you can go to helpmedevon .com if you want some goodies.
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And until next time, y 'all.
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このレッスンの語彙とスピーキングのポイント
このC1レベルのスピーキングレッスンは、動画「How to Get Smooth, Bright Vocals」を教材にしています。 繰り返し出てくる語は次のとおりです：vocal, plugin, sound。 この動画には、シャドーイング用の文が223文、単語が2728語あります。 音声の長さは15:19です。 話す速さは1分あたり約178語で、日常会話に近い自然なペースです。 単語の82%は英語の頻出3,000語に含まれます。残りは練習の前に確認しておきましょう。
この動画の重要語彙
動画の中で特に難しい単語15語を、発音と意味つきで紹介します。
| 単語 | 発音 | 意味 |
|---|---|---|
| compressor 名詞 | /kəmˈpɹɛ.sə(ɹ)/ | 圧縮機, コンプレッサー |
| shout 動詞 | /ʃaʊt/ | 叫ぶ |
| subtraction 名詞 | /səbˈtɹækʃən/ | 引き算, 減法 |
| sibilant 名詞 | /ˈsɪb.ɪ.lənt/ | 歯音, 歯擦音 |
| bypass 名詞 | /ˈbaɪpæs/ | 迂回路, バイパス |
| abundance 名詞 | /əˈbʌn.dn̩s/ | 大量, 多量 |
| dynamics 名詞 | /dɑɪˈnæm.ɪks/ | 動力学, ダイナミクス |
| compress 動詞 | /ˈkɑmpɹɛs/ | 圧縮する |
| consonant 名詞 | /ˈkɑn.sə.nənt/ | 子音 |
| hone 動詞 | /hoʊn/ | 研ぐ, 研ぎ澄ます |
| kilohertz 名詞 | /ˈkɪləhɜːts/ | キロヘルツ |
| nuance 名詞 | /ˈnjuː.ɑːns/ | ニュアンス, 意味合い |
| transient 形容詞 | /ˈtɹæn.ʃənt/ | 儚い |
| sibling 名詞 | /ˈsɪb.lɪŋ/ | 兄弟兄弟姉妹, 同胞 |
| standpoint 名詞 | /ˈstændpɔɪnt/ | 観点 |
動画に出てくる句動詞
| 単語 | 発音 | 意味 |
|---|---|---|
| pull up 動詞 | /ˌpʊl ˈʌp/ | 引き上げる |
| bring up 動詞 | 育てる | |
| check out 動詞 | 試験する, 検査する |
繰り返し練習したい文
動画に出てくる短く完結した文です。日常会話でそのまま使えます。
- I'm gonna bypass it back and forth without first.
- What I'm doing with this, particular plugin is this.
- You'll be in your moods.
- It's like, I don't know what I'm getting today.
- You don't want nobody talkin' on your face.
この動画の文法
話し手がよく使っている文型を、動画の実際の表現とともに紹介します。
| 文型 | 動画での表現 |
|---|---|
| 現在完了形 have/has + 過去分詞 — 過去の出来事が今も関係している | have had · I've actually seen |
| 受動態 be + 過去分詞 — 誰がするかより、何が起きるかに焦点を当てる | is let · is accentuated |
注意したい発音
話し手はI'm, don't, gonnaなど、短縮形や弱形を117回使っています。聞こえたとおりの短い形で発音しましょう。
- 「sh」と「zh」の音: shout /ʃaʊt/, subtraction /səbˈtɹækʃən/, transient /ˈtɹæn.ʃənt/, compression /kəmˈpɹɛʃ.ən/, speculation /ˌspɛk.jəˈleɪ.ʃən/
- 長い単語（アクセントの位置に注意）: attenuate /əˈtɛn.juˌeɪt/, accentuate /əkˈsɛn.t͡ʃu.eɪt/, consistency /kənˈsɪs.tən.si/, phenomenal /fɪˈnɒmɪnəl/, speculation /ˌspɛk.jəˈleɪ.ʃən/
日本語話者が苦手な音：
- /r/ と /l/ の区別 — /l/ は舌先を歯茎につけ、/r/ はどこにもつけない: gradual /ˈɡɹæd͡ʒuəl/, drill /dɹɪl/
- /f/ — 「フ」ではなく、上の歯と下唇で出す: mindful /ˈmaɪnd.fl̩/, fuss /fʌs/, fidelity /fᵻˈdɛlədi/, phenomenal /fɪˈnɒmɪnəl/
- 子音の連続 — 間に母音を入れない: compressor /kəmˈpɹɛ.sə(ɹ)/, crispy /ˈkɹɪs.pi/, subtraction /səbˈtɹækʃən/, sibilant /ˈsɪb.ɪ.lənt/, abundance /əˈbʌn.dn̩s/
この動画での練習方法
- まず声を出さずに動画を最後まで聞き、知らない単語をメモします。
- まず0.75倍速で一文ずつシャドーイングし、慣れてきたら通常の速度に戻します。
- 自分の声を録音して元の音声と比べます。compressor, shout, subtractionなどの単語に特に注意しましょう。
シャドーイングとは？英語上達に効果的な理由
シャドーイング（Shadowing）は、もともとプロの通訳者養成プログラムで開発された言語学習法で、多言語習得者として知られるDr. Alexander Arguelles によって広く普及されました。方法はシンプルですが非常に効果的：ネイティブスピーカーの英語を聞きながら、1〜2秒の遅延で声に出してすぐに繰り返す——まるで「影（shadow）」のように話者を追いかけます。文法ドリルや受動的なリスニングと異なり、シャドーイングは脳と口の筋肉が同時にリアルタイムで英語を処理・再現することを強制します。研究により、発音精度、抑揚、リズム、連音、リスニング力、そして会話の流暢さが大幅に向上することが確認されています。IELTSスピーキング対策や自然な英語コミュニケーションを目指す方に特におすすめです。