Prática de Shadowing: How to Get Smooth, Bright Vocals - Aprenda a falar inglês com vídeo

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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.

A lot of us have had clients, and I know sometimes we get that note of, I want my vocals to be bright.

I'm going to give you a technique to kind of accomplish that.

Let's do it.

Okay.

So right now what I'm gonna do is let's play the raw vocal.

This is a raw vocal without the technique or the plugins that I'm using for it.

Cool.

So I hear a little bit of sibilance and things of that nature.

Now what I'm gonna do is I'm gonna bypass the technique back and forth.

Check this out.

That was the raw sound.

That was without.

This is an unmixed song by the way.

So check this out.

I'm gonna bypass it back and forth without first.

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.

Now this is an unmixed vocal.

This is me just showing you the technique, but I'm going to take you plugin by plugin

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.

Please do not overuse this technique and please follow me in how I set it up and the ideology behind it.

That's the most important thing is so you understand how to approach it.

Okay.

So first plugin within the chain is Speccraft, love Speccraft to death, resonance suppressor, dynamic EQ, whatever you wanna call it.

What I'm doing with this, particular plugin is this.

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,

are there parts in the high end that are already pretty sibling?

Meaning is 9k really peaky?

Is it a lot of energy at that one spot?

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.

So What I want to do with this first plugin is I want to get the high end under control.

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

or where the abundance of energy is coming from sizzling.

And I want to control that first.

So let's get some control on the high end.

Let's catch those S's and T's and that stuff that's up there that's hot.

Let's get a more consistent and even high end before I bring anything in.

So subtraction first.

All right, without first?

solo the vocal Thank you.

So you hear those sizzles, you hear those S's and T's in the siblings.

Now let's put it on.

Every time you pull up, I don't know what's up, you'll be in your moves.

Play my part, keeping it cool, tell me what to do, it's like, I don't know, I'm getting the day.

So just got a little bit of control just on those S's and T's.

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.

Now what I'm going to do is I'm going to solo this

and hone in on that sound by itself so you can kind of hear how it's attenuating that sound.

Let's solo it.

Every time you pull up, I don't know what's up.

You'll be in your moods.

Play my part, keepin' it cool.

Tell me what to do.

It's like, I don't know what I'm getting today.

Bad mood in a good place.

You don't want nobody talkin' on your face.

It'll be.

So basically with this particular plugin, we are catching those initial sibilant moments and just getting some control on them.

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

or sibilants that I'm that I'm hearing and attenuating that stuff,

getting control over the high end and making the high end a little bit more even from a dynamic standpoint.

That's very important.

That is probably the most important part of this technique.

Before you add any high end, control those sibilant moments in the song as far as the vocal is concerned.

All right.

Next thing I'm going to open up, shout out my guy Ryan Schwab.

I'm gonna open up high fall from Schwab Digital.

And it's the same kind of concept.

I'm trying to catch peaks.

So I'm using another step of subtraction to really catch those

high end peaks as far as the sibilance to really get a more consistent and controlled high end.

So I'm getting the control and evening of the dynamics of the high end.

That is my initial goal before I do any boosting.

Again, control.

This is the secret weapon to me.

So without first, Every time you pull up, I don't know what's up, you'll be in your moves.

Play my part, keeping it cool, tell me what to do.

Every time you pull up, I don't know what's up, you'll be in your moves.

Play my part, keeping it cool, tell me what to do.

I don't know, I'm getting the day.

for the peaks in the audio.

when it comes to the high end.

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.

But long story short, I'm taking this slider

and I'm bringing it down until I'm catching or hearing those peaks of reacting in the plugin.

And I'm not afraid to be heavy handed with this, but yes, that's kind of how I'm setting it up.

So again, with those two plugins you just saw, high fall and spec craft,

I'm using them to when it comes to the high end.

I'm evening out the dynamics of the high end first.

Okay?

Thank you.

All right.

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.

This is one of my favorite EQs when it comes to boosting.

Shout out my guy, Prizzy.

Shout out TZO.

Shout out all the amazing and talented mix engineers I see using this strictly for a high -end on vocals.

It is phenomenal.

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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Vocabulário e dicas de fala para esta lição

Esta aula de conversação de nível C1 usa o vídeo “How to Get Smooth, Bright Vocals”. As palavras que mais se repetem: vocal, plugin, sound. Este vídeo tem 223 frases e 2728 palavras para praticar shadowing. A fala dura 15:19. O falante fala em ritmo natural, cerca de 178 palavras por minuto, próximo de uma conversa do dia a dia. 82% das palavras estão entre as 3.000 mais comuns do inglês; vale a pena estudar o restante antes de começar.

Vocabulário principal deste vídeo

As 15 palavras mais avançadas do vídeo, com pronúncia e significado:

Palavra	Pronúncia	Significado
compressor substantivo	/kəmˈpɹɛ.sə(ɹ)/	compressor
shout verbo	/ʃaʊt/	gritar
crispy adjetivo	/ˈkɹɪs.pi/	crocante
sizzle verbo	/ˈsɪzəl/	chiar
subtraction substantivo	/səbˈtɹækʃən/	subtração
sibilant substantivo	/ˈsɪb.ɪ.lənt/	sibilante
bypass substantivo	/ˈbaɪpæs/	desvio, contorno
abundance substantivo	/əˈbʌn.dn̩s/	abundância
dynamics substantivo	/dɑɪˈnæm.ɪks/	dinâmica
accentuate verbo	/əkˈsɛn.t͡ʃu.eɪt/	acentuar
compress verbo	/ˈkɑmpɹɛs/	comprimir
consonant substantivo	/ˈkɑn.sə.nənt/	consoante
hone verbo	/hoʊn/	amolar, afiar
kilohertz substantivo	/ˈkɪləhɜːts/	quilohertz
nuance substantivo	/ˈnjuː.ɑːns/	nuance, nuança

Phrasal verbs que você vai ouvir

Palavra	Pronúncia	Significado
pull up verbo	/ˌpʊl ˈʌp/	puxar para cima
bring up verbo		criar
set up verbo	/ˌsɛt ˈʌp/	preparar
check out verbo		verificar, sacar só

Frases que vale a pena repetir

Frases curtas e completas do vídeo que você pode usar na conversa do dia a dia:

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.

Gramática neste vídeo

As estruturas que o falante mais usa, com as palavras exatas do vídeo:

Estrutura	No vídeo
Present perfect have/has + particípio passado — uma ação passada que ainda importa agora	have had · I've actually seen
Voz passiva be + particípio passado — o foco está no que acontece, não em quem faz	is let · is accentuated

Pronúncia para ficar de olho

O falante usa 117 contrações e formas reduzidas, como I'm, don't, gonna. Diga-as na forma curta, do jeito que você ouve.

Os sons de “sh” e “zh”: shout /ʃaʊt/, subtraction /səbˈtɹækʃən/, transient /ˈtɹæn.ʃənt/, compression /kəmˈpɹɛʃ.ən/, speculation /ˌspɛk.jəˈleɪ.ʃən/
Palavras longas — acerte a sílaba tônica: attenuate /əˈtɛn.juˌeɪt/, accentuate /əkˈsɛn.t͡ʃu.eɪt/, consistency /kənˈsɪs.tən.si/, phenomenal /fɪˈnɒmɪnəl/, speculation /ˌspɛk.jəˈleɪ.ʃən/

Sons difíceis para falantes de português:

Consoante final — sem acrescentar um “i” depois: shout /ʃaʊt/, attenuate /əˈtɛn.juˌeɪt/, sibilant /ˈsɪb.ɪ.lənt/, accentuate /əkˈsɛn.t͡ʃu.eɪt/, consonant /ˈkɑn.sə.nənt/
/l/ final — a língua toca o céu da boca, não vira “u”: sizzle /ˈsɪzəl/, gradual /ˈɡɹæd͡ʒuəl/, subtle /ˈsʌtəl/, usable /ˈjuː.zə.bəl/, phenomenal /fɪˈnɒmɪnəl/
/h/ — um sopro suave, diferente do “r”: hone /hoʊn/, kilohertz /ˈkɪləhɜːts/

Como praticar com este vídeo

Ouça o vídeo inteiro uma vez sem falar e anote as palavras que você não conhece.
Comece na velocidade 0,75×, faça shadowing frase por frase e volte à velocidade normal quando ficar fácil.
Grave a sua voz e compare com o original, prestando atenção a palavras como compressor, shout, crispy.

O que é a Técnica de Shadowing?

Shadowing é uma técnica de aprendizado de idiomas com base científica, originalmente desenvolvida para o treinamento de intérpretes profissionais. O método é simples, mas poderoso: você ouve áudio em inglês nativo e repete imediatamente em voz alta — como uma sombra seguindo o falante com 1-2 segundos de atraso. Pesquisas mostram melhora significativa na precisão da pronúncia, entonação, ritmo, sons conectados, compreensão auditiva e fluência na fala.

Técnica de shadowing: leia o guia completo passo a passo →

Prática de Shadowing: How to Get Smooth, Bright Vocals - Aprenda a falar inglês com vídeo

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