How to process TECHNO vocals

Mixing and processing a techno vocal track by Rico Hoover, a label artist on Mercurial Tones. The track features phrases and break talks rather than traditional vocals.

Decided to record the mixing process to demonstrate before and after results and show the techniques used for processing techno vocals.

Focuses on the specific workflow for techno and house vocals, showing different stages of processing that can be helpful for viewers unfamiliar with the technique.

The vocal part contains phrases like 'remember our time is finite in a few million years there's pure darkness and no light' laid over an epic break section.

Requested multiple takes from the artist to have options for each phrase, allowing selection of the best parts from different takes to create a cohesive composite vocal.

• Added locators to mark the starting point of vocals across all takes • Marked different phrase sections to create alignment reference points • Aligned all vocal takes to these reference points for easy comparison

Evaluated each phrase across all takes to pick the best performance, comparing factors like clarity, timing, and tone to select the strongest elements.

Adjusted volume levels across takes to account for recording differences, ensuring fair comparison between takes without volume bias affecting the selection.

• Gate opening and closing artifacts audible in the recordings • Inconsistent loudness levels across vocal phrases • Tuning variations that needed correction

Used parallel compression to visualize overall levels while manually adjusting faders, fade-ins, and fade-outs to create a smoother vocal line from beginning to end.

Applied Proteus to remove harsh sibilance, particularly noticeable on the 's' sound in phrases, reducing excessive brightness for a more refined vocal texture.

Made vocals sound more coherent by balancing dynamics, tuning, and sibilance so that different takes blend seamlessly as a unified vocal performance.

Added aggressive compression to create a stronger, grittier sound suitable for techno aesthetics. Consolidated the main vocal track and tuned it down to experiment with different character.

Used iZotope Ozone exciter to add subtle vocal crispness and make the vocals slightly more aggressive, enhancing the techno vibe while maintaining clarity.

Transformed the vocals into a darker, more intense sound with a techno character. The processed vocals sound more powerful and gritty compared to the original.

Kept distortion subtle at this stage, planning to potentially add more later if needed while considering that reverb and delay effects would be added subsequently.

• Created stereo width by duplicating vocal takes and placing them on left and right channels • Used utility plugin to push duplicates to opposite sides of the stereo field • Applied subtle pitch shifting and phase adjustment to differentiate left and right versions

Kept the main vocal in the center for anchor point while building stereo elements around it with reduced volume to maintain focus on the lead vocal.

Created transposed versions of vocal takes, tuning one down by approximately one octave below the original using Melodyne or Celemony Proteus for harmonic depth.

Added an elevated transposed version on the right side to create almost a different person talking effect, while processing different takes separately to avoid repetition.

Added reverb to create ambient space and give the vocals a big, expansive character suited to the quiet, ambient break section of the track.

• Tested multiple reverb types to find the best fit • Compared options including room and hall reverbs • Evaluated each reverb in context with the actual track, not in isolation

Used small room reverb as a secondary effect layered on top of the primary reverb, combined with sending the main vocal to a large hall reverb for depth.

Selected reverb settings that complemented the ambient nature of the break section while maintaining clarity of the vocal phrases within the full mix.

Applied irregular ping-pong delay to the vocals, creating rhythmic feedback and spatial movement that enhances the ambience created by the reverb.

• Created reverse vocal samples at key transition points • Used reversed vocals to lead into important phrase sections • Adjusted length and volume of reverse samples to fit naturally into the break

Planned further adjustments including possible side-chaining to create space for vocals against lead sounds and pads, and potential additional distortion for emphasis.

The vocal processing is substantially complete with the core techniques demonstrated, though small refinements remain such as adjusting reverb and delay parameters for final mix integration.