Summary of "ALEX TUMAY EXPLAINS BEST WAY TO EQ VOCALS"

Summary of “ALEX TUMAY EXPLAINS BEST WAY TO EQ VOCALS”

Alex Tumay shares his approach and philosophy for EQing vocals, focusing on subtle, purposeful adjustments rather than drastic changes. He emphasizes controlling the vocal’s presence and harshness while maintaining its natural character and performance dynamics.

Main Ideas and Concepts

Basic Setup

Starts with three main tools: EQ, compressor, and de-esser.
Uses a simple chain rather than over-processing.

EQ Approach

Begins with a wideband EQ to identify frequencies to emphasize or reduce.
Makes about five EQ cuts/boosts, focusing on:
- Removing unwanted mids and low mids.
- Boosting body and presence.
- Avoiding drastic or large cuts; prefers several small adjustments.
Typical frequency areas addressed:
- Low mids (130–250 Hz) often reduced to remove muddiness.
- Presence around 300 Hz boosted for clarity.
- A dip around 4k–4.5k Hz to reduce harshness.
- Slight cuts around 700–800 Hz to clear space without losing vocal presence.

Compression

Uses two compressors with different settings:
- First compressor with medium attack to control dynamics without affecting plosives.
- Second compressor used more for emphasizing desirable qualities rather than controlling problem areas.
Compression levels are gentle, generally peaking around -2 to -3 dB gain reduction.

De-essing

Applies a notch de-esser targeting two frequency spots (around 3500 Hz and 5000 Hz).
Focuses on controlling sibilance rather than completely removing it.
Inspired by Jason Kingsland’s technique of using precise notch filters to tame harsh “ess” sounds.

Doubling Effect

Uses a basic doubler effect (unchanged since 2012) in small amounts to add width and interest.
Employs sends/aux tracks for doubling rather than affecting the entire signal.

Philosophy

Avoids mixing “visually” (i.e., based solely on frequency spectrum graphs).
Thinks of the vocal as occupying a space within the mix; EQ is used to bring it closer or pull it back.
Prefers preserving the natural character of the voice, especially when the vocal tone is already strong.
Minimalism in EQ changes, focusing on what the vocal needs rather than what might be trendy or expected.

Additional Notes

Recognizes that different vocals and recordings require different approaches.
His method is adaptable, not rigid.
The goal is a warmer, less abrasive, and “prettier” vocal sound.

Methodology / Step-by-Step Instructions

Initial EQ:
- Use a wideband EQ with about five subtle cuts and boosts.
- Cut low mids (130–250 Hz) to reduce muddiness.
- Boost body around 300 Hz.
- Slightly reduce presence frequencies (700–800 Hz) to clear space.
- Dip harsh frequencies around 4k–4.5k Hz.
- Boost presence to add clarity.
First Compressor:
- Set medium attack to avoid plosives.
- Control dynamics lightly with about -2 to -3 dB gain reduction.
De-esser:
- Use notch filters at approximately 3500 Hz and 5000 Hz.
- Control sibilance without completely removing “ess” sounds.
Second Compressor:
- Adjust attack and release differently to emphasize pleasing vocal qualities.
- Use compression more creatively rather than just for control.
Doubling:
- Apply a basic doubler effect via sends/aux tracks.
- Use in small amounts to add width and texture.
Final Adjustments:
- Listen for overall warmth and smoothness.
- Avoid large EQ cuts; prefer multiple small tweaks.
- Maintain the natural character of the vocal.

Speakers/Sources Featured

Alex Tumay – Main speaker and mixing engineer explaining his vocal EQ technique.
Jason Kingsland – Mentioned as an influence for de-essing technique.

This summary captures the essence of Alex Tumay’s vocal EQ approach, highlighting his subtle, effective use of EQ, compression, and de-essing to achieve a controlled yet natural vocal sound.