How to remove a lead vocal from a mix
1. Load the original stereo file.
2. Copy just the left channel to a new edit window.
3. Copy just the right channel to another new edit window.
4. Reverse the polarity of the new left channel.
5. Apply a low end shelf cut starting at 200 Hz. (at least 12 dB./octave)
to the new left channel.
6. Paste the processed left channel into the new right channel in Mix mode
(not Overwrite).
7. Audition the result and, if it's acceptable, save it to a new Wave file.
It is possible that combining the two channels will exceed 0 dB., and you will
need to reduce the level of both channels a few dB. If you lower only one
channel, the two channels will not combine equally, and the vocal level won't
be reduced as much as possible. To roll off the bass frequencies, I used Sound
Forge's Parametric EQ in the high-pass mode set for 20 dB. of cut starting at
200 Hz. (This filter setting affects the lows, so why does Sonic Foundry call
it high-pass rather than low-cut?!) If you use Sound Forge, be sure to select
the highest accuracy filter mode, since how quickly the EQ is written to the
file is less important than having the filter perform exactly as you ask it to.
Besides cutting the extreme low end on one channel, you can optionally
reduce some of the highs too. This lets you retain strings and cymbals and
other instruments that have treble content and are centered in the mix. In
general, you can cut those frequencies that are outside the vocal range--for
male singers you need to start the roll-off at a lower frequency than for
females. Remember, the frequencies you cut from one channel are the ones
that will not be canceled when you reverse the polarity and merge it with
the other channel.
A Better Way
Rather than use a typical stereo audio editor program, a much better approach
is to separate the left and right channels into separate files and load them
into a multi-track audio recording program. The main advantage is that you can
more easily adjust the channel levels to fine tune the process for the most
complete vocal cancellation. This also lets you experiment with different high
and low frequency turnover points, assuming your multi-track software offers
EQ for the tracks. Start with just the very lowest and highest frequencies
removed, and then slide the cut-off frequencies closer to the middle until
the vocal starts to leak through. Again, you are combining the two mono tracks
at approximately equal levels--but with the polarity reversed, and the extreme
highs and lows rolled off on only one channel. I use SAW Plus, which has EQ
and polarity reverse effects built in. These effects are non-destructive and
can be adjusted in real time while the left and right channel Wave files are
playing. So all I had to do was extract the Left and Right files from the
original stereo Wave file, load those into separate tracks in SAW, and add
polarity reverse and low-end shelf cut at 200 Hz. to the left channel. Once
you are satisfied that you have removed as much of the vocal as possible and
with minimum damage to the rest of the track, save the mix to a new Wave file.
One useful tip is to reduce the number of playback buffers if your multi-track
recorder software allows that. Normally, the more buffers you have the better
because that avoids "stuttering" when playing back many tracks at once. But the
trade-off is that more buffers yields a longer time lag between when you change
a volume level or EQ setting and when you hear that change. So when working with
only two mono tracks for removing vocals, I set SAW to use the minimum number of
buffers, thus making my mix changes audible immediately.
Earlier I mentioned that removing vocals always yields a mono sound file because
the left and right channels are combined as part of the process. There are several
ways you can synthesize a stereo effect to recreate some of the lost ambience.
I used the BlueLine series of plug-ins by digilogue, available in a fully functional
shareware version ($35 to purchase) from the author's web site at www.digilogue.de.
These plug-ins are provided in the universal DirectX format and also as VST versions
for use with Steinberg's Cubase. I used the BlueLine Stereo plug-in, which did
a great job of recreating a stereo effect on the mono result files.
You can also create a fake stereo image using equalization. Split a mono track
into two identical left and right channels, and then equalize each side differently.
One method is to apply a 10-band graphic equalizer to each channel, and then boost
and cut alternate bands on each channel. That is, on the left channel you apply 6 dB.
of boost at 62 Hz., the same amount of cut at 125 Hz., boost at 250 Hz., and so forth.
The right channel is then cut and boosted by the same amounts, but at the frequencies
opposite the left channel: Where the left channel is boosted the right is cut,
and vice versa.
Two final items are worth mentioning. First, if your multi-track software requires
DirectX plug-ins for EQ and polarity reversal, the inherent delay will prevent
the desired cancellation and all you'll get is a phased sound with the vocal still
present. In that case you should reverse the polarity and roll off the low end in
a stereo editor that writes directly to the file, and load the result back into your
multi-track recorder. I'll also mention that it is possible to cancel a vocal from a
stereo file while keeping the original stereo image. If you create a mono Wave file
that is a simple mix of both the left and right channels, you can reverse its polarity
and mix it with the original stereo recording. This cancels the vocal and other centered
instruments, and reverses the left and right channels as a side effect. Although this
should be superior to my method of reducing the mix to mono, in practice it did not
work as well. More of the vocal leaked through, and the non-centered instruments were
partially canceled.
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