English language

How to pronounce vitalizer in English?

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So, now we can take a look at "Bad Guy."
This is the way my system works.
I've got, in the top, if we look at the routing
which I actually had to change a bit for our purposes today.
So, I'm going out of 1-2, back into 3-4,
monitoring through 5-6.
So, it's just a loop.
The audio comes back into the lower panel here.
This is how a lot of people send me stuff, so you'll see that.
Up here, this is Rob Kinelski's mix.
So he'll send me one that has less limiting, and then actually,
this one right here is the client ref.
So, the song begins with the... she's taken out her Invisalign,
which actually is a really great thing because the album itself is quite heavy.
There's lots of reasons why they are really brilliant people,
and that's one of them, is putting that little banter between them
at the beginning of the record is... kind of lightens everything up.
It's two people having fun making music which is really nice.
So, if we go into the song...
It's just all low end really.
And then, here comes the vocal.
I've worked with them for a long time, so I came to understand that Billie's voice
is kind of the high end component.
All of the other elements are kept out of the way.
They're kind of down low.
There's nothing like sizzly hi-hats or anything like that getting in the way
of that beautiful vocal.
So, from a mastering point of view, because her voice is beautiful,
how can I make it even more engaging and attractive and so on?
Basically, my approach to it is to use quite a bit of saturation as you'll see.
So, here, I've got the Oxford Inflator and it's in Band Split mode,
it's not doing a whole lot.
So, if I take it out, when the vocal comes in,
you'll hear it just gives it a little more bit of vibe.
And this guy is an older Cube-Tec plug-in.
And this particular plug-in, I really like
because it has Drive mode here.
I feel like it's kind of a tube sound.
So, if you listen to...
if you bypass it...
It sort of extends the bass downwards.
I feel like a lot of times, when people mix songs and stuff,
everything is so smooth and even and beautiful.
Actually, what is, a lot of times, what's attractive about music
is something that stands out, if something is a bit odd.
When I listen to something and I hear something like that,
I'll accentuate that even more than it's already accentuated.
I don't know whether that's... it might get you into trouble
from time to time, so I don't know, don't try this at home.
It had a lot of low end on it, and then I actually put even more low end on it.
Also, the transformers in the Elysia alpha compressor are adding a little kind of
excitement to the vocals I feel.
So, here it is in the delivery and it's got this guy
which is a sort of emulation of a SPL Vitalizer.
And it's got more clipping, it's got a little bit of widening on it.
Then, here's the analog EQ again with... I think got a bit scared about
the amount of bass that was on it, so I put a little shelf on there.
And this time, not with the Drive on it.
Then this guy which is the Loudness Maximizer, that's also a Cube-Tec plug-in.
It sounds like that. It's just like 0.5 dB.
It's also a little bit of a saturation sound too.
And then we've got the FabFilter Pro-L 2, +0.7 dB.
So, in fact, I could have made this track louder.
It's like... I could have done that.
But I felt like it was really good where it was at, actually.
And then, finally, here's the Oxford Inflator again.
This time, not in the Band Split mode.
So, if you take all that stuff off...
Again, it's really all about the vocal.
Saturation is the way that I approach her vocal to make it really...
make it sound really engaging.
As far as the analog chain is concerned, it's just going conversion D/A
through the Elysia, and that was the only piece of analog gear that was used
in the transfer process, not really using any compression at all,
but using the transformers in it which also kind of do nice things to the vocal.