Post by copperx on Mar 26, 2023 18:48:01 GMT -6
I thought it would be fun to ask ChatGPT (GPT-4 model) to help me mix a simple country track.
I haven't decided whether this is scary or exciting.
My prompt:
Response:
My prompt:
Response:
My prompt:
Response:
My prompt:
Response:
Prompt:
Response:
My prompt:
Response:
Prompt:
Response:
To create a more interesting vocal sound, you can set up an aux track with a combination of delay and reverb effects using your Eventide H3000, Waves H-Delay, Valhalla Delay, and Valhalla VintageVerb. Here's a suggested effects chain to get you started:
1 Eventide H3000: Start with the "MicroPitchShift" preset (preset 519). This will provide a subtle pitch-shifting and stereo widening effect to give the vocal a more lush and polished sound.
Settings:
• Mix: 100% wet (since this is on an aux track)
• Pitch: Use the default settings, which are +9 cents and -9 cents for the left and right channels, respectively
• Delay: Use the default settings (about 20 ms for both left and right channels)
2 Waves H-Delay or Valhalla Delay: Follow the pitch-shifting with a delay effect to add depth and space to the vocal. You can use either the Waves H-Delay or Valhalla Delay, depending on your preference.
Settings (for either delay plugin):
• Delay Time: 1/4 note or 1/8 note, synced to the song's tempo
• Feedback: 15-25% (adjust to taste)
• Low Pass Filter: Set around 4-6 kHz to darken the delay and make it sit better in the mix
• Mix: 100% wet (since this is on an aux track)
3 Valhalla VintageVerb: Finish the chain with the Valhalla VintageVerb for a smooth, warm reverb that complements the overall vintage vibe.
Settings:
• Reverb Mode: Plate or Concert Hall (depending on the desired space and decay)
• Decay: 1.5 - 2.5 seconds (adjust to taste)
• Low Cut: Set around 100-150 Hz to avoid muddiness
• High Cut: Set around 8-10 kHz for a warm reverb tail
• Mix: 100% wet (since this is on an aux track)
Once you've set up the aux track with this chain, send the vocal track to the aux track and adjust the send level to taste. Start with a lower send level and gradually increase it until you achieve the desired balance between the dry vocal and the effects. Remember to listen to the mix as a whole and make any necessary adjustments to ensure the vocal remains clear and present in the mix.
Prompt:
Response:
I haven't decided whether this is scary or exciting.
My prompt:
I'm mixing a track by a female singer-songwriter. There is one vocal track, and a stereo track of an acoustic guitar. I have three hardware SSL equalizers and the following compressors: two 1176s Rev D, one LA3A, a Sta-Level, and an LA2A. Please give me specific eq and compression settings for each track, and also tell me whether the eq should be before the compressor for each track. I'm trying to get a modern country aesthetic. Thank you.
Response:
Mixing a modern country song with a female singer-songwriter can be quite enjoyable, and you have great gear at your disposal. Here are some specific EQ and compression settings you can start with for both the vocal and guitar tracks. Remember that these are just starting points; you should always adjust to taste and to the specific needs of the track.
Vocal Track:
SSL EQ:
* High-pass filter at 80 Hz to remove rumble
* Boost around 200 Hz with a wide Q (0.5 - 1.5 dB) to add warmth
* Cut between 300-500 Hz with a narrow Q (1-3 dB) to remove boxiness
* Boost around 4-6 kHz with a wide Q (1.5 - 3 dB) for clarity and presence
* High-shelf boost around 12-16 kHz (1-2 dB) for air
Compressor: LA-2A (for smooth, transparent compression)
* Peak Reduction: Set so that you're getting around 3-5 dB of gain reduction
* Gain: Increase to make up for the loss in volume due to compression
* EQ should be placed before the compressor in this case, so you're compressing the sculpted vocal sound.
Acoustic Guitar Track:
SSL EQ:
* High-pass filter at 100 Hz to remove low-end rumble
* Cut around 150-250 Hz with a wide Q (1-3 dB) to reduce boominess
* Boost around 2-3 kHz with a narrow Q (1-3 dB) for attack and definition
* High-shelf boost around 10-12 kHz (1-2 dB) for brightness
Compressor: 1176 Rev D (for faster attack and release, providing a more controlled and punchy sound)
* Input: Adjust so that you're getting around 3-7 dB of gain reduction
* Output: Increase to make up for the loss in volume due to compression
* Attack: Set between 10-20 microseconds (µs)
* Release: Set between 400-800 milliseconds (ms)
* Ratio: 4:1
Place the EQ before the compressor for the guitar track as well.
Once you have these initial settings, you may need to fine-tune the EQ and compression based on the specific characteristics of the recording and the singer's voice. Don't be afraid to experiment and trust your ears to achieve the desired modern country aesthetic.
Vocal Track:
SSL EQ:
* High-pass filter at 80 Hz to remove rumble
* Boost around 200 Hz with a wide Q (0.5 - 1.5 dB) to add warmth
* Cut between 300-500 Hz with a narrow Q (1-3 dB) to remove boxiness
* Boost around 4-6 kHz with a wide Q (1.5 - 3 dB) for clarity and presence
* High-shelf boost around 12-16 kHz (1-2 dB) for air
Compressor: LA-2A (for smooth, transparent compression)
* Peak Reduction: Set so that you're getting around 3-5 dB of gain reduction
* Gain: Increase to make up for the loss in volume due to compression
* EQ should be placed before the compressor in this case, so you're compressing the sculpted vocal sound.
Acoustic Guitar Track:
SSL EQ:
* High-pass filter at 100 Hz to remove low-end rumble
* Cut around 150-250 Hz with a wide Q (1-3 dB) to reduce boominess
* Boost around 2-3 kHz with a narrow Q (1-3 dB) for attack and definition
* High-shelf boost around 10-12 kHz (1-2 dB) for brightness
Compressor: 1176 Rev D (for faster attack and release, providing a more controlled and punchy sound)
* Input: Adjust so that you're getting around 3-7 dB of gain reduction
* Output: Increase to make up for the loss in volume due to compression
* Attack: Set between 10-20 microseconds (µs)
* Release: Set between 400-800 milliseconds (ms)
* Ratio: 4:1
Place the EQ before the compressor for the guitar track as well.
Once you have these initial settings, you may need to fine-tune the EQ and compression based on the specific characteristics of the recording and the singer's voice. Don't be afraid to experiment and trust your ears to achieve the desired modern country aesthetic.
My prompt:
Could you please also give me the target dBFS for each track? Thank you.
Response:
Certainly! When setting the levels for each track, it's essential to maintain proper headroom to avoid clipping or distortion. A good rule of thumb is to aim for an average level around -18 dBFS to -12 dBFS for individual tracks during the mixing process. This range allows for sufficient headroom and dynamic range.
Here are the target dBFS for each track:
* Vocal Track: Aim for an average level around -18 dBFS to -15 dBFS. This range will give you room for vocal dynamics and further processing.
* Acoustic Guitar Track: Aim for an average level around -20 dBFS to -16 dBFS. This range will provide enough headroom for the guitar's transient and dynamic peaks.
Remember, these are just guidelines to start with, and you may need to adjust the levels based on the specific characteristics of the recording, the arrangement, and the desired mix balance. Keep in mind that the overall loudness and final levels will be achieved during the mastering stage, so don't worry about achieving commercial loudness during the mixing process.
Here are the target dBFS for each track:
* Vocal Track: Aim for an average level around -18 dBFS to -15 dBFS. This range will give you room for vocal dynamics and further processing.
* Acoustic Guitar Track: Aim for an average level around -20 dBFS to -16 dBFS. This range will provide enough headroom for the guitar's transient and dynamic peaks.
Remember, these are just guidelines to start with, and you may need to adjust the levels based on the specific characteristics of the recording, the arrangement, and the desired mix balance. Keep in mind that the overall loudness and final levels will be achieved during the mastering stage, so don't worry about achieving commercial loudness during the mixing process.
My prompt:
What about the mix buss? I have a SSL X-Logic compressor, a Focusrite Red 3, and a Fairchild 670. Which one would you suggest me to place in the mix bus? And suggest starting settings. Thank you.
Response:
For a modern country mix, I'd recommend using the SSL X-Logic G Series compressor on the mix buss. It provides a transparent and smooth compression, perfect for gluing the mix together while preserving the clarity and punchiness of your tracks.
Here are some starting settings for the SSL X-Logic G Series compressor on the mix buss:
* Ratio: 2:1 or 4:1 (Start with 2:1 for more gentle compression, and switch to 4:1 if you need more control)
* Attack: 30 ms (This will allow transients to pass through while still controlling the overall dynamics)
* Release: Auto (This will automatically adjust the release time based on the input signal, resulting in a more natural and transparent compression)
* Threshold: Adjust the threshold so that you're achieving about 1-3 dB of gain reduction on the loudest peaks
* Make-up Gain: Increase the make-up gain to compensate for the volume reduction due to compression
Remember that these are starting points, and you should adjust the settings to taste while listening to your mix. It's essential to maintain a balance between controlling the mix's dynamics and preserving its natural feel.
Regarding the other compressors you mentioned, the Focusrite Red 3 and Fairchild 670, both are fantastic compressors but might be better suited for other purposes. The Fairchild 670 is a classic tube compressor with a rich and warm sound, ideal for vintage or character-driven mixes. The Focusrite Red 3 is a versatile compressor with a unique character but might not provide the same level of transparency and glue as the SSL X-Logic G Series compressor in this context.
Here are some starting settings for the SSL X-Logic G Series compressor on the mix buss:
* Ratio: 2:1 or 4:1 (Start with 2:1 for more gentle compression, and switch to 4:1 if you need more control)
* Attack: 30 ms (This will allow transients to pass through while still controlling the overall dynamics)
* Release: Auto (This will automatically adjust the release time based on the input signal, resulting in a more natural and transparent compression)
* Threshold: Adjust the threshold so that you're achieving about 1-3 dB of gain reduction on the loudest peaks
* Make-up Gain: Increase the make-up gain to compensate for the volume reduction due to compression
Remember that these are starting points, and you should adjust the settings to taste while listening to your mix. It's essential to maintain a balance between controlling the mix's dynamics and preserving its natural feel.
Regarding the other compressors you mentioned, the Focusrite Red 3 and Fairchild 670, both are fantastic compressors but might be better suited for other purposes. The Fairchild 670 is a classic tube compressor with a rich and warm sound, ideal for vintage or character-driven mixes. The Focusrite Red 3 is a versatile compressor with a unique character but might not provide the same level of transparency and glue as the SSL X-Logic G Series compressor in this context.
My prompt:
I tried your suggestions but I've decided the resulting mix is a bit too agressive. I've decided I want everything to be much more laid back and vintage-sounding. Please give me updated settings for the tracks and the mix bus compressor selection and settings. Thank you.
Response:
Certainly! If you're looking for a more laid-back and vintage-sounding mix, here are some updated settings for the tracks and mix bus compressor:
Vocal Track:
SSL EQ (same as before, but with more subtle adjustments):
* High-pass filter at 80 Hz to remove rumble
* Boost around 200 Hz with a wide Q (0.5 - 1 dB) to add warmth
* Cut between 300-500 Hz with a narrow Q (1-2 dB) to remove boxiness
* Boost around 4-6 kHz with a wide Q (1 - 2 dB) for clarity and presence
* High-shelf boost around 10-12 kHz (0.5-1 dB) for air
Compressor: Sta-Level (for a more vintage, smooth, and gentle compression)
*Input: Adjust to get 2-5 dB of gain reduction
*Recovery: Medium (set to 2 or 3)
*Output: Increase to compensate for volume reduction due to compression
Acoustic Guitar Track:
SSL EQ (same as before, but with more subtle adjustments):
* High-pass filter at 100 Hz to remove low-end rumble
* Cut around 150-250 Hz with a wide Q (1-2 dB) to reduce boominess
* Boost around 2-3 kHz with a narrow Q (0.5-1 dB) for attack and definition
* High-shelf boost around 8-10 kHz (0.5-1 dB) for brightness
Compressor: LA-3A (for a more vintage and laid-back compression)
* Peak Reduction: Adjust to get 2-5 dB of gain reduction
* Gain: Increase to compensate for volume reduction due to compression
Mix Bus Compressor:
Choose the Fairchild 670 for a warm and vintage-sounding mix bus compression:
* Input: Adjust so that you're achieving about 1-3 dB of gain reduction on the loudest peaks
* Time Constant (attack and release): Set to position 1 (0.2 ms attack, 0.3 s release) or position 2 (0.2 ms attack, 0.8 s release) for a more relaxed compression
* Threshold: Set as needed to achieve the desired gain reduction
* Output: Adjust to compensate for any volume reduction due to compression
Remember that these are starting points, and you should adjust the settings to taste while listening to your mix. Keep in mind the overall aesthetic you're aiming for and make adjustments accordingly. Trust your ears and enjoy the process!
Vocal Track:
SSL EQ (same as before, but with more subtle adjustments):
* High-pass filter at 80 Hz to remove rumble
* Boost around 200 Hz with a wide Q (0.5 - 1 dB) to add warmth
* Cut between 300-500 Hz with a narrow Q (1-2 dB) to remove boxiness
* Boost around 4-6 kHz with a wide Q (1 - 2 dB) for clarity and presence
* High-shelf boost around 10-12 kHz (0.5-1 dB) for air
Compressor: Sta-Level (for a more vintage, smooth, and gentle compression)
*Input: Adjust to get 2-5 dB of gain reduction
*Recovery: Medium (set to 2 or 3)
*Output: Increase to compensate for volume reduction due to compression
Acoustic Guitar Track:
SSL EQ (same as before, but with more subtle adjustments):
* High-pass filter at 100 Hz to remove low-end rumble
* Cut around 150-250 Hz with a wide Q (1-2 dB) to reduce boominess
* Boost around 2-3 kHz with a narrow Q (0.5-1 dB) for attack and definition
* High-shelf boost around 8-10 kHz (0.5-1 dB) for brightness
Compressor: LA-3A (for a more vintage and laid-back compression)
* Peak Reduction: Adjust to get 2-5 dB of gain reduction
* Gain: Increase to compensate for volume reduction due to compression
Mix Bus Compressor:
Choose the Fairchild 670 for a warm and vintage-sounding mix bus compression:
* Input: Adjust so that you're achieving about 1-3 dB of gain reduction on the loudest peaks
* Time Constant (attack and release): Set to position 1 (0.2 ms attack, 0.3 s release) or position 2 (0.2 ms attack, 0.8 s release) for a more relaxed compression
* Threshold: Set as needed to achieve the desired gain reduction
* Output: Adjust to compensate for any volume reduction due to compression
Remember that these are starting points, and you should adjust the settings to taste while listening to your mix. Keep in mind the overall aesthetic you're aiming for and make adjustments accordingly. Trust your ears and enjoy the process!
Prompt:
The mix bus compressor is making the mix sound a bit boxy. What changes do you suggest?
Response:
If the mix bus compressor is making the mix sound a bit boxy, there are a few adjustments you can make to remedy this:
Adjust the Time Constant (attack and release) settings on the Fairchild 670. Try using a faster release setting, such as position 5 (0.2 ms attack, 0.1 s release), to let go of the compression more quickly, which can help reduce the boxiness.
If the boxiness persists even after adjusting the Time Constant, consider using an SSL EQ on the mix bus to address the problematic frequency range. Insert the SSL EQ before the Fairchild 670 in the signal chain, and apply a subtle cut in the boxy frequency range. Typically, boxiness occurs between 300-500 Hz:
* Cut between 300-500 Hz with a moderate Q (1-2 dB) to remove boxiness
Another option is to switch the mix bus compressor to the SSL X-Logic G Series compressor, as it provides more transparent compression compared to the Fairchild 670:
* Ratio: 2:1
* Attack: 30 ms
* Release: Auto
* Threshold: Adjust to achieve about 1-3 dB of gain reduction on the loudest peaks
* Make-up Gain: Increase to compensate for volume reduction due to compression
Remember that these are just suggestions, and you should adjust the settings while listening to your mix. Trust your ears and make changes that best suit the mix and achieve the desired sound.
Adjust the Time Constant (attack and release) settings on the Fairchild 670. Try using a faster release setting, such as position 5 (0.2 ms attack, 0.1 s release), to let go of the compression more quickly, which can help reduce the boxiness.
If the boxiness persists even after adjusting the Time Constant, consider using an SSL EQ on the mix bus to address the problematic frequency range. Insert the SSL EQ before the Fairchild 670 in the signal chain, and apply a subtle cut in the boxy frequency range. Typically, boxiness occurs between 300-500 Hz:
* Cut between 300-500 Hz with a moderate Q (1-2 dB) to remove boxiness
Another option is to switch the mix bus compressor to the SSL X-Logic G Series compressor, as it provides more transparent compression compared to the Fairchild 670:
* Ratio: 2:1
* Attack: 30 ms
* Release: Auto
* Threshold: Adjust to achieve about 1-3 dB of gain reduction on the loudest peaks
* Make-up Gain: Increase to compensate for volume reduction due to compression
Remember that these are just suggestions, and you should adjust the settings while listening to your mix. Trust your ears and make changes that best suit the mix and achieve the desired sound.
My prompt:
Sounds great now, but the vocal is a bit buried behind the mix. What changes do you suggest?
Response:
If the vocal is getting buried behind the mix, you can make a few adjustments to help it sit better and be more present. Here are some suggestions:
1 Revisit the vocal track's compression settings:
• If you're using the Sta-Level compressor, consider increasing the Input level slightly to get a little more gain reduction (around 3-7 dB) and adjusting the Output to compensate for the volume reduction. This can help the vocal sit more consistently in the mix.
2 Adjust the vocal track's SSL EQ settings:
• Boost around 2-3 kHz with a moderate Q (1-3 dB) to enhance the vocal presence and intelligibility.
• You can also slightly increase the high-shelf boost around 10-12 kHz (1-2 dB) to add more air and clarity.
3 Adjust the acoustic guitar track's SSL EQ settings:
• Cut around 2-3 kHz with a moderate Q (1-3 dB) on the acoustic guitar track to create space for the vocal in the same frequency range.
• Consider cutting a bit more around 150-250 Hz (1-3 dB) with a wide Q to reduce the guitar's low-mid energy, creating more room for the vocal.
4 Automate the vocal track's volume:
• Use volume automation to bring up the level of the vocal during key sections or phrases where it tends to get buried.
5 Consider using parallel compression on the vocal track:
• Create an auxiliary track and insert a compressor with more aggressive settings (e.g., a higher ratio like 8:1, faster attack, and faster release) than the Sta-Level on the vocal track.
• Send the vocal track to this auxiliary track and mix in the compressed signal with the dry vocal to add more body and presence without losing the natural dynamics.
Remember to make these changes while listening to the mix, and adjust the settings to taste. Trust your ears and aim for a well-balanced mix that highlights the vocal without overpowering the acoustic guitar.
1 Revisit the vocal track's compression settings:
• If you're using the Sta-Level compressor, consider increasing the Input level slightly to get a little more gain reduction (around 3-7 dB) and adjusting the Output to compensate for the volume reduction. This can help the vocal sit more consistently in the mix.
2 Adjust the vocal track's SSL EQ settings:
• Boost around 2-3 kHz with a moderate Q (1-3 dB) to enhance the vocal presence and intelligibility.
• You can also slightly increase the high-shelf boost around 10-12 kHz (1-2 dB) to add more air and clarity.
3 Adjust the acoustic guitar track's SSL EQ settings:
• Cut around 2-3 kHz with a moderate Q (1-3 dB) on the acoustic guitar track to create space for the vocal in the same frequency range.
• Consider cutting a bit more around 150-250 Hz (1-3 dB) with a wide Q to reduce the guitar's low-mid energy, creating more room for the vocal.
4 Automate the vocal track's volume:
• Use volume automation to bring up the level of the vocal during key sections or phrases where it tends to get buried.
5 Consider using parallel compression on the vocal track:
• Create an auxiliary track and insert a compressor with more aggressive settings (e.g., a higher ratio like 8:1, faster attack, and faster release) than the Sta-Level on the vocal track.
• Send the vocal track to this auxiliary track and mix in the compressed signal with the dry vocal to add more body and presence without losing the natural dynamics.
Remember to make these changes while listening to the mix, and adjust the settings to taste. Trust your ears and aim for a well-balanced mix that highlights the vocal without overpowering the acoustic guitar.
Prompt:
Great. The vocal is a bit boring, though. How can I make it more interesting? I have a hardware Eventide H3000, and the following plugins: Waves H-Delay, Valhalla Delay, and Valhalla VintageVerb. Can you create a chain using this on an aux track to make things a tad more interesting? If using the H3000, please select an existing patch. Thanks.
Response:
To create a more interesting vocal sound, you can set up an aux track with a combination of delay and reverb effects using your Eventide H3000, Waves H-Delay, Valhalla Delay, and Valhalla VintageVerb. Here's a suggested effects chain to get you started:
1 Eventide H3000: Start with the "MicroPitchShift" preset (preset 519). This will provide a subtle pitch-shifting and stereo widening effect to give the vocal a more lush and polished sound.
Settings:
• Mix: 100% wet (since this is on an aux track)
• Pitch: Use the default settings, which are +9 cents and -9 cents for the left and right channels, respectively
• Delay: Use the default settings (about 20 ms for both left and right channels)
2 Waves H-Delay or Valhalla Delay: Follow the pitch-shifting with a delay effect to add depth and space to the vocal. You can use either the Waves H-Delay or Valhalla Delay, depending on your preference.
Settings (for either delay plugin):
• Delay Time: 1/4 note or 1/8 note, synced to the song's tempo
• Feedback: 15-25% (adjust to taste)
• Low Pass Filter: Set around 4-6 kHz to darken the delay and make it sit better in the mix
• Mix: 100% wet (since this is on an aux track)
3 Valhalla VintageVerb: Finish the chain with the Valhalla VintageVerb for a smooth, warm reverb that complements the overall vintage vibe.
Settings:
• Reverb Mode: Plate or Concert Hall (depending on the desired space and decay)
• Decay: 1.5 - 2.5 seconds (adjust to taste)
• Low Cut: Set around 100-150 Hz to avoid muddiness
• High Cut: Set around 8-10 kHz for a warm reverb tail
• Mix: 100% wet (since this is on an aux track)
Once you've set up the aux track with this chain, send the vocal track to the aux track and adjust the send level to taste. Start with a lower send level and gradually increase it until you achieve the desired balance between the dry vocal and the effects. Remember to listen to the mix as a whole and make any necessary adjustments to ensure the vocal remains clear and present in the mix.
Prompt:
Great, but that H3000 patch you selected sounds a bit weird and makes the singer sound a bit off-pitch. Can you give me a list of other presets to try? Preferably patches that have been used in other country songs.
Response:
I apologize for the confusion with the H3000 patch. Here's a list of alternative H3000 presets that can be used to create more interesting vocal effects without making the singer sound off-pitch. While it's difficult to confirm the exact presets used in specific country songs, these presets are popular choices and can fit well within the country genre:
1 Patch 101 - "Crystal Echoes": This preset provides a combination of delays and pitch-shifting, with subtle pitch variations that add texture and shimmer to the vocal without sounding off-pitch.
2 Patch 521 - "Dual 910 949": This preset is based on the classic Eventide H910 and H949 harmonizers, providing a gentle pitch-shifting effect with a stereo spread. The pitch variation is subtle, adding thickness and richness to the vocal without affecting the singer's pitch noticeably.
3 Patch 537 - "MicroShift": Similar to the "MicroPitchShift" preset, this patch also provides subtle pitch-shifting and stereo widening effects. However, the pitch variation is slightly less pronounced, making it a more conservative option for adding width and depth to the vocal.
4 Patch 103 - "Stereo Delays": If you prefer to avoid pitch-shifting altogether, this preset provides simple stereo delays to add depth and space to the vocal. You can follow this with the delay and reverb plugins in the aux track chain as suggested earlier.
To achieve the best results, try each of these presets within the context of your mix, and adjust the send level to taste. Remember that you can also adjust the settings within the H3000 presets if needed. However, it's generally a good idea to keep any pitch-shifting subtle to avoid affecting the singer's pitch noticeably.
1 Patch 101 - "Crystal Echoes": This preset provides a combination of delays and pitch-shifting, with subtle pitch variations that add texture and shimmer to the vocal without sounding off-pitch.
2 Patch 521 - "Dual 910 949": This preset is based on the classic Eventide H910 and H949 harmonizers, providing a gentle pitch-shifting effect with a stereo spread. The pitch variation is subtle, adding thickness and richness to the vocal without affecting the singer's pitch noticeably.
3 Patch 537 - "MicroShift": Similar to the "MicroPitchShift" preset, this patch also provides subtle pitch-shifting and stereo widening effects. However, the pitch variation is slightly less pronounced, making it a more conservative option for adding width and depth to the vocal.
4 Patch 103 - "Stereo Delays": If you prefer to avoid pitch-shifting altogether, this preset provides simple stereo delays to add depth and space to the vocal. You can follow this with the delay and reverb plugins in the aux track chain as suggested earlier.
To achieve the best results, try each of these presets within the context of your mix, and adjust the send level to taste. Remember that you can also adjust the settings within the H3000 presets if needed. However, it's generally a good idea to keep any pitch-shifting subtle to avoid affecting the singer's pitch noticeably.
. But if I had a YouTube channel (ahem, 
