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Post by gouge on Jul 21, 2014 21:27:02 GMT -6
so I'm rewiring the studio. yup, that old chestnut.
I'm taking some of the gear from the aux busses and intending to normal it together on one buss to form a vocal chain.
has anyone had any issues plonking a pitch shifter after the pre-delay and before the reverb. reason being, delay is a mono in/out. pitch shifting is mono in/stereo out. so the setup would be
d1500 mono delay -> spx90 pitch shift stereo out -> rv1 spring reverb.
I'm also gong to add an eq and comp to that chain. wondering what peoples experiences are with eq and verb. eq/comp before or after verb. I'm leaning to before.
taking it a step further, what's getting peoples juices flowing chain wise for vocals. |
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Deleted
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Post by Deleted on Jul 21, 2014 22:35:01 GMT -6
I like a stereo delay on a send, 1/4 on one side, 1/8th on the other (sometimes I put a De-esser on the end of it to tame the esses from echoing out a lot), Mono reverb (usually a short plate setting).
My Lead vocal track is VCC (trident is what I always use at mix down), CLA1176 Blue, SSL Channel and Waves RenDeesser. I send this to the mono verb.
Stereo double inserts are identical (occasionally I back off the top end of them) and they get sent to the stereo delay. These are hard panned Left and Right and automated throughout the song. Generally backed off during verses or muted and opened up to widen the choruses.
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Post by gouge on Jul 22, 2014 1:36:16 GMT -6
cheers Jordan.
trying to get my head around your setup there.
so you have a mono aux send and stereo aux send.
mono has a plate and gets the vox
stereo has the delay with a mono verb on each side and gets a stereo bus.
is that right?
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Post by svart on Jul 22, 2014 8:31:53 GMT -6
1176 and LA2A on inserts with TC M-one and LXP15 on sends. M-one set for the room emulating reverb and the LXP15 set for delays with ambiance. Mix to taste.
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Post by tonycamphd on Jul 22, 2014 9:13:27 GMT -6
1176 and LA2A on inserts with TC M-one and LXP15 on sends. M-one set for the room emulating reverb and the LXP15 set for delays with ambiance. Mix to taste. cool set up, did you know JW does some great lxp15 mods 8) Really takes the blanket off that sucker... just sayin bro |
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Post by svart on Jul 22, 2014 9:31:54 GMT -6
1176 and LA2A on inserts with TC M-one and LXP15 on sends. M-one set for the room emulating reverb and the LXP15 set for delays with ambiance. Mix to taste. cool set up, did you know JW does some great lxp15 mods 8) Really takes the blanket off that sucker... just sayin bro That's cool, but that dark density is the lexicon sound, which is what I was after. Beefs up the vocals without a bunch of work. |
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Post by tonycamphd on Jul 22, 2014 9:51:12 GMT -6
cool set up, did you know JW does some great lxp15 mods 8) Really takes the blanket off that sucker... just sayin bro That's cool, but that dark density is the lexicon sound, which is what I was after. Beefs up the vocals without a bunch of work. it's still every bit the lexicon sound, just more depth/hifi, which i totally dig on verbs, the more hifi/depth the better imo. |
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Post by matt on Jul 22, 2014 9:59:17 GMT -6
Here's my little slice of madness for voice, end-to-end.
For recording:
Cathedral Pipes Notre Dame > A-Designs Ventura or Slate Fox, set to Modern > STA > Burl B2 ADC > Symphony S/PDIF in.
For mixing:
Inserts: Waves Scheps 73 > Fab Pro-DS > Fab Pro-C or Soft-Tube CL1B or Waves PIE > Fab Pro-Q > Waves NLS, set to Spike, or Mike
Sends: A) Echoboy, set to 1/8 and 1/16 note delays and Studio Tape with not very much feedback; B) UAD Ocean Way, set to a vocal config, Studio B.
I have taken to writing automation on just about every aspect of vocal performances: Riding volume (doing this a lot more lately), send levels, comp threshold, width of delays/feedback level in Echoboy, etc etc etc. Gotta love ITB processing.
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Post by gouge on Jul 22, 2014 17:06:02 GMT -6
1176 and LA2A on inserts with TC M-one and LXP15 on sends. M-one set for the room emulating reverb and the LXP15 set for delays with ambiance. Mix to taste. that's a tidy setup.
I tried for the same simplicity myself but once I'd gone through every reverb I had the spring reverb just sounded the best to me for vocals. so I gotta plug a heap of guff in before it to get the full features of a digital box.
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Post by gouge on Jul 22, 2014 17:12:25 GMT -6
interesting reading what everyone likes.
my full vox chain on mixdown is only light compression as I compress fairly hard on the way in but I do use an art vla in parallel on vox. I track through a symetrix 501 limiting and into a dbx160sl set at 4:1. most times I'm hitting them fairly hard.
my main room verb is a rumour
my smaller room verb is a v-verb on wood room.
I have a couple of mono delays panned L/R for guitars via desk channels so I can feed those back into one of the main verbs.
drums I've just started mucking around with a rev7. I really like the sound of the rev 7 and it has an eq in it. could even see it replacing the v-verb at some point.
then i've got a flange/chorus setup that rarely gets used. occasionally i'll mix some vocals through it or acoustic guitar but usually if it wasn't used during tracking it doesn't happen.
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Post by svart on Jul 23, 2014 7:07:02 GMT -6
interesting reading what everyone likes. my full vox chain on mixdown is only light compression as I compress fairly hard on the way in but I do use an art vla in parallel on vox. I track through a symetrix 501 limiting and into a dbx160sl set at 4:1. most times I'm hitting them fairly hard. my main room verb is a rumour my smaller room verb is a v-verb on wood room. I have a couple of mono delays panned L/R for guitars via desk channels so I can feed those back into one of the main verbs. drums I've just started mucking around with a rev7. I really like the sound of the rev 7 and it has an eq in it. could even see it replacing the v-verb at some point. then i've got a flange/chorus setup that rarely gets used. occasionally i'll mix some vocals through it or acoustic guitar but usually if it wasn't used during tracking it doesn't happen. I've had 4 V-Verbs, mainly broken ones from EBAY that I've fixed up. I got one, thought I liked it, so I got another, but I was always fighting with the sound of it. It was just too clear and still had that digital modulation sound right in the midrange. I sold those and stopped using reverb for a while. Then I came across another pair of V-Verbs and decided to give them a try again.. I used them for a while and decided that I didn't care for them again. I found a used TC M-one and fixed it, and it's been the best hardware reverb I've ever had for various room reverb sounds. The REV7 I've used and it's OK. If i could find a cheap one I'd get it. I also have the SDR1000, which is OK but only does a few things well. The rest is typical 80's cheese. It's pretty much the same as the Sony reverb of the time as it's made by sony for Ibanez. |
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Post by svart on Jul 23, 2014 7:14:24 GMT -6
1176 and LA2A on inserts with TC M-one and LXP15 on sends. M-one set for the room emulating reverb and the LXP15 set for delays with ambiance. Mix to taste. that's a tidy setup.
I tried for the same simplicity myself but once I'd gone through every reverb I had the spring reverb just sounded the best to me for vocals. so I gotta plug a heap of guff in before it to get the full features of a digital box.
Thanks! I've been finding that more than one reverb is the trick on vocals. Using just one never seems to get the thick, supporting sound that I hear on professional recordings. On the LXP15 there is a setting that puts both a L/R delay and an ambiance reverb together and I can adjust each. That acts as two separate things I would normally put together anyway. The M-one acts more as the glue to give the vocals that "in the room with the instruments" type of sound. |
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ericn
Temp
Balance Engineer
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Post by ericn on Jul 26, 2014 13:36:06 GMT -6
interesting reading what everyone likes. my full vox chain on mixdown is only light compression as I compress fairly hard on the way in but I do use an art vla in parallel on vox. I track through a symetrix 501 limiting and into a dbx160sl set at 4:1. most times I'm hitting them fairly hard. my main room verb is a rumour my smaller room verb is a v-verb on wood room. I have a couple of mono delays panned L/R for guitars via desk channels so I can feed those back into one of the main verbs. drums I've just started mucking around with a rev7. I really like the sound of the rev 7 and it has an eq in it. could even see it replacing the v-verb at some point. then i've got a flange/chorus setup that rarely gets used. occasionally i'll mix some vocals through it or acoustic guitar but usually if it wasn't used during tracking it doesn't happen. I've had 4 V-Verbs, mainly broken ones from EBAY that I've fixed up. I got one, thought I liked it, so I got another, but I was always fighting with the sound of it. It was just too clear and still had that digital modulation sound right in the midrange. I sold those and stopped using reverb for a while. Then I came across another pair of V-Verbs and decided to give them a try again.. I used them for a while and decided that I didn't care for them again. I found a used TC M-one and fixed it, and it's been the best hardware reverb I've ever had for various room reverb sounds. The REV7 I've used and it's OK. If i could find a cheap one I'd get it. I also have the SDR1000, which is OK but only does a few things well. The rest is typical 80's cheese. It's pretty much the same as the Sony reverb of the time as it's made by sony for Ibanez. The M one is underrated, and a steal used! But my favorite cheap verbs these days are Yamaha Pro3R ( 2 space face plate makes it a bit easier to program). And for. $75 you can't beat a used Reflex! I have more than enough outboard Verb and delay But I keep buying! |
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