Plugin chain order (vocal track)

[sadkin]

my vocal chain is similar but with alternate products. Also, I always use spatial effects like delays/chorus'/reverbs on sends but it looks like that is been covered earlier.

Due to my current UAD DSP limitations and in the spirit of making old school commitments to tracks, I always render my vocal to UAD studar or Ampex (depending on the track) as if i've recorded directly to tape (that said, 99%, my settings while using the tape plug-in's aim for the more subtle, warm & gooey-ness so my settings are fairly traditional, I might back off a little extra on the hum and hiss).

from that point forward:

1: Fab filter ProDS
2: Fab Filter ProQ (for subtractive EQ & clearing out the sludge at the bottom)
3: waves NLS
4: UAD LA2A (mk II) or 1176 (mkII) source material depending
5: UAD API 550A

that is it for the most part.

You definitely have a good start. I generally (not every time) try and think about the order/sequence of how these tools would be applied or inherently 'adhered' to OTB. For instance, there would be NO console fx box - the REAL console supplies that ever so slight tonal color, but I do ask myself "at what stage would the track run through the mixer?" then begin to setup my effects in that way. That said, there could be an argument for putting the Waves NLS ahead of the ProDS and ProQ but I have made some choices there and prefer this order.

Anyways,

Good luck.

[Halma]

Well, at first make sure your stems are as good recorded as they can be. After that gainstage if you like (some do, some don't).

Now ask yourself what's wrong and how to fix it AND how to put it into the mix. For me there is more or less only one rule: corrective editing before creative editing.

For vocals I normally adjust my LC & HC filters first, perhaps an eq for some corrections (mostly narrow q settings), then a compressor with internal LP/HP SC for taming the dynamics, a gate "to make dem tight", a de-esser if needed, another eq for some colour (mostly wide q settings), done.

The vocals should be clean now & ready for further action.

Normally I am using only ping pong/tap delays or a reverb in ER mode for some space but I like them more "in da face" and dry. Sometimes some distortion or enhancer with subtle settings if the vocals sound a little bit lost in the mix and asking for more presence.

Cheers,
Sebastian

[BERFAB]

Am I the only one that looks at 10 effects in a vocal chain and thinks that maybe the source vocal needs more work?

I'm not an engineer, and I know that there are good technical reasons for each of the employed effects. And, I also assume that those that are much more skilled than I are able to apply them judiciously. But personally, I find that if my effect chain gets too long, it may be because I'm compensating for things that I may have caused earlier in the chain, or the original vocal just isn't up to snuff.

So what do I do? Well, I cheat. Sorta. Once the source recording is as good as it's going to get, I go to the experts, which, in my case means I either break out Alloy 2, or one of the Waves Signature vocal packages. I like the CLA the best, but they're all good.

Now, I know any of those plugs is equivalent to putting 6 or 7 effects right on the track, but at least someone smarter than me is guiding the mix.

In a perfect world, I like to think that my vocals are so pristine that all I need is some compression with a touch of delay or 'verb. That, and I ride a unicorn to work every day...

Cheers
-B

[J4R1O]

Hi everyone,

and thank you for your replies. I've read all of them.

Well, actually there are no 10 effects/plugins active simultaneosly. The King's Microphones, Aphex and delay are not used on every track. But forgot to mention Sonar's ProChannel EQ which I use to cut the lows.

Actually the source track sounds really good, maybe too good (AEA R84 + Sebatron), but 'cos I like it more "lo-fi" I like to use King's Microphones, REDD and KMT to make the vocals sound a little bit more "vintage".

Reverb and delay are on a send, so my basic vocal chain is: de-esser, compressor, REDD, VC Model 670, KMT and Vocal Rider.

And speaking of Vocal Rider, I just purchased the HoRNet Autogain, but I'm not sure how to use it properly on Sonar's sidechain. Do I need to create some kind of a second master bus for the reference track where to chain HoRNet? Song I'm mixing right now has 23 tracks and that includes the drums (Superior Drummer on multichannel mode).


Thanks,

J4R1O

[B.A.Tech.]

Your recording chain is good.Don't add lots of plugins and use main mixing plugins(eq,de-esser,comp)in my opinion.

For me;


1. Kramer Master Tape

2. Waves Vocal Rider

3. Sonar VX-64 (For main "skeletal")

4. T-RackS Vintage Compressor Model 670 (For fine tunning)

5. Waves Abbey Road REDD.31-57 (You can use eq for retouching)

So this is the plugin chain order I should try? First tape and last REDD?

Think like outboard recording and mixing.

It's recording chain;
Mic->Preamp->Recording console(it's your DAW)->Tape Recorder

And it's mixing;
Tape Recorder->Mixing Desk In->Effects->Mixing Desk Out

Normally consoles have input and output circuits.But REDD has no this function.You can use it where you want.In my projects i use console plugin(StripBus)in the last.

[Eddie TX]

And speaking of Vocal Rider, I just purchased the HoRNet Autogain, but I'm not sure how to use it properly on Sonar's sidechain. Do I need to create some kind of a second master bus for the reference track where to chain HoRNet? Song I'm mixing right now has 23 tracks and that includes the drums (Superior Drummer on multichannel mode).

What I do is route everything except vocals to a separate Instruments bus that feeds the master. Assign a send from that new bus to Hornet's input -- the Hornet plugin should be inserted on the vocal track -- then tweak the controls until things sound natural. Ideally, the plugin will maintain a good balance between vox and instruments without weird pumping or other obvious effects.

Cheers,
Eddie