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What's your perfect vocal signal chain? (06-29-01)


What's your perfect vocal signal chain? mic, preamp, compressor, EQ, recorder, etc? Why?
July 6, 2001 @02:48pm

Voiceover chain:
Neumann 190i (mid) with a Popper Stopper to Symetrix 528 (gate on, compression off), to Aphex Compellor 320 to HHB 850 CD-RW. It's larger than life!
July 6, 2001 @02:52pm

Neumann U47, Tube Tech Mic Pre, Tube Tech Program eq and mid eq, Tube Tech compressor, Apogee AD-1000 888/24 POW!! IT's a hit!
July 6, 2001 @02:53pm

Stayne 'magmike' into an Avalon M5 pre, into a Lucid2496 AD converter, into a DAW with an external Lucid GEN6 clock, very light processing with TC voicetools plug-in.
July 6, 2001 @02:54pm

shure ksm44, pop filter (4 ply nylon?), 20ft. monster performer 500 xlr, HHB radius 10 cl*** A tube pre, 5ft. monster 500 xlr, MOTU 1296 @ 24bit/88.2khz, G4... all processing through plug-ins. it's kind of a universal truth, the more simple, the more perfect.
July 6, 2001 @02:54pm

Great Singer singing great song with great accompaniment into:
Lawson L47MP microphone/cardioid pattern to:
BLUE kiwi mic cable to:
Daking 52270 or Tube Tech MP1a preamp (depends on singer) to:
Monster cable to:
888/24 Pro Tools interface
July 6, 2001 @02:54pm

Hi there,
I hope I am responding to the right adress with regards to this answer.
Here's what's been my best signal chain; for some this might sound absurd, while others might find it complicated, and yet some might be intrigued, but all I have to say is that this worked perfectly for me, and always has; has kind of stood the test of time for me.
I have had phenomenal results with this process in every aspect; sonic quality, dynamics and little 'magical variables' that make this chain perfect for me.
I use a Rode NTII Mic (I know most of you audiophiles will probably START laughing at this point, but you would also STOP that laughter if you were to hear the final product....as with all those that have) at the top of my chain, plugged into my Avalon Preamp VT737SP, from here it goes into a BSS DPR 402, after this point back into the console, a Soundcraft Ghost, and straight to disk.
The vocal sails into the mic, from here it hits the Avalon, this is where I will use compression so that only the loud regions receive a mild squash. I will roll-off the lows as needed, and possibly EQ (after compression) some frequencies if I feel it necessary, from here into the BSS unit. I mainly use this unit as a frequency dependant compressor, or desser, with possible limiting, from here into the Ghost, at this point I usually won't use any more EQ, the console is more of a signal router/mixer, and from here straight onto the hard disk.
I use Emagic Logic Platinum, and hence have numerous plug-ins to my disposal. During the final mixdown of the vocal I will employ the Waves Ren***aince Compressor (plug-in), for very mild compression, mainly only the loud regions, I say mild since I want the dynamics present, just not too volatile, and thus I will set the ratio low, to where there might only be 1db 'squash' in soft parts and a 3db squash in the louder parts. From here, the vocal goes into the TC Electronic Limiter (plug-in) I find this particular plug-in in comparison to other top brands very 'musical' in a way hard to describe, it works gently with transparency, even when hit hard. I will use this for loud peaks that are 'wild'. From here I will go to the Avalon once again, employ it's EQ and use this unit as my main Compressor, and then again the BSS for compressing certain frequencies mainly any problematic mid range, at this point I go into the Ghost, where I might use (more) EQ sparingly. This is also an EQ I find very musical, it gives the program material a very pleasant tone (ofcourse The Avalon is phenominal too for this purpose). From here straight to the 'final mix tape'.
There are times I may employ other plugins, such as the Waves C4 which I find invaluable too, and probably the most usable in any scenario, but especially cases where serious 'surgery' is needed.
This 'chain' has given me phenominal results, even top engineers and producers are astonished at the results, not to mention the artist! Astonished because I am able to achieve the result at my Project Studio that didn't cost $1 million to equip!
July 6, 2001 @02:56pm

great singer, great song with good-arrangement.
U-87, M-149 with monster cable to tube-tech pre-amp,
tube-tech comp or Urei LA2A, LA4,
01. to 2" ,A-827 +9, 355 n/wb, 30ips no dolby. (that's for analog)
02. thru apogee AD-8000 to Pro-Tools/ Mix Cube or PCM 3348 HR (digital)
keep recording......
July 6, 2001 @02:56pm

This is the variable part of the chain:
Neumann M149 to Daking 52270 pre/EQ
Depending on the singer, I'll use different pres...Oram MWS, Manley DMMP
Also the M149 often needs to be padded....Shure Pad at the PSU.
This part of the chain is always inserted into the Vox channel (tape return) Insert point:
Manley ELOP to M***ive P***ive EQ.
The ELOP is an electro-optical compressor, similar to an LA-2A, Summit TLA-100....they tend to be very smooth on vocals. A singer can cause the comprssor to jump to -15db of compression without hearing the compressor action.
The M***P*** is sweet on anything. I'll use the HP filters to dial out the low-end that I don't need, the mid-band to cut problem frequencies and the high band (set to boost/shelf) to add air. A few mid-tweaks and the vocal will sit anywhere you want in the mix.
The reason for using the Daking micamp with the M149 is that I usually get best results with a SS micamp when using a Tube mic. This can vary, depending upon the source, but it's important to listen for subtle distortion when using such a Mic. It can sound great but be unappropriate for the session. This pre, which is similar in design to a Neve 1272, API 512 and Trident A, is quick and full-sounding. Usually a great compliment for a good Tube mic.
July 6, 2001 @02:57pm

Come on people, don´t just holler out names of "got-to-have" equipment. You can get great results with an expensive OR a cheap setup. I have heard not-so-great recordings done with high-end gear and absoluteley brilliant ones with much much cheaper gear AND vice versa. Those who claim it´s impossible to sound as good with cheaper gear are the ones who never did serious A-B comparisons over a reasonable period of time - OR they can´t listen objectiveley (which is in fact hard when u know you listen to that $5000 vocal-channel...but it´s necessary)!
It´s not the equipment, it´s the song, the musicians, the instruments, the producer.
p.s. - I own and owned a lot of high end gear. But in contrast to most people I listen and compare without prejudice.
Personally I like RodeCl***ic Tubemic or Manley Cardioid or through Telefunken V78 or TLA micpre through TLA Tube-EQ through TLA or ART ProVLA compression.
And I can promise you that if I only use a Rode NTK through an ART TubeMP and ART compressor, the results would not be weaker sounding, just slightly different.
July 6, 2001 @02:57pm

My perfect vocal signal chain is...(excluding a change in mic for that special vocalist):
Neumann M149 tube mic
Neve 1272 pre
LA-2 vintage compressor
---straight to tape.
My 2 cents.....
July 6, 2001 @02:57pm

I have several options but here are two of my favorites:
1. Neumann M149 with pop screen to Manley VoxBox and direct to tape or AD converter.
2. Sure SM57 to Focusrite Red 7 and direct to tape or AD conv.
3. Any decent mic to any decent Preamp direct to tape or AD converter.
I just try to keep the chain as shorter as possible.
Experimentation is the name of the game.
Happy Recording!
July 6, 2001 @02:57pm

888io24 AES input into ProToolsMix
all clocked from a Master AardSyncII
July 6, 2001 @02:58pm

SM58 going straight into the tascam 4 track.
blue collar audio.
July 6, 2001 @02:58pm

how bout the real deal...sennheiser mkh shotgun/ plus the dbx 376 tube strip
July 6, 2001 @02:58pm