KING VOCAL EFFECTS CHAIN!!!

[JNeffLind]

I remember seeing a topic idea similar to this a week or two ago asking about vocal effects in Reason.

If I remember correctly Selig's stuff got lots of love, as well as the TSAR, RE-2A and some others etc. (Will Carve join the list?))

So my question is, what is your ideal vocal processing chain. I'm currently working with Selig's trio and then the baby TSAR which I got in the last sale. Not sure if I'm using the stuff right, but I am making my stuff sound better than it did. It just doesn't sound as good as I'd like. 


So if you'd like to comment on any of this, feel free:
What devices? In what order? How much does order matter? (forgive me if this is super noob to not know whether to verb or comp first, fml)  Do you ever use presets? If not, do your patches have general starting values for certain controls?

[Tincture]

Ok, I didn't read all of that, sorry...

But my vox chain tends to be:

Mono source>
Selig DeEsser>
RE-2A>
Selig Leveler>
Whatever stereo send, or nothing... then Reverb Send(s)

[Last Alternative]

First is Synapse eq (mainly for HP & cuts), then leveler, then maybe a scream for tape saturation, de-esser always last. Those all inserts. Send FX can be a few different things like reverb, chorus, and delay.. Sometimes unison instead of chorus, sometimes just reverb. It all depends on the song of course.
Can't say any specific knob settings, just whatever works.

[Shokstar]

mostly I´m using my Motu DSP tools.

Motu EQ 
Motu Comp  for peak compression


in Reason
EQ 
Selig Levler 
DCAM ChanComp 
Dyna-Mite as expander 

FX:
Uhbik-G
Reverbs
Chorus 
Distortion 

and sometimes I´m using no RE´s for my vocals

[jjpscott01]

I use Synapse EQ first to cut out some low end. Then usually Selig's Leveler or RED ROCK's C1L1 compressor. I don't think i could live without a little scream on vocal tracks and lastly I actually love synchronous built in reverb for creating some space. In the last day or so ive played with GClip on a vocal I recorded with my buddy. We both loved the saturated sound it gave us on the more intense chorus vocal so that could make it's way in the chain as well. Great thread topic BTW. I'd love to hear more of you guys on this

[virtualpt]

Great thread topic, I'd be really interested to hear what others are using. I have no idea if I'm doing this the best way, but I tend to use:

Inserts (in order):
Selig De-esser
RE-2A or MooTube

Eq using the SSL channel EQ

Send:
TSAR-1 - set for early reflection
TSAR-1 - for room reverb
Synapse DR1 - for longer reverb tails

(I adjust the sends & reverb returns to get the blend of these that I want. I sometimes add an EQ after each reverb to tailor the reverb EQ - generally the M-Class)
I also calculate delay times & set the reverbs so that they are timed with the tempo of the track - I will then adjust these slightly off the 'perfect' settings, just to make it sound a bit more organic)

[Concep]

When I mix other peoples vocals, I sometimes use FET, RE2A or C1-L1, but here is my vocal chain when I mix my own vocals:

Selig Leveler
Selig De-Esser
Selig Gain
MClass EQ or Trident

I'm with OP in that I love using TSAR, but only as a send effect because it uses too much CPU.

There are 2 other send FX that I like for vocals.  
In the FSB, there is a combinator called something like Vocal Doubler.  That one is cool, although I sometimes tweak the delay times.  They are usually short like 12-25ms.
The other send effect I like is a spider split into several Titus (or DDLs) set to 2 and 3 and panned almost left and right.  I then low pass them at about 5-6khz to keep them from getting in the way of my main vocals.  I

[Shokstar]

maybe we should make a short A/B example for the community?

[EthicistBeats]

^^^^^ That would be very cool indeed

[JNeffLind]

Thanks to everyone for contributing. I love the idea of having some A/B examples of what people are using. If someone was feeling ambitious seems like it could make for a pretty cool tutorial as well.

Another question is whether the order is pretty much a personal choice or is there kind of an accepted order, always eq and then compress, (or the reverse, I don't know) or is this also a creative choice in terms of what kind of a sound one wants?

[Chango]

What I want to know if it makes a difference on if someone is singing or rapping is the same principal for what volcal chain you use. Sometimes I like to eq a high pass filter to cut out the lows , then then selig de eser then his leveler,then i use a light compression RE 2A for its color then I eq again. Lightly around 4 k for pressents and then limiter either another RE 2A lightly and then sometimes I'll add NaviRetlav tube saturater for some little tube saturation.

[rabu]

Interesting thread!
IMHO, every vocal talent deserves their very own custom vocal chain, depending on voice, style / type of music, experience (how to handle proximity effect and own voice), room (dry / live), pre-amp, gain etc.
However, I love the idea of comparing different vocal chains for some inspiration.

Attached, a combinator with an example. Here is a quick run through in case you don't want to download or do not have the required REs:

1. Selig De-Esser
- tiny reduction, max, 1.7 dB
- some songs work well without any de-essing

2. EQ
- Neve 1084 - any EQ with low-cut and broad Q will just be fine
- Low-Cut 70 Hz (loads of rumbling in his vocals, needs to be cut before compressor)
- Low Band 220 Hz, +2,25
- Mid Band broad 1.6 kHz, between 0 and +0,7
- High Band 12 kHz, between 0 and +1,2

3. Compression
- like 1176 for this voice, smooth and warm
- ratio about 3:1
- attack fast (9 of 10)
- release medium slow (4.5 of 10)
- look ahead enabled
- adjust input and output to taste ("drive" the compressor)

This works well as a bus with all lead vocals of this specific singer routed to it. Usually, TSAR for room as send fx.

[rabu]

Another question is whether the order is pretty much a personal choice or is there kind of an accepted order, always eq and then compress, (or the reverse, I don't know) or is this also a creative choice in terms of what kind of a sound one wants?

I think this is a creative choice. However, I tend to have an EQ before the compressor to clean up low-end rumbling (HPF) or unpleasant high reflections (LPF, depending on the room and the voice). Then the compressor, then perhaps if desired another EQ afterwards.

The idea is to not have the compressor work heavily on things you intend to clean up in the mix afterwards anyway.

I'm sure other people do it different, though