Interesting!@@zorroinhell5549I always record vocals through a compressor! If you don't want to and feel you can't hear bad compression I understand. Typically people are told not to compress on the way in because they can't hear how to set up compression. However, every great engineer I know does record compression on the way in.
In love with your compression settings. Just tickling the meters. So many producers these days slam them past 5-7db and once you go that hard you can never get back those dynamics. Great video!
Thanks Big W! I’m always blown away by the generosity of sharing your craft, not only in detail but also with a charismatic delivery that is focussed on motivating and reinforcing a simple message to beginners on a tight budget or even the proficient who have fallen into stagnation-YOU CAN DO THIS- your many years of hard yards in audio bunkers with such knowledgeable engineers and producers carries a weighty choice of what does one do with this brain full of audio wisdom? Share it in the most humble manner to honour your mentors, preserve and promote the past, give others the same opportunity to excel in the current digital climate, accelerating so fast it threatens to bury the basics of a craft born from the simple joy of listening to music. And good manners, you always have a strong sense of good manners, from the first plap vid to now, you make good manners look very cool. All the best, have a lovely day.
So much all of this! Of course I want the U-47! But I get great results all the time with my Rode NT-1 through the old Tascam console and straight into the iD44. I don't need compression with the console padding the front end- I can just set the DAW so my levels hit around -12dBFS and record. Sometimes I'll throw on plugins for monitoring comfort depending on the style, but nothing in the DAW channel insert is 'going to tape,' so I can change it all out later. Good budget system: clean flat neutral mic, warm clean pres, a little analog in the path, and essentially unlimited editing and processing in the box. Once I realized the power of this workflow I pretty much abandoned the hardware concept. I will probably upgrade mic, preamps and add EQ to the front end later, but I'm getting great results with this basic stuff just like you said Warren!
The best advice! This is what I’ve pretty much been doing since I started recording couple years ago. Got myself a lewitt 441 flex and last year I invested in soothe2 and it’s just amazing! I’m always blown away with how good Lewitt mics sound!
I was download your video from almost 6 years ago about how to put the voices on their place and i try to follow your steps. All about. Highpassing. Varius stages of eq, de essing and compresión. Track multiplicated with saturation and low tune voice. And the most important and autotization of the gain and faders. I use a really cheap mic that gift me a friend. And the sound its really good and impresive from that mic
Thankyou Warren..for showing us how to Track vocals..I have been following you ..Ian shephard.and Graham Cochran for over 10 yrs now..live your content... Recording vocals are so important about capturing a performance..I would track with compression but nowadays I do clean..set a Vu meter to -20 set my gain then do the shinks and snizzels later .Great video ..
Hi! Big fan of yours, watched dozens of your vids! Besides providing top notch industry knowledge & tips, I was truly shocked how good your voice sounds when singing! That's a good chunk of vocal you've got there! Keep up the great work, cheers from Poland!
Back in the early 1980s I tracked a lot of music on a very special Trident B-Range combined with an MTR 90. The only time I would use an 1176 was on bass and occasionally on vocals. Limiters on the mix buss were not a thing in those days. I understand the need for compression in the digital domain but I am not a big fan of it.
I enjoyed the tutorial. And then the explosion at the end. Soothe. 👍 I have it and haven’t used it yet because I’m still in the basic tracking phase, with most of my current projects.
Haha I did all those techniques on my last record feeling kinda desperate cuz my Esses were so harsh. I'm so glad to hear other producers do this stuff too haha I'm also learning to try and pay attention to harsh esses on the vocal take trying to get better at singing without overshooting my esses. Save myself some work in post haha
Very interesting video. My compressor settings for vocals are somewhat different. After low cut, I use a FET style compressor with fast attack and fast release at 4:1 and pull the threshold down until it cuts about 3 dB. Then de-ess and EQ shaping, then vocal limiting with the LA-2A and then add the ambience.
Thanks for sharing! Interesting! Personally I'd use the faster attack compressor second, LA2A into an 1176, less likely to get those fish tail transients, however if you've got it set the way you like and love the results that is all that matters!
I had a pt tdm mix system from many moons ago and it basically had zero latency. After a break from recording I sold my old system went to a MacBook Pro and boom latency, I just couldn’t deal with it. I bought into the universal audio Apollo with “console”and that was my fix, I luv it it’s very similar to tdm.
"The ear, not the gear". I completely agree with this. I don't have the most expensive equipment known to man. I use a Gear4Music drum mic kit on all my live shows unless a drummer brings their own (which has happened only once), and nobody has ever complained about the drum sound. There is some amazing kit out there for not a lot of money. The Citronic CM25 is less than £70, and sounds amazing. The Audio Technica MB1K and MB2K are both south of £40; the former I have used recently for the first time on Vocals, and I got great results. The MB2K I tried for the first time at a recent event on Snare, and was very pleased with the results. When mixing live, I often use two compressors on vocals. I'll do a small amount of compression on the channel strip (I don't compress heavily as I often run monitors from the same desk and don't want a singer to push against the compressor and hurt their voice), and then I'll put all vocals through a group and compress the group mix before it comes out of FOH, I also put my de-esser here.
This is great advice! I use my Warm Aduio WA 47 jr going into first my Behringer Tube pre-amp. Then into my Srt VLA II compressor with just a little compression going on. Then I use a bit of harder compression in my DAW. Cubase 12 Pro. This works a charm! I'm going to experiment wiht using the compression in my Presonus Series 3 mixer before hitting my DAW. The mixer is my audio interface. I have a lot of keyboards and I don't like having to patch and re-patch cables. Why do that when you could be recording? Looking forward to more compression tips. Love your show! I've been a subscriber for a number of years now. Thanks again!
Thank you warren , actually I olearned this technique in Waves Audio, I bought the cla's 76 and 2a , and they have orums with tutorials how to maximize it , still using it up until now tho i still dont have the hardware. it is lovely that you decided to make a content about this . More Power to the channel ! Maraming Salamat !
You are always so inspiring in the choice of topics that concern a large majority...I was inspired and I did well to choose a Lewitt LCT 640 TS microphone....The price was a bit steep, for my financial limits, but now I don't regret the choice I made! Thank you for everything you do to help musicians!
Thank you Warren another great video. Just to let everyone know what I have been putting together is an Aston Element Mic going into a Focusrite Scarlett Solo Gen3 with the Air switch on. I have just got the UAD Plug-in Lexicon 224 Reverb and this is amazing and I have a demo of the UA 175B&176 Tube Compressor which I will be buying. The Focusrite Solo I got second-hand for sixty five pounds the hole lot for above with the UAD sale at the moment come to £216 some one gave me a 2013 iMac on which I run Ableton Live which I got for free as I have owned many Focusrite interfaces. We are so lucky today. I remember my first eight track set up a Fostex A8 with a simple mixer and a digital echo multi effects that cost £2500!
Another exelent video Warren. I've got a quick Q with vocal recordings: Let's say that there is one singer in a band and in the studio He wants, as always, sing harmonies. So You've got basically main vocal track, then high harmonies and low harmonies. Does it make any sense to work with diferent mic's and compressors combination to get some sort of separation on recording stage like for example: MAIN VOC: Telefunken ELAM 251 --> Neve Pre --> DBX 160 XT HIGH HARMONIES: U47 --> Neve pre --> 1176 LOW HARMONIES: Shure Beta SM7 --> Neve pre --> Fairchild What do You think from Your own experience or other recording engineers methods? HAPPY THANKSGIVING FROM POLAND!
It's nice to have good tutorials among so many bad ones, thanks! That said 150Hz for a high pass on a male vocal is cutting into the fundamental frequency which starts about 100 -110Hz for males. I think everyone should get a fundamental and harmonic frequency chart and you'll see where the fundamental starts for each Instrument, you don't want to chop into that too much with exceptions on things like synth pads and things eating up a ton of space that you need for other instruments. As for printing compression you have to go easy, you can't take it off, you can use an expander if it's over compressed to disc/tape but it's not going to be the same as recording it right. If there's too much low end going in have them back off the mic a bit to reduce the proximity effect. Some of my best vocals were recorded using a hand held SM57 clone. Why? Because the performance was good.
Supergreat Video. Thx a lot for sharing your incredible knowledge. Your acoustic guitar video was another one of that kind of world class stuff. I have a beautiful Takamine acoustic, the only disadvantage, it has a cutaway that made my recordings sound all crap. And I totally stopped using it. So the fretboard was already getting fungus. After the video I cleaned it, oiled it, put new strings, made it look beautiful again. And then recorded the the upper corner like you suggested. And it sounded like a million bucks. I could not believe it. I tried everything before…. Except that upper corner. Woooow.
@@Producelikeapro I was thinking during the video should i get soothe 2 or not and then you mentioned it at the end so thats me getting it soon as the sales come on
Waves Silk Vocals go hard.. has builtin desser, rvox compression n gate, and soothe function. And they gave it out for free on black friday. What a blessing I might not have to spend 200 dollars on soothe now.
Great info Warren! Are you also going through the bae 1073? I have a bae 1073 w/, eq ua 1176 and a u87 I can't find any vocal tips or tutorials on using this very common setup. I would love to see you do a video on this. Thanks so much for all you do with your great talent in helping us through the years. 😎
I record my vocals with a £200 AKG Perception 220 through my £100 Behringer umc 204hd directly into Cubase on my laptop. I do colour the signals ever so slightly using three plugins; PA Phil's Cascade (used almost as a pre-amp), Neold V76U73 (used as a subtle compressor), Waves NLS (on Mike Hedges EMI TG emulation to help it sound like its going into a real console). When I start mixing I usually start with some dynamic shaping EQ from a Kirchoff EQ into compression. Usually 1176 emulator into a 2a emulator before some saturation and some colouring EQ and a final deesser if needed. I'm pretty happy with the results but I'm definitely going to look at adding a deesser first and Soothe 2 is already on my wishlist!
Current cutting tracks using a Samson CL7a straight into GarageBand on an iPad Air through a Motu interface. Stands up to my more expensive AKG 414 into analog board preamps.
The U47 is a lot brighter, that's why they are so amazing, also, as room mic's. You don't have to tell me how good the Lewitt mics are, and they pair well with my latest price, an analog API 12ch desk with the 50A EQ's. 6 FET compressors and 6 VCA compressors. I revised it myself, cost me about a half year. I was lucky those transformers were neat and very good. I was wondered how clean the inside was of the desk. The price was also transformer's graded, autch.
I've been using my first compressor a little more aggressive and then an LA2A in case anything gets through so I'll try it in reverse see what happens...But for the most part I never use a compressor when recording. Mostly after mixing unless it's a belting rock song.
Question: I was just reading this part in your book Warren, in it, it looks like two pairs of compressors after being multed out of a 1073. I’m all about trying stuff like that, I assume it’s for recording two mono tracks of the same performance, then using one for quieter and one for louder parts? What do you use to mult out of the 1073 and do you set the preamp slightly quieter so it doesn’t distort as much during the loud parts?
@@Producelikeapro thanks Warren. That’s really interesting. It’s like parallel compression on the way in. I really appreciate you and your hard work in teaching this craft!
If you record with too low a signal, when you boost the volume you will also be boosting any noise associated with your gear. That being said, I typically sing the loudest part of the song, and then make sure that that is around maximum -10 dB in the DAW to allow for plenty of headroom while mixing.
hi, i know may sound like a dumb question BUT. In case of recording 100% in the box with the DAW, is there any difference in the original signal if i record with the compressor ON vs adding it later?
You can have the compressor on the channel while recording and change the settings afterwards if you wish. If you record through the compressor it will be permanent
I love this video Warren just like all the other videos you've made before this! They show how much you want to help us make great music without spending unnecessary monies, with all your tips and advice helping us again make great music decisions! You Rock my friend!
@@Producelikeapro The work you do is much appreciated fella, so thank you very much. I am a young man again today.........50 years old today and glad and humbled to be a member at PLAP learning something new every day. So big thanks to you and the PLAP team.
Warren I watch your videos ALL THE TIME! HELP ME OUT! LOL "How do I use the compressor, EQ and FX from my Model 12 on the vocal chain BEFORE going into my DAW so the effects are recorded? I like the way this mixer sounds and would like to use them. Thanks Any help would be appreciated. My PFL/AFL light is red is that helps."
Hey Warren! I got a decent payday from a score I did and bought my first vocal chain. I purchased an 1176 and a Crane song Stc 8 and a 1073. My mics are an A440 Aea and a Schoeps mic. Can you or anybody recommend good settings to use the 1176 into the crane song for this similar technique? Would you still recommend the 20/1 or only when it's the second compressor in the chain. I only have experience with composition so this stuff really helps. Thanks!
I suppose the new Waves Silk Vocals plugin is also good solution for taming vocals, as it seems to do something similar to Soothe2, and it was free, but now $25.00.
Two things, an EVO 4 is around £100 and the mic is slightly less, so with the £400 left you could get a compressor for that and have some change or just buy the £200 worth of gear and use plug ins, which are probably stock in your DAW.
For those people asking here is the gear used in today's video:- Audient iD44 Interface sweetwater.sjv.io/5gB5vD Lewitt 240 Pro Microphone sweetwater.sjv.io/WqPyMn
Thanks for the great video. A quick question: if you have the hardware available, and the track is mixed, what is your opinion in getting the vocal to sit as perfectly as possible on the way in, rather than a little bit of eq, compression etc and then mixing at a later stage? Thanks
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Hey Warren, under what conditions do you record dynamics, ie EQ or compression? It was suggested to me to never record dynamics, what do you think.
Interesting!@@zorroinhell5549I always record vocals through a compressor! If you don't want to and feel you can't hear bad compression I understand. Typically people are told not to compress on the way in because they can't hear how to set up compression. However, every great engineer I know does record compression on the way in.
Warren is so earnest and generous with his time and knowledge, he's the best. Thanks so much!
Wow! Thanks ever so much!
Special thanks to Warren’s mom for the kind words
EVER the English gentleman!
HAHAHA@@robpearson9526 If only my Mum (who's in her '70s) knew how to chat on RUclips! I'll show her this comment so she understands how to! Haha
You're far too kind!@@DMSProduktions
In love with your compression settings. Just tickling the meters. So many producers these days slam them past 5-7db and once you go that hard you can never get back those dynamics. Great video!
Thanks Matt! I really appreciate it
Yeah hard limit, not compress! I HATE it!
Marvellous!@@DMSProduktions
@@Producelikeapro ;o)
Every time you you go “ONE” I think. One singular sensation!!!!!
Thanks Big W! I’m always blown away by the generosity of sharing your craft, not only in detail but also with a charismatic delivery that is focussed on motivating and reinforcing a simple message to beginners on a tight budget or even the proficient who have fallen into stagnation-YOU CAN DO THIS- your many years of hard yards in audio bunkers with such knowledgeable engineers and producers carries a weighty choice of what does one do with this brain full of audio wisdom? Share it in the most humble manner to honour your mentors, preserve and promote the past, give others the same opportunity to excel in the current digital climate, accelerating so fast it threatens to bury the basics of a craft born from the simple joy of listening to music.
And good manners, you always have a strong sense of good manners, from the first plap vid to now, you make good manners look very cool.
All the best, have a lovely day.
Wow! Thank you ever so much Bruce, that really means a lot! I really appreciate your marvellous support!
So much all of this! Of course I want the U-47! But I get great results all the time with my Rode NT-1 through the old Tascam console and straight into the iD44. I don't need compression with the console padding the front end- I can just set the DAW so my levels hit around -12dBFS and record. Sometimes I'll throw on plugins for monitoring comfort depending on the style, but nothing in the DAW channel insert is 'going to tape,' so I can change it all out later. Good budget system: clean flat neutral mic, warm clean pres, a little analog in the path, and essentially unlimited editing and processing in the box. Once I realized the power of this workflow I pretty much abandoned the hardware concept. I will probably upgrade mic, preamps and add EQ to the front end later, but I'm getting great results with this basic stuff just like you said Warren!
The best advice! This is what I’ve pretty much been doing since I started recording couple years ago. Got myself a lewitt 441 flex and last year I invested in soothe2 and it’s just amazing! I’m always blown away with how good Lewitt mics sound!
Thanks ever so much for sharing Linzi!
Love soothe 2. I generally use it for managing the low mids of reverbs and delays. Amazing how flexible that plugin is.
Thanks ever so much for sharing
Great video and perfect timming. Video popped up just after I ordered the LCT 240 this evening. Can't wait to try it out with my UA Volt 276. 🙏
Marvellous! Hope you enjoy it!
I've been using the UA Volt 276 as well. It's been great so far! Lifelong musician, beginner audio engineer.
About 15 minutes in I was thinking just using sooth2 would so much easier 😊. I learn so much from watching your process. Keep up the great work !
Thanks ever so much
I think the visual analysis is important because we don't all hear the same. It provides useful guidance you can combine with your ears.
Marvellous
Thanks ever so much for sharing
Need a sequel to this for mixing tips!
Absolutely!
Stay tuned
I was download your video from almost 6 years ago about how to put the voices on their place and i try to follow your steps. All about. Highpassing. Varius stages of eq, de essing and compresión. Track multiplicated with saturation and low tune voice. And the most important and autotization of the gain and faders. I use a really cheap mic that gift me a friend. And the sound its really good and impresive from that mic
That's great to hear John!
Thanks for sharing Warren, you are an audio guru, I'm always using your tips
Thanks ever so much Felipe!
It is amazing how good budget gear sounds today.
Agreed 100%!
Thankyou Warren..for showing us how to Track vocals..I have been following you ..Ian shephard.and Graham Cochran for over 10 yrs now..live your content... Recording vocals are so important about capturing a performance..I would track with compression but nowadays I do clean..set a Vu meter to -20 set my gain then do the shinks and snizzels later .Great video ..
Thanks ever so much Kev! You Rock! I really appreciate the support!
Hi! Big fan of yours, watched dozens of your vids! Besides providing top notch industry knowledge & tips, I was truly shocked how good your voice sounds when singing! That's a good chunk of vocal you've got there! Keep up the great work, cheers from Poland!
Haha you're too kind! I am NOT a singer, after working with singers like Steven Tyler you definitely know your place! Haha
Great tutorial Warren...Very good results in both ways...That is usually my approach on vocals proccessing...Soothe is a great plugin!
Agreed 100%! Thanks ever so much my friend!
Awesome tutorial! I read about your setup in your book but it’s awesome to see it in real life. Also, love LEWITT Mics!
Awesome! Thank you! I really appreciate it!
Early adapter of soothe (yes, before 2) here. Glad it's getting its well deserved praises. It truly is a godsend.
Marvellous!
Glad I’m not the only one who listens to 1 second of S’s while de-easing 😄
Back in the early 1980s I tracked a lot of music on a very special Trident B-Range combined with an MTR 90. The only time I would use an 1176 was on bass and occasionally on vocals. Limiters on the mix buss were not a thing in those days. I understand the need for compression in the digital domain but I am not a big fan of it.
Thanks ever so much for sharing your experience. I really appreciate it
I enjoyed the tutorial. And then the explosion at the end. Soothe. 👍 I have it and haven’t used it yet because I’m still in the basic tracking phase, with most of my current projects.
Soothe 2 is one of the only plugins I've used where the hype is real. I've used it all over my mixes lately. Spiky lead guitars? Works wonders.
Agreed! Soothe 2 is a god send!
Haha I did all those techniques on my last record feeling kinda desperate cuz my Esses were so harsh. I'm so glad to hear other producers do this stuff too haha I'm also learning to try and pay attention to harsh esses on the vocal take trying to get better at singing without overshooting my esses. Save myself some work in post haha
Thanks ever so much for sharing!
The biggest thing i learned is pay attention to your esses when you're singing cause it's gonna save you a LOT of time or money on de essing
Very interesting video. My compressor settings for vocals are somewhat different. After low cut, I use a FET style compressor with fast attack and fast release at 4:1 and pull the threshold down until it cuts about 3 dB. Then de-ess and EQ shaping, then vocal limiting with the LA-2A and then add the ambience.
Thanks for sharing! Interesting! Personally I'd use the faster attack compressor second, LA2A into an 1176, less likely to get those fish tail transients, however if you've got it set the way you like and love the results that is all that matters!
I had a pt tdm mix system from many moons ago and it basically had zero latency. After a break from recording I sold my old system went to a MacBook Pro and boom latency, I just couldn’t deal with it. I bought into the universal audio Apollo with “console”and that was my fix, I luv it it’s very similar to tdm.
That's very cool! Thanks ever so much for sharing!
Love the production lessons, tips and tricks I learn from Warren. New drinking game. Drink every time lewitt mic is mentioned.
Haha it's a great sounding cheap mic! Hence why I mention it
"The ear, not the gear". I completely agree with this. I don't have the most expensive equipment known to man. I use a Gear4Music drum mic kit on all my live shows unless a drummer brings their own (which has happened only once), and nobody has ever complained about the drum sound. There is some amazing kit out there for not a lot of money. The Citronic CM25 is less than £70, and sounds amazing. The Audio Technica MB1K and MB2K are both south of £40; the former I have used recently for the first time on Vocals, and I got great results. The MB2K I tried for the first time at a recent event on Snare, and was very pleased with the results.
When mixing live, I often use two compressors on vocals. I'll do a small amount of compression on the channel strip (I don't compress heavily as I often run monitors from the same desk and don't want a singer to push against the compressor and hurt their voice), and then I'll put all vocals through a group and compress the group mix before it comes out of FOH, I also put my de-esser here.
This is great advice! I use my Warm Aduio WA 47 jr going into first my Behringer Tube pre-amp. Then into my Srt VLA II compressor with just a little compression going on. Then I use a bit of harder compression in my DAW. Cubase 12 Pro. This works a charm! I'm going to experiment wiht using the compression in my Presonus Series 3 mixer before hitting my DAW. The mixer is my audio interface. I have a lot of keyboards and I don't like having to patch and re-patch cables. Why do that when you could be recording? Looking forward to more compression tips. Love your show! I've been a subscriber for a number of years now. Thanks again!
Thanks ever so much for sharing Jeremy! I really appreciate it
Thank you warren , actually I olearned this technique in Waves Audio, I bought the cla's 76 and 2a , and they have orums with tutorials how to maximize it , still using it up until now tho i still dont have the hardware. it is lovely that you decided to make a content about this . More Power to the channel ! Maraming Salamat !
Thanks for all your generous work. I am learning more and more every day!
My pleasure! Great to hear!
You are always so inspiring in the choice of topics that concern a large majority...I was inspired and I did well to choose a Lewitt LCT 640 TS microphone....The price was a bit steep, for my financial limits, but now I don't regret the choice I made! Thank you for everything you do to help musicians!
It's a great mic
Fantastic mic! One of my personal favourites!
Dang. Looks like I have Soothe2 in my future. Great video. Thanks.
Thanks ever so much!
I had been looking forward to this video topic for a while. Great video.
Glad you enjoyed it!
Thank you Warren another great video. Just to let everyone know what I have been putting together is an Aston Element Mic going into a Focusrite Scarlett Solo Gen3 with the Air switch on. I have just got the UAD Plug-in Lexicon 224 Reverb and this is amazing and I have a demo of the UA 175B&176 Tube Compressor which I will be buying. The Focusrite Solo I got second-hand for sixty five pounds the hole lot for above with the UAD sale at the moment come to £216 some one gave me a 2013 iMac on which I run Ableton Live which I got for free as I have owned many Focusrite interfaces. We are so lucky today. I remember my first eight track set up a Fostex A8 with a simple mixer and a digital echo multi effects that cost £2500!
Another exelent video Warren. I've got a quick Q with vocal recordings:
Let's say that there is one singer in a band and in the studio He wants, as always, sing harmonies. So You've got basically main vocal track, then high harmonies and low harmonies.
Does it make any sense to work with diferent mic's and compressors combination to get some sort of separation on recording stage like for example:
MAIN VOC: Telefunken ELAM 251 --> Neve Pre --> DBX 160 XT
HIGH HARMONIES: U47 --> Neve pre --> 1176
LOW HARMONIES: Shure Beta SM7 --> Neve pre --> Fairchild
What do You think from Your own experience or other recording engineers methods?
HAPPY THANKSGIVING FROM POLAND!
I actually have an LCT 240 as my kick out. It is very clear, so great for clean low end!
That's awesome!
It's nice to have good tutorials among so many bad ones, thanks! That said 150Hz for a high pass on a male vocal is cutting into the fundamental frequency which starts about 100 -110Hz for males. I think everyone should get a fundamental and harmonic frequency chart and you'll see where the fundamental starts for each Instrument, you don't want to chop into that too much with exceptions on things like synth pads and things eating up a ton of space that you need for other instruments. As for printing compression you have to go easy, you can't take it off, you can use an expander if it's over compressed to disc/tape but it's not going to be the same as recording it right. If there's too much low end going in have them back off the mic a bit to reduce the proximity effect. Some of my best vocals were recorded using a hand held SM57 clone. Why? Because the performance was good.
Soothe 2 is well worth the expense. I use it on a wide variety of instruments and it has made my mixes much better.
Marvellous! Thanks for sharing!
Supergreat Video. Thx a lot for sharing your incredible knowledge. Your acoustic guitar video was another one of that kind of world class stuff. I have a beautiful Takamine acoustic, the only disadvantage, it has a cutaway that made my recordings sound all crap. And I totally stopped using it. So the fretboard was already getting fungus. After the video I cleaned it, oiled it, put new strings, made it look beautiful again. And then recorded the the upper corner like you suggested. And it sounded like a million bucks. I could not believe it. I tried everything before…. Except that upper corner. Woooow.
Brilliant tutorial when I needed it but not my neighbors lol
Haha thanks ever so much
@@Producelikeapro I was thinking during the video should i get soothe 2 or not and then you mentioned it at the end so thats me getting it soon as the sales come on
Amazing!@@mystikrebel1089we love Soothe 2!
Waves Silk Vocals go hard.. has builtin desser, rvox compression n gate, and soothe function. And they gave it out for free on black friday. What a blessing I might not have to spend 200 dollars on soothe now.
Marvellous! I will check it out!!
Great info Warren! Are you also going through the bae 1073? I have a bae 1073 w/, eq ua 1176 and a u87 I can't find any vocal tips or tutorials on using this very common setup. I would love to see you do a video on this. Thanks so much for all you do with your great talent in helping us through the years. 😎
U47 through the expensive chain and the Lewitt directly into the Audient! Thanks ever so much
Ahhh, the ol' studio! Good stuff Warren
Yes! Great times!
Amazing like always 👏🏼🙌🏼 quick question if you don’t mind. How do you set the output on the BAE 1073, 12 o’clock or all the way to the right?
I bring the output back slightly and drive the gain a little harder so there's some additional, although minimal, saturation
@@Producelikeapro Thank you so much Warren YOU THE BEST. 🎵🙏🏽🙌🏼
Thanks ever so much@@Mickeythenofficial
Thank you for the 2 de esser demo. Thought mine wasn't working properly. Makes sense now that another band was in need of attention.
Thx for sharing. I think I might buy that plugin.
Marvellous! Thanks for sharing!
Man those Lewit are awesome!
I think so too!
A good choice to duck two diferent frequencies is the Weiss De-esser.
Thanks for sharing
Yours ears are worth million alone my brudda 💪🏾🙏🏾
I’m earlier to this video than my dad is to the airport
good one lol!
😂😂
That's VERY early!@@guidopoblete I like to be at LEAST 3 hours early!
I rarely reply to comments but this is 🤣🤣🤣🤣🤣
I record my vocals with a £200 AKG Perception 220 through my £100 Behringer umc 204hd directly into Cubase on my laptop. I do colour the signals ever so slightly using three plugins; PA Phil's Cascade (used almost as a pre-amp), Neold V76U73 (used as a subtle compressor), Waves NLS (on Mike Hedges EMI TG emulation to help it sound like its going into a real console).
When I start mixing I usually start with some dynamic shaping EQ from a Kirchoff EQ into compression. Usually 1176 emulator into a 2a emulator before some saturation and some colouring EQ and a final deesser if needed.
I'm pretty happy with the results but I'm definitely going to look at adding a deesser first and Soothe 2 is already on my wishlist!
Thanks ever so much for sharing your process
What a brilliant video Warren. This is very helpful. Thank you kindly
Glad it was helpful!
Current cutting tracks using a Samson CL7a straight into GarageBand on an iPad Air through a Motu interface. Stands up to my more expensive AKG 414 into analog board preamps.
Marvellous! I like the 414, however I find it rarely works on every vocalist, I'm not surprised your cheaper mic does a great job!
So good! Thanks Warren
Glad you enjoyed it!
2:15 The amount of people that will actually hear my production after mastering
Great stuff Warren! Thanks for sharing your knowledge.
Thanks ever so much!
Have you checked silk from waves it does similar work as soothe on vocal
I’m excited to try it!
Whatever they did to Chris Connells vocals on his recordings is the way it should be done, saturated, clear, punchy , crispy
Marvellous! Thanks for sharing
Thank you for sharing knowledge!
👏🏻👏🏻👏🏻
Thanks ever so much
Always the best from Warren. Great info here.
Aw shucks! Thanks ever so much
the intro is so RAINBOW'ish !!!
The U47 is a lot brighter, that's why they are so amazing, also, as room mic's. You don't have to tell me how good the Lewitt mics are, and they pair well with my latest price, an analog API 12ch desk with the 50A EQ's. 6 FET compressors and 6 VCA compressors. I revised it myself, cost me about a half year. I was lucky those transformers were neat and very good. I was wondered how clean the inside was of the desk. The price was also transformer's graded, autch.
Thanks ever so much for sharing your experiences! This is really important for us to hear how users find the gear to be in the real world!
Love these videos ! Soooo. instructional
Glad you like them!
I have the dbx 163x and WA76 compressors here - I'm thinking I should try one into the other ;-) Just got Soothe2 in the sale
Marvellous!
I've been using my first compressor a little more aggressive and then an LA2A in case anything gets through so I'll try it in reverse see what happens...But for the most part I never use a compressor when recording. Mostly after mixing unless it's a belting rock song.
I suppose the double compressor trick is why the Manley Slam has both an optical and FET compressor so you can do it all in one unit.
Aha! Very true
Soothe 😊
Marvellous!
Wicked good video~!
Glad you enjoyed it
You're the man, Warren. 👍
Thanks ever so much! I really appreciate it
Question: I was just reading this part in your book Warren, in it, it looks like two pairs of compressors after being multed out of a 1073. I’m all about trying stuff like that, I assume it’s for recording two mono tracks of the same performance, then using one for quieter and one for louder parts?
What do you use to mult out of the 1073 and do you set the preamp slightly quieter so it doesn’t distort as much during the loud parts?
I mult them back to one input channel! Yes, I adjust the pre amp gain as we go so there’s no unwanted distortion
@@Producelikeapro thanks Warren. That’s really interesting. It’s like parallel compression on the way in. I really appreciate you and your hard work in teaching this craft!
Quick question. Can you record vocals relatively quiet then just add gain afterwards or do you want it loud but not clipping to begin with?
If you record with too low a signal, when you boost the volume you will also be boosting any noise associated with your gear. That being said, I typically sing the loudest part of the song, and then make sure that that is around maximum -10 dB in the DAW to allow for plenty of headroom while mixing.
@@tomvernemusic ahhh, makes sense. Thank you
Great question! Tom has answered very eloquently! Always get the best signal to noise ratio you can!
Marvellous! Thanks Tom!
It does make sense! Tom described it very well indeed
Izotope offers a lot of solutions in a soft world as well.
But how do you feel about vocal rider plug-in Warren?
I used to use the vocal rider, nit anymore though. Still a good way to add automation to your mix!
Hi Happy Holidays
Warren which Yamaha bass is the one you have , is it the BB 434 or the BB734 ? Thanks
I think it's the BB734
Yes! It's a BB734 and I LOVE it!
Thanks Tim!
@@Producelikeapro thank you guys
Thank you Warren
Thanks ever so much
Great Video as always! longtime viewer why do see the SSL ?
I filmed just before we sold it!
It will be missed!
this is really helpful. thank you
Glad it was helpful!
Muy bueno! 👌
Saludos desde España.
Muchas gracias! 😊
hi, i know may sound like a dumb question BUT. In case of recording 100% in the box with the DAW, is there any difference in the original signal if i record with the compressor ON vs adding it later?
You can have the compressor on the channel while recording and change the settings afterwards if you wish. If you record through the compressor it will be permanent
Thank you, Warren🤝
You’re very welcome
So...
When is the single of "One" being released?
One day! Ha It's coming out the first Jan at 1.11
I love this video Warren just like all the other videos you've made before this! They show how much you want to help us make great music without spending unnecessary monies, with all your tips and advice helping us again make great music decisions! You Rock my friend!
Wow! Thanks ever so much! I really appreciate it
Thanks for the video Warren but what's wrong with the color on your monitor?
Wrong with the monitor colour? Not sure what you mean?
Glad you enjoyed the video!
Great advice. Thanks very much
Glad it was helpful!
Always appreciate your support Joey!
@@Producelikeapro The work you do is much appreciated fella, so thank you very much. I am a young man again today.........50 years old today and glad and humbled to be a member at PLAP learning something new every day. So big thanks to you and the PLAP team.
Warren I watch your videos ALL THE TIME! HELP ME OUT! LOL "How do I use the compressor, EQ and FX from my Model 12 on the vocal chain BEFORE going into my DAW so the effects are recorded? I like the way this mixer sounds and would like to use them. Thanks Any help would be appreciated. My PFL/AFL light is red is that helps."
I think one of the major components, it's actually being a good singer. Seems to make a pretty big difference
What is your thought on the Rode NT1-A?
I’ve tried it! Lovely mic. Especially when it came out and there was little competition
And pigeons and pigeons and pigeons
Haha yes!
Hey Warren! I got a decent payday from a score I did and bought my first vocal chain. I purchased an 1176 and a Crane song Stc 8 and a 1073. My mics are an A440 Aea and a Schoeps mic. Can you or anybody recommend good settings to use the 1176 into the crane song for this similar technique? Would you still recommend the 20/1 or only when it's the second compressor in the chain. I only have experience with composition so this stuff really helps. Thanks!
I don’t know the Crane Song that well, however, if you use that around 3:1 and then the 1176 just for peaks then you should be golden!
Let’s go!
Thanks ever so much
I suppose the new Waves Silk Vocals plugin is also good solution for taming vocals, as it seems to do something similar to Soothe2, and it was free, but now $25.00.
Going to have to try it out!
Great Video!
Do you need that soothe Plugin also on a u67?
I heard it’s very s friendly.
I could not follow further after the £600 cost of the mic and the interface. You still need the 165/ 1176 combo to get that sound, no?
Two things, an EVO 4 is around £100 and the mic is slightly less, so with the £400 left you could get a compressor for that and have some change or just buy the £200 worth of gear and use plug ins, which are probably stock in your DAW.
@9:55 PIGEONS PIGEONS PIGEONS PIGEONS PIGEONS PIGEONS PIGEONS PIGEONS PIGEONS PIGEONS PIGEONS PIGEONS
Hahah I just clicked on that! Genius!
Thank you. Amazing knowladge like always. Could I please get settings from dbx? 1176 you can easly see on video but cant from dbx. TIA 🙏
For those people asking here is the gear used in today's video:-
Audient iD44 Interface sweetwater.sjv.io/5gB5vD
Lewitt 240 Pro Microphone sweetwater.sjv.io/WqPyMn
Thanks for the great video. A quick question: if you have the hardware available, and the track is mixed, what is your opinion in getting the vocal to sit as perfectly as possible on the way in, rather than a little bit of eq, compression etc and then mixing at a later stage?
Thanks
My warm audio u67 sounds amazing through my wa 1073 and la2a