In this instance, he sets a relatively slow attack and the fastest possible release. Turning them counterclockwise slows down the attack and clockwise speeds it up. Note that on an 1176 (or an 1176 emulation like this), the knobs for attack and release are backward from what's standard. He sets the Input at 30, Output at 18, and the Ratio to 4:1. (Note that virtually any vocal track can be treated this way with a high-pass filter, and it can help clean up your mix.) He also sets the HPF to about 70 Hz, rolling off the unused frequency information below that point. He begins by opening the SSL E Channel and boosting 9dB at 8 kHz, which is a pretty significant amount. He then plays verse one with the lead vocals going through the vocal bus he just created and starts tweaking the effects. In the final slot, he inserts a Waves L1 limiter.ĬLA EQs and filters the vocal busses using a Waves SSL E-Channel plug-in. After that, he inserts another of his Waves collaborations, the CLA Vocals plug-in, which features a range of vocal processing including EQ, compression, reverb, pitch effects and delay. In the next slot, he puts a Waves CLA-76 plug-in, which is an 1176 emulation that he collaborated on the development of. He sets up the first vocal bus up with the Waves SSL E Channel plug-in, which he'll use for its EQ section, in the first insert slot. You'll see the active vocal bus channels on the left and some of the myriad vocal tracks to the right. This screen capture from the video shows the way CLA has configured the vocal tracks in this session.
It's also a lot more CPU efficient than inserting all the processors on each channel individually. The advantage to such a configuration is that you can route multiple vocal tracks through a bus and process them as a group. PROCESS THAT BUSĪs you'll see in the excerpt, he will eventually route the vocal tracks through one of several sets of vocal busses (aka "subgroups"), configured on aux tracks in Pro Tools, each with the same processing. This is a situation where he was given a session to mix that was recorded elsewhere by another engineer, so he needs to get the tracks correctly identified and configured in a way that he's comfortable with before continuing on with the mix. "Let's see what we're going to do with the main characters in this story," says Chris Lord-Alge at the beginning of this excerpt from his video, "Mixing Vifolly with CLA." By the "main characters," he's referring to the vocal tracks, of which there are quite a few.ĬLA and his assistant engineer are going through those tracks, trying to sort out what's on each one.
0 kommentar(er)
