That reverb, along with the other effects in the mix, are all sent to a bus independent from the vocals to be processed later on in the track. This ensures the vocal doesn’t get drowned by the reverb and the dry signal of the vocal is still strong and punchy. I had Arturia’s FET76 placed before the reverb with the vocal routed into it, so every time the lead vocal sings, the reverb ducks a couple of dB. I love to sidechain vocal effects using the lead vocal. The bus is being sent to one main reverb, and I used the Valhalla Room, which is a lovely sounding reverb.
Those last two plug-ins are more to emphasise the tone of the vocal the Fairchild brings some nice bottom end and the API just sounds great. To finish off the chain, I had the Fairchild 670 comp with hardly any gain reduction followed by Waves API 550 EQ applying just a touch of gain. This EQ gave the vocal more presence and overall balance. I then have Waves’ RS56 passive EQ with a -3db low shelf at 128hz, with a small 1.5dB dip at 512Hz and a 1.8B bell boost at 11.6kHz. I took extra care with frequencies between 2-6kHz for this vocal, taming sibilance and harsh resonances to make sure the vocal was smooth.
This is followed by Waves CLA-2A, doing a bit more catching at around 3-5db gain reduction, into another Pro-Q3 doing some overall dynamic EQ and small bell dips. Even a cut at only 50hz lifts the vocal into a nice place. The vocal chain on the bus starts with Arturia’s 1973 preamp, high passing at 50hz. Waves CLA-3A User Guide 4 Widely known among audio pros and listeners alike for his punchy sound and extreme compression techniques, Chris gave us exclusive access to model his most prized processors, and worked closely with Waves through every phase of development. Once I had cleaned up the individual phrases I routed all tracks to a bus to process the complete vocal.
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