need some good vocal plug-ins

[GuitarBilly]

Compressors, preamps, reverbs this kind of stuff... Also if you guys have any good vocal recording tips

I am going to start recording vocals on my project and need all the help I can get

[crankyrayhanky]

one cool tip i learned with my last session
the vocalist did his softer melody stuff into a 4047 condenser
when he did the aggressive scream stuff he brought some vintage shure dynamic (sm55?)
The changing dynamics= awesome! I imagine an sm57 or 58 would do something similar in contrast to any condenser/ribbon

We also did background vocal approaches like M Jackson We are the World approach, doubling up on parts while moving to different spots in the room:
[video]https://www.youtube.com/watch?v=53T7XC__kZk[/video]

I then like the Nirvana approach where the backgrounds are there but a bit buried in the mix and seemingly only 1 dominant voice unless you really listen in....worked for us but it depends on you and the material....lots of fun! Enjoy experimenting, if it sounds good it is good

[Cirrus]

Prepare for RANDOMKNOWLEDGEDUMP

You need to pick the right mic for your voice, that's number one. Some voices love nice bright condensers, some love darker mics. Sometimes a bright mic will pick up major sibilance and be very hard to EQ, wheras a darker mic will be easy to make bright with a simple high shelf. Just depends on the voice. Pop shields are useful for plosives but if you have a sibilant voice they can make it worse, if that happens sack off the pop shield and tape a pencil directly to the front of the mic. Works best with LDCs of course.

Make sure your monitoring is comfortable, that you can hear the track AND your own voice well. Some people like headphones, some prefer to stand in front of monitors and sing. If the latter, don't worry about spill - a good performance is more important. Just remember to keep the monitors in a sensible place relative to the mic's polar pattern. If the former, sometimes a dash of reverb or delay on the vocal helps with tuning. Also, the volume you monitor at will directly affect your performance. Sometimes I exploit that to subtly influence other singers I'm tracking, but I also stay mindful of it when recording myself.

The most consistently reliable mic I've used for male vocals is the SM7B. You just can't go wrong as long as you keep the singer's mouth right up against it.

Work out what kind of singer you are - are you a one take wonder, do you prefer to do many whole takes, split it into section, tackle individual difficult lines? Do you peak after three takes, an hour, it matters because you want to pace the session so you hit your peak right as you get to the climax of the song, and know it inside out.

As for plugins, I have a basic chain I start with. Two IK multimedia comps first; the LA-2A set to maybe take 3 or 4dB off the loudest bits, then a 1176 set on 4:1, slow attack and fast release which does another 3 dB or so. After that a Pultec EQ VST from Nomad Factory called the Pulse-tec which I really love. It just sounds awesome. Beyond that it's just track dependent, I don't normally use a De-esser because I try to address that with mic choice. I do quite like the IK Neve 1073 for adding some grit if it's called for, crank up the gain and it does a nice job.

For delay, I'm a big fan of the Nasty DLA - band passed, modulated and saturated repeats seem to work for me on voices. The "Classic Delay" by Kjaerhus is also good for that.

[JerEvil]

Prepare for RANDOMKNOWLEDGEDUMP

You need to pick the right mic for your voice, that's number one. Some voices love nice bright condensers, some love darker mics. Sometimes a bright mic will pick up major sibilance and be very hard to EQ, wheras a darker mic will be easy to make bright with a simple high shelf. Just depends on the voice. Pop shields are useful for plosives but if you have a sibilant voice they can make it worse, if that happens sack off the pop shield and tape a pencil directly to the front of the mic. Works best with LDCs of course.

Make sure your monitoring is comfortable, that you can hear the track AND your own voice well. Some people like headphones, some prefer to stand in front of monitors and sing. If the latter, don't worry about spill - a good performance is more important. Just remember to keep the monitors in a sensible place relative to the mic's polar pattern. If the former, sometimes a dash of reverb or delay on the vocal helps with tuning. Also, the volume you monitor at will directly affect your performance. Sometimes I exploit that to subtly influence other singers I'm tracking, but I also stay mindful of it when recording myself.

The most consistently reliable mic I've used for male vocals is the SM7B. You just can't go wrong as long as you keep the singer's mouth right up against it.

Work out what kind of singer you are - are you a one take wonder, do you prefer to do many whole takes, split it into section, tackle individual difficult lines? Do you peak after three takes, an hour, it matters because you want to pace the session so you hit your peak right as you get to the climax of the song, and know it inside out.

As for plugins, I have a basic chain I start with. Two IK multimedia comps first; the LA-2A set to maybe take 3 or 4dB off the loudest bits, then a 1176 set on 4:1, slow attack and fast release which does another 3 dB or so. After that a Pultec EQ VST from Nomad Factory called the Pulse-tec which I really love. It just sounds awesome. Beyond that it's just track dependent, I don't normally use a De-esser because I try to address that with mic choice. I do quite like the IK Neve 1073 for adding some grit if it's called for, crank up the gain and it does a nice job.

For delay, I'm a big fan of the Nasty DLA - band passed, modulated and saturated repeats seem to work for me on voices. The "Classic Delay" by Kjaerhus is also good for that.

Thanks for this! I never really considered that idea of getting the mic for my voice. Wonder how I can try a bunch out without having to buy first ...

[ajaxlepinski]

As we all know, vocal volumes need to be controlled because, vocal volumes naturally fluctuate wildly.
Compression is the most common way to control vocal volume fluctuations.
However, compression KILLS dynamics, makes vocals sound muddy and in some cases, it makes vocals hard to understand.

As an alternative to compression, get the Waves Audio, Vocal Rider plug-in.
It's a must have for recording vocals. Seriously, everyone who records vocals should have it.

This plug-in keeps vocals level by rapidly raising and lowering volume. You can do it manually, with an assigned external knob or fader, but the plugin works faster and more accurately than we can.
Vocal riding lets you use A LOT less or, even eliminate compression - with little or no compression, vocals sound less muddy, are easier to hear and you avoid any pumping sound that happens when you compress.
The Vocal Rider also has a switch that allows you to use it on instruments. They sell a Bass Rider too but, I never tried it.... I also haven't had a chance to try the Vocal Rider on bass..

Waves has sales every week, so wait for a price drop. I got mine for $150.00 http://www.waves.com/plugins/vocal-ride ... ocal-rider

TIP: the further away you get from a mic, the more trebley you will sound. The closer you get to the mice, the more low end gets picked up.
Put the pop filter 1/4" from the mic, get as close as you can but, sing lightly off axis to keep the air pops hitting the mic.


[video]https://youtu.be/RMiDEzKv09o[/video]

[crankyrayhanky]

get the Waves Audio, Vocal Rider plug-in.
It's a must have for recording vocals. Seriously, everyone who records vocals should have it.
Waves has sales every week, so wait for a price drop. I got mine for $150.00 http://www.waves.com/plugins/vocal-ride ... ocal-rider
[video]https://youtu.be/RMiDEzKv09o[/video]

Oh, cool plug- marked for later!

[LukeBurke1]

I've been messing around with a few plugins from Variety of Sound, and I've been pleased so far. Everything on the site is free and sounds good. I particularly like the epicVerb and the FerricTDS, but I've barely scraped the surface with all of their stuff so far.

https://varietyofsound.wordpress.com/

[TheAmpFactory]

There are no plugs for vocals really, if there is they are all marketing hype.

I'll keep it as real as possible. - Good vocals come from the mic+preamp+good performance, get this nailed and it will mix itself.
All the tools you then need is a good compressor (peaks) - and an EQ for Shape.

ALL vocals I use the same tools. if Im mixing at my own studio outboard, I'll use LA3A/1176 normally 4:1, light 3db max GR. - and Manly Massive Passive EQ, just for mid sculpting and air.

On the move.. I'll use UAD plugs. (same compressors) but I'll use the Maag EQ, really good for that Air thing..

Here are the mics I think always nail the performance.

Expensive first:-

U87 - Neve 1073 Pre.
U47 - GreatRiver Pre
P67 - Neve 1073 pre
any Telefunken's, ^ greatriver/API pre's
AKG 414, Neve Mic Pre

Lower Priced/Budget that work great too.

SM7B - No need for a vocal booth. just let them rip right in the control room.
Rode NT1, It needs EQ to work great but otherwise a real good mic for its price.
Sontronics U47 Clone is great too

But I cant stress enough, the vocals start & end with the right mic for the performer.

[tmcatfan]

Simple Home stuff? SM58 or MXL990

Nail your takes. Do multiples.

Add extra vocal takes for choruses or parts you want to stand out. I like using one track for verses, and mixing in 2 additional tracks for chorus parts. Mix them panned 10-15% and low enough just to broaden those vocal sections you want to stand out. At times I may just use a mid bump eq on those extra tracks just to cut more and hp/lp the rest. depends on the song.

I use 1176, LA2A and Nebula reverb plugins on a vocal bus. Delays sometimes, but I use the generic delays in the DAW since they are good enough.

[nakedzen]

What I use:

Comps:
Digitalfishphones Blockfish for death metal vocs that need some really hard compression
Slate Red for mellower compression
Joey Sturgis Gain Reduction, just got this one and seems pretty good. Haven't really put it into use yet.
Stillwell Rocket for another "smash to bits" variation.

Eq:
Stillwell 1973, I use this on everything that doesn't need surgical precision. Very well thought out frequencies.

Saturation:
FabFilter Saturn, great when you need "just a bit more" cut and sheen.
Slate VTM on every track.

Verb:
Dreampoint Freeverb. Interface looks like crap, but it sounds great on snare and vocs. Just use those hp and lp sliders.

Delay:
Togu Audio Line DUB-II. I have the III version as well, but that sounds completely different. The Dub-II is great for that smooth analog delay modeling.

And a big +1 for finding the right mic for the performance.

[BroSlinger]

Here are the mics I think always nail the performance.

Expensive first:-

U87 - Neve 1073 Pre.
U47 - GreatRiver Pre
P67 - Neve 1073 pre
any Telefunken's, ^ greatriver/API pre's
AKG 414, Neve Mic Pre

Lower Priced/Budget that work great too.

SM7B - No need for a vocal booth. just let them rip right in the control room.
Rode NT1, It needs EQ to work great but otherwise a real good mic for its price.
Sontronics U47 Clone is great too

But I cant stress enough, the vocals start & end with the right mic for the performer.

I assume you're talking about the original, gray NT-1, not the silver NT-1A.

I dropped some vox tracks with an old Aussie gray NT-1 back in '05. I still think those are the best sounding vocals I've ever done. I sold it like an idiot, then they discontinued it, and released the brighter/different "A" verison.

Yesterday, I found one exactly like my old one and pounced onto it.

This is the one you want

[Sizzler]

As for plugins, I have a basic chain I start with. Two IK multimedia comps first; the LA-2A set to maybe take 3 or 4dB off the loudest bits, then a 1176 set on 4:1, slow attack and fast release which does another 3 dB or so. After that a Pultec EQ VST from Nomad Factory called the Pulse-tec which I really love. It just sounds awesome. Beyond that it's just track dependent, I don't normally use a De-esser because I try to address that with mic choice. I do quite like the IK Neve 1073 for adding some grit if it's called for, crank up the gain and it does a nice job.

For delay, I'm a big fan of the Nasty DLA - band passed, modulated and saturated repeats seem to work for me on voices. The "Classic Delay" by Kjaerhus is also good for that.

For EQ sometimes I use the built in Logic channel or linear phase, an IK Brit channel, or the one of the IK EQs. Sometimes I use a channel strip for basic voice sculpting then bring a channel EQ in for any extra adjustment.

For comp I use the exact same two IK plugs. On occasion I reverse them depending on the vocalist.

The last vocal tracking I used a Warm WA12, an sm7b for the aggressive vocals, and the silver NT 1 for the softer stuff. EQ was just the IK Brit channel, and finally comp was 1176 then LA2A.

And of course Waves Tune

For delay and reverb I used the IK tape delay and IK plate. First time I have used those and they worked out ok. Still need some more tweaking once I mix in earnest.

[Sizzler]

Here are the mics I think always nail the performance.

Expensive first:-

U87 - Neve 1073 Pre.
U47 - GreatRiver Pre
P67 - Neve 1073 pre
any Telefunken's, ^ greatriver/API pre's
AKG 414, Neve Mic Pre

Lower Priced/Budget that work great too.

SM7B - No need for a vocal booth. just let them rip right in the control room.
Rode NT1, It needs EQ to work great but otherwise a real good mic for its price.
Sontronics U47 Clone is great too

But I cant stress enough, the vocals start & end with the right mic for the performer.

I assume you're talking about the original, gray NT-1, not the silver NT-1A.

I dropped some vox tracks with an old Aussie gray NT-1 back in '05. I still think those are the best sounding vocals I've ever done. I sold it like an idiot, then they discontinued it, and released the brighter/different "A" verison.

Yesterday, I found one exactly like my old one and pounced onto it.

This is the one you want

I agree the older NT-1 was really awesome. The newer one to me needs a bit more to get it to mix right a lot of the time. The silver NT-1 is good though.

[Ostinato Rubato]

I broke my ilok so my slate digital plugins are currently down for the count. Gotta wait for a replacement. Anyway, I started recording a little bit of vocals for a piece me and the Hommie Fretless have been working on and created an fx chain from all of reapers stock plugins. Compressor, 4 band parametric, "ozzifier" chorus (really low wet mix), and some delay. Sounded great. The Slate chains I use sound better but it worked. I'm starting to understand some things.

[nakedzen]

Reaper stock plugins are actually really high quality when you need a transparent workhorse. I use them all the time.

[Ostinato Rubato]

Reaper stock plugins are actually really high quality when you need a transparent workhorse. I use them all the time.

There was a parametric EQ that seems to have disappeared after I updated Reaper. It was really good and I don't know where it went.

But I used the other one last night just fine. And yeah, I'm trying to change the way I approach processing and I'm starting by using my basic stock stuff.

[nakedzen]

You mean ReaEQ? It's still in the pack. Or do you mean something else?

[Ostinato Rubato]

You mean ReaEQ? It's still in the pack. Or do you mean something else?

It was something else. It even had like a graph interface where you could drag around the bands on a frequency plane (or whatever you call this shit). It's weird, I can't find it. Kinda bummed it was really easy to use and sounded good.

[nakedzen]

That still sounds like ReaEQ to me? Are you sure you just didn't disable the gui by mistake? (Top right corner of the plugin, says UI)

[Ostinato Rubato]

That still sounds like ReaEQ to me? Are you sure you just didn't disable the gui by mistake? (Top right corner of the plugin, says UI)

i'm super noob, so this is a definite possibility

[tmcatfan]

I think OP is on Sonar X3, so try messing with the vocal presets in Pro Channel and put that vocal processor plugin VX64 and TL64 on a separate Bus. Add that bus to your vocal channel and select the amount of processing at the send of that channel. Some others like to assign an additional bus and use the Boost plugin. I prefer the TL64, but it depends on the music and the performer. Seems to work better with cookie monster vocalists.

[hardvalve]

I will literally save this thread, good info here.

[BroSlinger]

You mean ReaEQ? It's still in the pack. Or do you mean something else?

It was something else. It even had like a graph interface where you could drag around the bands on a frequency plane (or whatever you call this shit). It's weird, I can't find it. Kinda bummed it was really easy to use and sounded good.

Or, it sounds like kotelnikov nova eq. It's freakin free and amazing. Get it now.

[Ostinato Rubato]

You mean ReaEQ? It's still in the pack. Or do you mean something else?

It was something else. It even had like a graph interface where you could drag around the bands on a frequency plane (or whatever you call this shit). It's weird, I can't find it. Kinda bummed it was really easy to use and sounded good.

Or, it sounds like kotelnikov nova eq. It's freakin free and amazing. Get it now.

No Nakedzen was right

I had the user interface button unchecked. It's now back to how it was, and it's a really solid EQ.

However, I simply prefer the sound I get from my slate stuff. It's just easier for me to use and get results that are pleasing to me and it's the stuff I'm learning on so it's pretty much set the tone for me and I should stick with getting the most out of it that I can.

I really REALLY like the Slate stuff. The more I use it the more I like it and am able to get fast good mixing... well good for me anyway as a noob.

['63-Strat]

The SM7B is a fantastic vocal mic, however it does need *a lot* of mic preamp gain so take that into consideration too. I use j37, nls, scheps73, vocal rider, la2a, ssl comp, etc. All sorts of plugs will get you there.