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In any style of music that includes vocals as a featured element, an intelligible vocal — appropriately processed to work alongside the other elements of the arrangement — is key to a successful production. Compression, which can do so much more than control the dynamics of a signal, is one of the essential processors found within an audio engineer’s toolbox.

Before I describe how I use compression when mixing vocals, it’s important to emphasize that compression can’t fix mistakes in performance, recording technique or in any other signal processing. If you’re not comfortable with it, I strongly recommend against using compression on a dynamic singer, as improperly applied compression can squeeze the life out of a performance, resulting in a variety of non-musical artifacts that can’t easily be remedied at the mix stage. If anything, compression can potentially bring out poor acoustics, errors in vocal performance and poor application of equalization, saturation, reverb, etc. Assuming all these are done well, however, compression can bring a production to the next level, and most of the vocals found within the music you hear in popular media have been processed with a liberal amount of compression.

Another point worth mentioning is to be wary of drastic settings on compressors — extremely fast attack and release times, high ratios and dramatic amounts of gain reduction can be fun (and have a place in vocal production), but as a starting point, using more moderate settings usually results in a more natural sound.

With that, here’s how I use compressors when mixing vocals.

1. Level Your Vocals Using Clip Gain Before Applying Any Compression

While leveling of amplitude is one of the most common applications of compressors, by using clip gain to ensure that quiet and loud passages are more even in level, compression will be applied more evenly throughout the song. This will avoid the audible squeezing and pumping that compressors can sometimes impart onto extremely dynamic signals, vocals included.

2. Use Multiple Compressors in Series

I suppose that one could use this technique instead of tip number one, although I prefer using both. Take a compressor and adjust the settings so that it’s only applying moderate gain reduction (1-4 dB) on the loudest passages. Then, insert a second compressor later in the signal chain that applies gain reduction more evenly (again, only a couple of dB) across the entire performance.

The point of this all is to avoid the negative artifacts of compression by using two different compressors conservatively — the first compressor only engages on the loudest parts, which then prevents the second compressor from ever having to work too hard. The most common tandem for this application is the tried-and-true 1176 into an LA-2A, but try your own combination of compressors — even stock ones that come with your preferred DAW can work well. Additionally, using multiple compressors in the same chain, perhaps not one right after another as in this example, is encouraged as well.

3. Use Parallel Compression

Blending an unprocessed track alongside a treated one is commonplace in modern music production workflows. Many plugins now include a dry/wet blend feature, allowing users to take advantage of parallel processing. Some of my favorite compressors with this ability include FabFilter Pro-C 2, UAD Empirical Labs Distressor, Soundtoys Devil-Loc Deluxe and more.

On especially dense mixes, a vocal can struggle to cut through. In this situation, I might send an unprocessed (or minimally processed) vocal to one or several auxiliary/return tracks, then inserting a variety of effects on these, including compression. One such track might be affected to have a bright and airy timbre, another with pronounced lower midrange for fullness and warmth. Compression-wise, I can afford to use more pronounced settings because I’ll blend these tracks with the original, which keeps the overall dynamics natural.

4. Beware of Breaths and Sibilance

Compression tends to accentuate the brightness and harshness of sibilant passages, and while de-essers are a useful tool for dealing with this, too much of it results in a ‘lispy’ vocal quality. On some pop mixes that feature accentuated high frequencies and around 10 dB of gain reduction on vocals, things can begin to sound sizzly and harsh. I often hunt down sibilant passages and use clip gain to reduce their level until I’m satisfied with them. Similarly, heavy compression on deep breaths leading up to singing can cause a swelling sound, with the breath sounding as loud or louder than the lyrics. To remedy this, I’ll turn them down with clip gain, or even drag them to their own track.

5. Know the Different Types of Compressors and Consider Them in Context

It’s beneficial to understand the different compressor types (VCA, FET, optical, variable mu) and how they can affect the dynamics of a signal.

Voltage Controlled Amplifier (VCA) compressors are popular for mix buss applications thanks to their ability to glue an entire mix together. They lend a certain attitude to program material, and have a distinct punch that works well on drums. Popular units include the SSL G-series stereo compressor, the API 2500 and one of the two sections of the Shadow Hills Mastering Compressors. Can you use them on vocals? Of course, but the aforementioned units have historically been used more as finishing compressors, and were perhaps seen as overkill when compressors found within console channel strips or other mono hardware units were available.

Field Effect Transistor or FET compressors make up some of the most popular dynamics units of all time, including for vocal applications. They are fast, bright and even aggressive-sounding when pushed hard. Because of this, they are popular for an in-your-face vocal sound. Well known units include Bill Putnam’s original 1176 and the many disciples that followed. Overstayer, manufacturers of one of my favorite hardware units, the MAS, has its own unique take on the FET compressor. It’s been dubbed the stereo field effect, which contains similar controls to an 1176-style unit, but with added features including:

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• Discrete harmonics circuitry to add rich color and character to the compression. This integration gives you a fluid recording/mix chain.
• Parallel blend control — adjust compression and harmonics as aggressively as needed and balance to taste.
• Multiple ratios allow for subtle control to harder limiting, while the external sidechain loop can be used to shape further or bypass compression altogether, driving only the analog harmonics.
• Nonlinear mode brings creative & extreme punch for energized compression balanced with additional harmonics.

The Overstayer Stereo Field Effect

Another classic compressor design, the optical or opto compressor employs a light element and optical cell to reshape the dynamics of a signal. As the amplitude increases, the element emits more light, thereby causing the optical cell to attenuate the amplitude of the output signal. Optical compressors are known for their relatively slow, smooth dynamics response, making them more useful for when you need a more gentle, detailed vocal sound. That said, have no qualms about treating a screaming vocal track with an opto compressor like the famed LA-2A, a Tube Tech CL 1B or a Manley ELOP. Optical compressors can be found in guitar pedal form, specifically the Mira by Walrus Audio. Featuring all the controls that you’d expect from a studio-grade compression unit, all found within a gorgeous enclosure, the Mira makes a great choice obviously for guitarists, but also for any engineer who reamps their signals, vocals included.

The Mira Optical Compressor

Lastly is the variable mu design, which incorporates tubes to handle attenuation duties. As more signal is fed into the compressor, the current sent to the tube’s grid decreases, resulting in gain reduction. Depending on the performance, of course, variable mu designs generally have a soft knee, resulting in a smooth compression quality. Popular units/plugins include the Fairchild 660/670, the Manley Variable Mu and the Arturia Comp Tube-STA.  

6. Use Compressors for Their Tonal Qualities

Similar to how the different compression topologies handle dynamics, each compressor will impart harmonics onto program material in a unique and useful way. From the warmth of an opto LA-2A, the emphasized midrange of a FET 1176, the open, tube-infused richness of the variable mu UAD 175b and 176, to the versatility of the VCA Empirical Labs Distressor, every compressor has its own harmonic flavor that can color vocal tracks. Spend time with each compressor, getting to know its tonality in addition to how it treats the dynamics of a signal. See the beneath screenshots that feature a 1 kHz sine wave with a variety of plugin compressors inserted, and note the added harmonics.

7. Use Compression to Bring the Vocal “Closer to the Listener”

Using the appropriate settings, compression can impart an up-front quality onto signals. I often use my parallel multi-buss technique to give an immediacy to the vocals, making them seem like they’re coming right out of the speakers. The trick here is to not over compress every one of the busses. Most of the time, 3-5 dB of gain reduction (and make up gain), with moderate attack and release settings will get vocals sitting right. Perhaps I’ll use more extreme settings on another buss, but compression has a tendency to reduce overall low end response, which makes any signal (including vocals) feel smaller. Once you grasp how to bring vocals closer to the listener, you can then use time-based effects like reverb and delay to impart a sense of space onto the performance. I find that overly dynamic vocals in reverb is a recipe for disaster. The quiet passages won’t sound affected, and loud passages will be swimming in reverb. Use compression for consistency before mixing into other effects.

8. Lastly, Always Consider Context

Compression is simply one of the many tools we use to elevate a vocal production. How you apply compression will affect any equalization, saturation, de-essing, delay, automation, etc. that you may also have on your vocal tracks. Consider how compression is changing these other processes and make adjustments depending on the needs of the song, not what your gain reduction meter is reading.

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There’s really nothing like the way a great string arrangement can elevate a recording of a song. Even though I’m a string player, I stand by that last sentence as a statement of objective fact, and not my own (very biased) opinion. Prove me wrong!

Sample libraries have provided a way to add strings to productions on even the tightest budgets, but I’m a firm believer that there’s a certain intangible quality that we can only get by bringing real players into a studio — even a modest studio — to make a unique recording. I’m not knocking string samples. They have their place. But you may very well find yourself wanting to add live strings to a recording and realize that they present a new set of challenges compared to recording typical rock band instruments.

In this article, we’ll look at some ways to get the most out of a session with live string players, even if you have to record them in a home studio. Let’s start with a big one:

1. Consider the Room

More than many other instruments, we’re used to hearing strings at a distance — whether it’s in a concert hall or on a recording. For that reason, it’s best to record string instruments in a room that will allow spacious microphone placements whenever possible.

In a commercial studio, this is no problem. When recording in a more DIY setting, it’s important to use the best sounding room you have available. If you’re recording at home, find the room that sounds best and put your string player(s) in there. Wooden surfaces and high ceilings are a major plus, allowing the recording to sound spacious and open with fewer of the problems you might encounter when recording at home.

If you don’t have a spacious or beautiful sounding room to work in, don’t stress — but keep in mind that far placements will probably be more headache than they’re worth. Use some of the closer, more basic mic placements we’ll look at later, and use reverb to add space in the mix.

2. Ask Yourself: How Big of a String Sound?

Not all string arrangements are created equal. Many pop string parts are small and tight — a few players, not much ambience. Curtis Mayfield’s “Move on Up” is a classic example — just a few violins play together as a unit:

Curtis Mayfield – Move On Up

Other songs might feature “midsized” strings, like a quartet or chamber ensemble. T Rex’s “Cosmic Dancer” has a string part that fits into this category, with interlocking violin, viola and cello parts:

T. REX – Cosmic Dancer

More cinematic string parts tend to feature more players, and will sound more natural in a larger space. You can hear an orchestral string section on Lana Del Rey’s version of “Blue Velvet:”

Lana Del Rey – Blue Velvet (Official Video)

There is more than one way to record strings, and the type of string recording you’re making will inform your other choices. Have a vision in mind before you set up mics, and good string players will do the work of making the part sound good.

3. Color the Sound With Mic Choice

The microphones you use can contribute hugely to the recorded string sound. In a good sounding room with good string players, mic selection and placement will go a long way toward defining the sound you get before any kind of processing is added.

Condenser mics are a common choice for strings, and will yield a glossy, detailed sound. Large diaphragm condensers will more accurately reproduce the full range of lower string instruments like cello and bass. They tend to have wider pickup patterns, so they’ll capture more of the room. Small diaphragm condensers are more directional and can make great “spot mics” for higher string instruments (violin and viola) as well as working well for spacious stereo placements.

Ribbon mics are favored by many recordists because of their smooth, natural sound. They tame some of the shrillness that can happen with instruments like violin, and they are generally very forgiving. Their figure-8 pickup pattern means that they will capture the room from behind along with the direct sound in front. Figure-8 mics reject sound from the side, creating possibilities for better isolation when close miking instruments in an ensemble.

Dynamic mics tend not to be the best choice for recording string instruments, though they can work in a pinch. Larger dynamic mics, like the Shure SM7B and Electro Voice RE20, are often solid choices for cello and upright bass.

4. Use Far Placements to Capture the Sound of the Players and the Room

Whether recording a soloist, a quartet or a larger string section, try starting with a distant placement that captures the natural sound in the room. For a soloist or small group, a well-placed single mic can yield a satisfying mono recording. Stereo setups like X/Y, Blumlein, mid/side and spaced pairs — as well as specialized setups like the Decca tree (essentially a three-mic left, center, right setup using omnidirectional mics) — can produce wider, more panoramic recordings that capture the sound of the space and the ensemble.

Three Neumann M50s on a Decca Tree bar

A group of good string players will dynamically balance with each other as they play, requiring little mixing or automation on your part. Room mics are commonly placed either above and in front of the ensemble, as they would likely be in a concert hall, or else directly in front of the group. Miking from above can yield a particularly roomy and “open” recording when the ceiling is high enough. Placing mics directly in front of the players gives a perspective similar to hearing the performance live.

5. Use Close Placements for Flexibility

When recording multiple string players with only a spaced placement, there’s no way to simply turn up one instrument while mixing. That’s why (even with a good sounding room) spot mics (close placements) can give you greater flexibility during mixing. In addition to added flexibility, using both close and spacious placements gives you the ability to blend multiple placements for a fuller and more nuanced tone.

Keep in mind that even with “close” mic placements on strings, it’s common to have mics as far as a foot or more away from the instrument being recorded. This is especially true if a single close placement on one player is all your setup will allow. In my most minimal string recording setups, I will typically use a single mic about two feet away from the instrument.

6. Consider the Angle

The most common close mic placement on string instruments is to have a mic pointed at the strings, more or less right where the bow makes contact with them — just above the bridge. This placement will be crisp and precise, with lots of articulation. On the other hand, it also tends to be where we get the most harsh string tone, especially with violin.

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Yours truly, recording violin at my desk with a vanilla “above the bridge” placement

Though the “mic pointed above the bridge” placement is arguably the standard, it might not always be the right placement. When recording solo violin, I often like a single (potentially omnidirectional) mic, placed a few feet in front of the scroll — it sounds open, natural and lacks some of the harshness of pointing the mic right at the bow on the strings. The fiddle in the example below was recorded this way, with a single omnidirectional mic a few feet away from the scroll. It gives the fiddle a natural sound that brings in lots of the character of the room:

Try having the musician play their part as you gradually move the microphone away from them, listening on headphones as you do. Listen for a “sweet spot” where the sound is balanced, and stop there.

Some recordists will use “under-head” placements with violin as well, positioning a mic below the instrument to capture a darker sound that can add fullness when blending multiple mics. Some also like pointing mics at the body or f-holes of larger string instruments, though I tend to find those placements too muddy to be useful.

As always, keep in mind that more mics will require negotiating the phase relationship between them. I tend to prefer a single well-chosen placement as often as not. Sure, you will often see photos of large studio string sessions where dozens of mics might be in use, but that does not mean that you need to have that level of complexity in your string recordings to get a great sound!

7. Double Parts, Triple Them or More

Remember the earlier tip about having a sense of the size of the string group you’re looking for? This is where that really comes into play. Recording giant string groups isn’t always (…or usually… or maybe ever) an option. In fact, it’s very common for a single player to record an entire string arrangement by themself — I do it all the time!

Our ears are pretty used to the sound of a single string part being replicated by several players or several overdubbed takes. It’s pretty common to hear each “voice” in a string arrangement reproduced two or three times in a recording. Tighter string arrangements — think string quartets — won’t call for this approach. But if you’re adding strings to a pop song, expect to double or triple track each part in the arrangement.

Bonus: Double Violin Lines an Octave Down

In addition to simply doubling string parts, it can be particularly helpful to add an extra double of high violin parts played an octave below the original. Doing this accomplishes a few things: it adds fullness and richness to a part that might otherwise read as “shrill,” it helps create the sound of a much larger string ensemble and (maybe most importantly), it gives the players a chance to play the same notes in a register where it’s easier to play in tune.

8. Move Players Around the Room for Overdubs

Imagine a common setup for a string session: one or two players are performing a multi-part string arrangement. For practical reasons, a typical approach to doing this is to set up one mic and have them do their parts as a series of overdubs. If the goal is for them to sound like a larger group, there’s an easy way to add realism to the recording: with each successive double, have them move around just a bit in the room.

Let’s say one player is recording a two-part arrangement, with each “voice” triple tracked. Set up a close mic, and have them play the main take for the first part. When they go to double it, have them take a step back or to the side — just far enough that they are now where a second player would be positioned to record live with the same mic. When they do the tripled take, have them take another step, even farther. Each successive take will introduce more room into the recording, and add the perspective that our “group” is larger than it actually is. Repeat that process for the other voices — start with a crisp take right under the mic, and then move outward from there.

9. Layer in Sampled Strings Below the Live Ones

This last tip is maybe more about mixing strings, but it’s a good one to keep in mind as an alternative to recording a string part a dozen times in the hope of mimicking the sound of an orchestral string section (which is a pain, for obvious reasons). If a big, cinematic string sound is what you’re after, but you only have a small group to work with, try this: record live strings, and combine those recordings with the same part played with a sample library.

Blend the two to the “sweet spot” that sounds right for your recording. For best results, unify them with the same reverb and buss processing. In the example below, I started with a string part that had the sound of a tight chamber group — three violins, the one on the right pitched down an octave, all recorded with a small diaphragm condenser about two feet above the bridge. I blended in some sampled strings via Spitfire’s Albion Colossus for a bigger, fuller sound.

Here’s the live strings:

…and the same part with samples blended underneath:

When the samples are blended in subtly, it has the effect of filling out the part without losing the feel of the live strings.

Conclusion

Whether you’re recording a standalone string piece or adding a string arrangement to a song, the key to a great string sound is usually to let the players do their thing and capture it as naturally as you can. With the right mics placed the right way in a great sounding room, the players will do the heavy lifting for you — bringing out the expressive, colorful qualities that make string parts so exciting.

Danny Echevarria

Danny Echevarria is a producer and audio engineer born, raised, and based in Los Angeles. When he isn’t tightening his mixes or sawing a fiddle on the honky tonk stages of the greater LA area, he can be found chasing ever-elusive fresh mountain air. Get in touch at dandestiny.com.

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Before the days of large recording consoles, mixers comprised of modular amplifiers (such as the groundbreaking 610 by Bill Putnam Sr. and Universal Audio, which included a preamp, equalizer, three program outputs and an echo send) were used to send and process individual channels of audio. Technology (and the associated vernacular) evolved, and dedicated recording consoles comprised of individual channel strips were developed and used to record and mix many of the popular records created in the 60s, 70s, 80s and beyond.

Engineers at EMI created the tube-based REDD (1958) and transistor-based TG12345 (1968) consoles, which were subsequently utilized on records by The Beatles, Pink Floyd and so many more. Also in the 60s, a company by the name of Electrodyne created Quad-Eight consoles, which were ordered by film companies, record labels and live music venues.

A 1968 Electrodyne Quad Eight Console

In 1967, the first console designed by Saul Walker’s Automated Processes Incorporated, otherwise known as API, was sold to Apostolic Studios in New York City. API has since gone on to develop some of the most sought after audio equipment, including their 1608 Console, 2500 Compressor and 500 Series Equalizers.

Consoles designed by Rupert Neve caught on in the 1970s, beginning with the A88 which was created for London’s Wessex Studios. This was the first of many Neve consoles which featured 1073 preamps, which have since become iconic. They can now be purchased as standalone rack units and 500 series modules. Rupert Neve went on to contribute his designs to several other reputable audio hardware companies, several of which we will cover later in this article.

A rack full of AMS Neve 1073 Preamps

In 1979, England’s Solid State Logic, or SSL, released their SL 4000 E Series. In addition to a versatile equalizer, capable of both precise and broad-stroke moves, every channel on the E Series featured a dynamics section. The board also housed the classic stereo bus compressor, helping engineers create clean, punchy and cohesive mixes.

The famed SSL stereo bus compressor

If not for financial mismanagement, Electrodyne might have gone on to become more of a household name, sharing ranks with the “big three” of Neve, API and SSL. That said, through the decades there were plenty of additional companies that designed recording and mixing consoles featuring high quality channel strips. While music production has undoubtedly changed due to digital technology, there’s arguably no substitute for the sonics and flexibility a professionally designed and built console, loaded up with channel strips. Truthfully though, many of us don’t have the space and/or budget to justify housing a console in our studios, so it’s fortunate for us that many digital audio software makers have created channel strip plugins. Now we can harness the flexibility and sonic characteristics of classic channel strips without the exorbitant costs of maintenance and constantly running A/C — the latter can cost thousands per month.

Beneath is a roundup of my favorite channel strip plugins. I’ve also included tips on how I utilize them when recording and mixing.

This channel strip has it all — a beautiful preamp section based on the classic API 212L, the punch of the 225L compressor circuit, the precision and expressiveness of the 235L gate/expander along with the color and clarity of the 550L and 560L equalizers. The Vision Channel Strip is a supremely versatile tool, no matter what sound source you’re working with. It can add serious thump to kick drums, snappiness to snares, you can crush and saturate overheads or rooms, add detail and clarity to vocals… There’s nothing this channel strip can’t do well. I often use it in unison mode when recording with my Apollo x8p, a unique technology that allows me to harness the flexibility and sonic mojo of this and several other classic channel strips, all within a convenient single rack space audio interface.

Production Tip

When pushed hard, the 212L preamp has an impressively thick crunch to it. Utilize this powerful sound to add weight to drums, bass and other sound sources that need some low end heft.

Focusrite was born from the Beatles’ producer George Martin approaching Rupert Neve, hoping to acquire a preamp/equalizer module for his AIR Montserrat studio. This collaboration resulted in the Focusrite ISA-110, which had a transformer-coupled mic preamp paired with a four-band EQ plus high-pass and low-pass filters. This musical-sounding unit was just the beginning for Focusrite, which went on to craft sought after recording equipment including several consoles which were used to track bands including Green Day, No Doubt and plenty of other artists.

Thanks to Brainworx’s pioneering and patented Tolerance Modeling Technology, this plugin gives users access to the sound of 72 separate channels of the legendary Focusrite studio console, which includes ISA 110 equalizers and ISA 130 dynamics modules. Every one of bx_console Focusrite SC’s 72 channels offers a different channel from the console by modeling the slight channel-to-channel variances amongst the analog components.

Mix Tip

The expander, which can be found within the dynamics module, is great for adding some “thwack” to lackluster kicks, snares, and room mics.

The late, great George Martin holding a Focusrite ISA 110 EQ and Preamp, seated next to a Focusrite console

Okay, hear me out. While Soundtoys hasn’t (yet) offered a channel strip plugin per se, you can create your own by inserting several of their excellent plugins into their revolutionary Effect Rack. Start with the Radiator as a preamplifier and broad stroke equalizer, add Devil-Loc for any compression duties, and simply dial the mix knob back since it tends to be a very aggressive sound. Then, use the Sie-Q for more surgical equalization. While this approach lacks the precision of some of the aforementioned channel strip plugins, it more than makes up for it in vibe.

Mix Tip

One of the many great things about the Effect Rack is that you can place the plugins in whichever order you see fit. If you’d like to compress last (or first), you can absolutely do so. Or maybe you want to insert an instance of Decapitator (one of my favorite saturation plugins) to glue together all the processing you’ve applied to your track. Simply click and drag the individual plugins, listen to how the changes in order affect your signals, and tweak until you’re happy.

Perhaps the most feature-laden channel strip found within this roundup, the Amek 9099 from Brainworx/Plugin Alliance offers tons of precision, flexibility and fantastic sound quality, assuming you are willing to put in the time to orient yourself to the jam-packed user interface and learn what each of its impressive modules can do. Based on the 9098i console designed by Rupert Neve, this plugin sports a compressor, limiter, clipper, 4-band EQ, wide-ranging high-pass and low-pass filters and a newly designed expander/gate.

While audio quality takes precedent over visual aesthetics, the plugin was recently updated to include three separate “skins.” Access used, new, and dark modes by clicking “UI” to the top right and selecting your preference.

Mix Tip

Tighten up unruly low end by utilizing the mono-maker feature, which converts all frequencies beneath the level at which it is set into mono, preventing an overwhelming amount of low frequencies from eating up precious headroom in the sides. This allows for a tighter, clearer stereo image.

Additionally, the limiter section has a “clip” option, which can add saturation when driven hard. If you’ve got a track that could benefit from an extra bit of harmonic content, you might want to consider this feature.

Marketed as “the channel strip of the future,” Neutron 3 doesn’t look anything like a module found within an analog console, but it remains an impressively robust music mixing tool. You could likely strap an instance of Neutron 3 on each and every track within a session and not need to reach for another plugin while mixing, save for perhaps time-based effects such as reverb and delay. Neutron 3 also has several features that none of the previously mentioned channel strips do. The AI-powered Mix Assistant balances your track volumes, suggesting an initial level mix after one listen, and the Masking Meter lets you know which tracks have conflicting frequency-based content.

Mix Tip

While the Mix Assistant and Masking Meter are wonderful tools, I never treat them as gospel. I’ll analyze my tracks with them, use the feedback that they provide, and make changes based on my own preferences. While I  gladly incorporate AI-assisted plugins into my workflow, they are no substitute for my own musical intuition.

If you’re after authentic emulations of the channels strips found within 3 legendary consoles from Oxford, England’s very own Solid State Logic, look no further than these superb plugins from Brainworx. Harness the power of Tolerance Modeling Technology (TMT), which allows you to mix with 72 slightly different analog channels, capturing the subtle nonlinear characteristics of these sought after modules.

There are mostly subtle sonic and workflow differences between the 3 different consoles, but each of these give users the snappy dynamics, subtly colorful & somewhat surgical equalization and generally clean sonic characteristics of the original SSL products. I’ve found the 9000 J, which was viewed as an improvement over the 4000 series consoles at the time, to have a more extended low end and a slightly more sparkly high frequency response.

Mix Tip

Try strapping one insert of an SSL channel on each of your tracks within a mix and listen to how the subtle coloration and tight dynamics beloved by users of the original E, G and J consoles affects the overall fidelity of your production.

Andrew Scheps would only stamp his name on something truly exceptional, and that’s exactly what Waves have created in collaboration with Scheps himself in the super versatile Omni Channel. This thing has everything you could hope for in a channel strip, and quite frankly, more then you’d likely ever need. There’s a preamp section that allows you to add harmonics, a high and low-pass filter, an extremely tweakable four-band EQ, a dual-band de-esser, a compressor with VCA, FET & optical modes plus a gate/expander. These modules can be moved around, so if you’d like to compress before EQ, for example, that can be done by simply dragging the compressor module and dropping it in front of the equalizer. The output section features both input and output levels, as well as a limiter. The Omni Channel is truly a Swiss Army Knife plugin — capable of quickly and elegantly shaping the dynamics and tone of your tracks or subgroups.

Mix Tip

Each module can be used in ST (stereo), DUO (dual mono), and MS (mid/side) mode. Stereo is self explanatory, processing the left/right exactly the same, but DUO allows the user to treat the left and right channels separately, making it great for stereo signals that have harmonic or dynamic discrepancies between the left and right channels (think drum overheads or even instrument subgroup tracks).

Harkening back to the days when analog channel strips were more streamlined, lending themselves to creative decision making while recording rather than waiting to “fixing it in the mix,” the Century Tube Channel Strip is a versatile signal processing tool without ever feeling cluttered or confusing. The sound is warm, clear and thick similar to the vintage tube gear that inspired it, and the GUI is welcoming and simple. You can almost feel the chunky black knobs beneath your fingertips.

The Century Tube Channel Strip features a preamp section with low and high gain settings, mic or line level selector, a low cut, polarity invert and a pad. The EQ is wonderfully intuitive and musical sounding, featuring one fixed band at 10 kHz, another at 110 Hz and a sweepable midrange band that goes from 300 Hz to 7.2 kHz. The opto leveler couldn’t be simpler, featuring only a single knob to control the amount of compression. It works wonders for subtle taming of sources like bass and vocals, but can also apply grit and attitude when driven harder.

Recording and Mix Tip 

As I mentioned, the preamp module features low or high gain settings, with the former complimenting modern condenser microphones and the latter optimized for vintage ribbons or dynamic mics. Consider this if you’re recording though your Universal Audio interface and taking advantage of the ingenious Unison technology.

This is cheating a bit, as the Slate Digital Virtual Analog Bundle isn’t modeling any one channel strip. Rather, it includes a diverse collection of preamp, equalizer and compressor modules emulating classic hardware that can be configured exactly to your liking within Virtual Mix Rack (VMR). It’s undeniable that users can create channel strips perfectly suited to their tracks with this powerful software set. While the actual company names aren’t used, hardware units from  SSL, Neve, Empirical Labs and others have been meticulously studied and transformed into plugin modules that can be inserted and swapped with ease. Slate Digital also developed several modules in-house, including “Revival” — the two knob unit which borrows the best sonic aspects of tubes, tapes and transformers — making VMR one of the most diverse and configurable channel strip options currently available.

Mix Tip

What’s so great about using VMR is you can use up to 8 modules, making it far more versatile than most other aforementioned products. I like to start with a preamp module, employ a bit of subtractive EQ, use two compressors in series so that neither one is doing too much heavy lifting and then add another finalizing EQ for adding clarity, warmth or whatever may be lacking. Even more helpful is that most of the modules have a dry/wet blend control so you can really dial in how aggressive you want to be with the processing.

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Not all channel strips are created equally. While the original Avalon VT-737 was a hefty rack mounted unit loaded with tubes, rather than a module built into a console, that didn’t stop it from becoming one of the most widely used pieces of hardware for recording pop, hip-hop and R&B.

The preamp is clean and detailed, perfect for capturing the energy of modern pop vocals. It also works well for recording thick, powerful DI bass. The compressor section is more transparent than many other popular hardware dynamics processors, which again, is great for preserving the integrity of the original performance without coloration (if that’s what you’re after). Personally speaking, the EQ section of the Avalon is where the magic happens — it’s simultaneously musical and surgical, and features a 32 kHz “air band” that adds a subtle shine to vocals, acoustic guitar and drum overheads.

Mix Tip

The EQ section can be conveniently placed before or after the compressor. Don’t forget to see how this affects the overall sound, as aggressive additive equalization at a specific frequency before compression can have the tendency to sound unnatural and over-compressed, especially at that specific frequency.

Combining emulations of two behemoth rack-mounted hardware units from Summit Audio, the Grand Channel pairs the EQF-100 full-range equalizer and the TLA-100A compressor, adding several plugin-only features to boot.

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The EQF-100 has sort of a Pultec vibe to it, sporting a silky top end and a thick but musical low frequency response. The four bands each have 6 selectable frequencies with a bandwidth control, so it can actually get precise when needed. The high and low-pass filters are transparent, and are helpful for removing clutter at the top and bottom of the frequency spectrum.

The TLA-100A is a no-nonsense tube leveler, featuring only “fast” and “slow” attack and release settings, overall gain and gain reduction, as well as the ability to choose between an internal or external sidechain. It might not be the most exacting dynamics processor, but for subtle general compression duties, it shines on bass, vocals, guitars and certain percussive sources.

Mix Tip

In addition to the wonderfully tubey equalizer and compressor, which can be placed in whatever order users need, the Grand Channel features a low cut all the way up to 600 Hz that can be applied to either the input or the detector circuit. This is great for preventing the compressor from overreacting to an abundance of low frequencies. It also has a saturation knob, which works wonders for adding grit to drums and bass.

The Grand Channel was one of the first plugins of its kind to feature a dry/wet blend control, so you can dial in more extreme settings and then scale the overall mix back to taste.

While the original Voxbox hardware (and subsequent plugin emulation by Universal Audio) were designed to serve as an all-in-one solution for recording and mixing vocals, don’t let that stop you from deploying it on everything else, including piano, strings, bass and even subgroups.

One of the unique features of Voxbox is the ability to tame sources before the preamp using the on-board optical preamp. The compressor itself (when active) is always set to a 3:1 ratio. Unless pushed to extreme settings, it will stay relatively smooth and transparent. The preamp features input level, a stepped gain control, a low cut, polarity invert and a mic or line level switch. The beautiful 3-band, Pultec-style equalizer is perfect for broad-stroke tone sculpting. Lastly, the de-esser is deceptively flexible despite having minimal controls, and can be turned into a colorful limiter when the limit 10:1 option is selected.

Mix Tip

A de-esser is simply a compressor targeted at a specific frequency range, making it really useful on the Voxbox for subtly taming harshness in guitars, cymbals, pianos and vocals, of course. As long as you know where harshness is occurring, this de-esser can elegantly polish your tracks.

Neve Electronics brought 80 series consoles to market in 1969. Since then, they’ve been almost universally adored for their flexible workflows and unique sonic characteristics. Lindell Audio has painstakingly replicated modules from the 8028 and transformed them into the 80 series channel, available through Plugin Alliance. It sports preamp and equalizer sections based on the legendary 1073 & 1084 hardware and a compressor based off the colorful 2254. These are paired with a super flexible gate module. Patented TMT modeling captures the sonic characteristics of 32 separate channels. The 80 series channel is a stunning processor for pretty much whatever you throw at it, but I’m partial to using it on drums. The top end is pristine, the low end is thick and the 1073/1084 preamp and 2254 compressor can be pushed aggressively to unleash an unmistakable thump that’s rich in harmonic content and attitude, making it a perfect companion for kick or snare drum.

Mix Tip

Engage “nuke mode” on the compressor for crunchy compression that brutalizes transients beyond recognition. This works great in parallel for kick, snare, rooms, aggressive vocals or blistering fuzz bass.

Released in collaboration with the legendary Blackbird Studios in Nashville, the BB N73 captures the essence of twelve Neve 1073 units that are in use at John McBride’s renowned studio. The BB N73 comes with some extras that you won’t find on other 1073 plugin emulations, including but not limited to:

• Input and output trim to provide additional gain staging.
• Auto gain: as you add gain on the mic pre, the fader level now adjusts the output automatically to maintain dB level.
• Continuous gain optionally removes the notched movement of the mic pre.
• The resizable GUI allows you to click and drag the bottom right corner to change the size of the plugin.
• Fader color allows you to change the color of the fader between black, silver, red, blue and teal.
• Oversampling allows you to select from x2, x4 and x8.

I popped the BB N73 on a kick drum, and I was immediately impressed with the thick, musical low end of this plugin — not to mention the colorful saturation you can get when you push it a bit.

Mix Tip

The master buss mode emulates the characteristics of using an analog console to sum your tracks during mixdown, and I put it through its paces on a guitar driven rock song I’m mixing. I boosted about 1 dB using the high shelf and even less than that at 80 Hz. I quite enjoyed the clarity and slight low end heft this plugin imparted onto the mix. I’ll definitely be using it for individual tracks, subgroups and during mixdown.

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If you’ve kept up with tech news over the past few months, you’ve probably noticed a lot of hype (and controversy) surrounding ChatGPT, which is a large language model developed by San Francisco-based research company OpenAI. As someone who is fascinated with technology, I immediately started using (abusing?) ChatGPT, mostly for nonsense tasks like asking it to “write a hypothetical scene from the Simpsons involving Moe selling toilet wine out of the Simpson home.” (Scroll to the end of the article to view.) The more time I spend using it, though, the more I believe it to be a revolutionary tool that will positively alter the course of humanity as long as it’s not overly exploited by greedy humans. So, we’ll see what happens.

Anyway, considering the relatively short amount of time ChatGPT has been publicly available, I am impressed by its ability to simplify test-based processes, its problem solving potential and its creativity. A few notes — ChatGPT as we know it today isn’t 100% accurate, and it will admit that. I prefer to enter a prompt a couple of times and compare them just to see if one particular prompt was missing something or was worded less clearly. It also relies on older and therefore more reliable data to generate its responses. The most recent training data is from September of 2021, so be aware that it may not be completely up to date. Inspired after a few days of playing around with ChatGPT, I reached out to Dan Comerchero, the founder of this site, expressing interest in writing this article, and was pleased to hear back almost immediately. After a brief email exchange, he left me with: “for now, I guess being the audio site that talks about AI is better than getting eaten by it.” With that, I’m excited to share how you might use ChatGPT to improve your music productions.

1. As a Troubleshooting Companion

I used to scour message boards for hours searching for solutions to technical issues, and usually had to sift through a fair amount of snarky commentary and incorrect responses before finding what I needed. While ChatGPT isn’t a foolproof troubleshooting utility, it handles the simple stuff pretty well, and it communicates clearly. Check out these two exchanges involving common beginner issues involving Pro Tools and Ableton Live.

Prompt: The keyboard shortcuts in Pro Tools aren’t working, what am I doing wrong?

ChatGPT Response: “If the keyboard shortcuts in Pro Tools aren’t working, there are a few things that could be causing the issue:

1. Check your keyboard settings: ensure that your keyboard settings are set to the correct language and that the shortcuts are correctly assigned.
2. Verify the key commands are enabled: check that the “Keyboard Focus” button is enabled in the Edit window toolbar. This allows you to use keyboard shortcuts within the Pro Tools interface.
3. Check for conflicts: ensure that the shortcut keys you are trying to use are not already assigned to another function or command in Pro Tools. If they are, you will need to reassign them to another shortcut key.
4. Restart Pro Tools: sometimes, restarting Pro Tools can help solve any software glitches or bugs that may be causing keyboard shortcut issues.
5. Update your software: if you’re running an outdated version of Pro Tools, it’s possible that keyboard shortcuts may not work as intended. Try updating to the latest version of Pro Tools to see if this resolves the issue.

If none of these steps work, you may need to contact Avid’s technical support for further assistance.”

Prompt: I’m getting a crackling sound when I hit play in Ableton Live, please help me.

ChatGPT Response: “If you’re experiencing a crackling sound when hitting play in Ableton Live, there are a few possible causes and solutions you can try:

1. Buffer size: the buffer size determines how much audio Ableton Live processes at once. A lower buffer size will result in lower latency but may also cause crackling if the computer is not powerful enough to keep up. Try increasing the buffer size in the Audio Preferences to see if it improves the sound.
2. CPU overload: if the CPU is overloaded, it can cause crackling and dropouts in the audio. To reduce the CPU usage, you can try freezing tracks that are not being used, closing other applications running in the background, or upgrading your computer’s hardware.
3. Sample rate and bit depth: make sure that your project’s sample rate and bit depth match your audio interface’s settings. Mismatching sample rates and bit depths can cause crackling and other audio issues.
4. Audio interface: ensure that your audio interface is functioning correctly and has the latest drivers installed. You can try resetting the audio interface or unplugging and plugging it back in.
5. Plugins: some plugins may cause crackling due to their CPU usage. Try disabling or removing any plugins that may be causing issues.
6. Audio files: if you’re using samples or audio files in your project, they may be the cause of the crackling. Check that the files are not corrupted and try converting them to a different format.
7. Latency compensation: make sure that Ableton Live’s latency compensation is turned on. This ensures that tracks are synchronized correctly and can help reduce crackling.

By trying these solutions, you should be able to diagnose and fix the issue causing the crackling sound in Ableton Live.”

In both of the aforementioned instances, ChatGPT identified the usual culprit almost immediately.

2. As a Sound Design Shaman

ChatGPT sources its information from an unfathomably vast amount of books, articles and websites. I asked ChatGPT if it sourced The Pro Audio Files when creating it’s database of knowledge and it said “it’s possible.” Because of this, I find it to be an admirable resource when trying to design sounds that are similar to those heard on popular recordings that have been researched and written about. Check out these questions I asked it about sound design:

Prompt: How can I create a synth sound similar to “Jump” by Van Halen using Logic Pro?

ChatGPT Response: “To create a synth sound similar to “Jump” by Van Halen in Logic Pro, you can try the following steps:

1. Open Logic Pro and create a new software instrument track.
2. Choose the ES2 synthesizer from the list of available instruments.
3. In the ES2 synthesizer, select the “Analog” waveform from Oscillator 1.
4. Set the Octave of Oscillator 1 to 4.
5. Increase the Attack and Release times to create a smooth envelope for the sound.
6. Turn on the “Sawtooth” waveform for Oscillator 2, and detune it slightly from Oscillator 1.
7. Set the Octave of Oscillator 2 to 5.
8. Increase the Cutoff and Resonance parameters of the filter to create a brighter, more resonant sound.
9. Add some chorus and reverb effects to the sound to give it more depth and space.

Once you’ve created the basic sound, you can experiment with different settings and effects to fine-tune the sound and make it sound more like the “Jump” synth. You may also want to consider adding some MIDI automation to create a more dynamic sound that evolves over time. Remember, creating the perfect synth sound can take some experimentation and tweaking, so don’t be afraid to play around with different settings and effects until you find the sound that you’re looking for.”

Prompt: I want my vocals to sound exactly like “Money Machine” by 100 Gecs. How do I achieve that if I’m using Logic Pro?

ChatGPT Response: “To achieve vocals similar to those in “Money Machine” by 100 Gecs in Logic Pro, you can follow these steps:

1. Start by recording your vocals in Logic Pro. Make sure your microphone is of good quality and set up your recording environment to minimize background noise.
2. Once you have your vocals recorded, you can use Logic Pro’s built-in EQ and compressor to shape the sound of your voice. Listen to the “Money Machine” vocals and try to replicate the EQ settings and compression levels to achieve a similar sound.
3. Use pitch correction to make your vocals sound more in tune. You can use Logic Pro’s Flex Pitch or Melodyne to adjust the pitch of individual notes in your vocal performance. Again, listen to the “Money Machine” vocals and try to replicate the pitch correction used in the song.
4. Experiment with vocal effects such as distortion, delay, and reverb to add texture and depth to your vocals. Use Logic Pro’s built-in effects or third-party plugins to achieve the desired effect.
5. Layer your vocals to create a fuller sound. You can record multiple takes of your vocals and pan them left and right to create a stereo effect. You can also add harmonies and ad-libs to make your vocals more interesting.
6. Finally, use automation to adjust the volume and effects of your vocals throughout the song. Listen to “Money Machine” and notice how the vocals are treated differently in different parts of the song.

Remember that achieving a sound like “Money Machine” requires a combination of vocal technique, production skills, and creativity. Don’t be afraid to experiment and try new things to create a unique sound that suits your music.”

Again, both are pretty impressive responses that would get even a novice user pretty close to the sound they’re after. If said novice user ran into any technical issues along the way, they could just go back to Item one in this article.

3. As a Songwriting Partner and Empathetic Life Coach

I used this next prompt because I am genuinely having difficulty finishing a song I’m writing, with the following as a test to see how it would approach implementing a key change at the end of the song. ChatGPT has an expansive understanding of music theory, and while I don’t recommend it as a substitution for your own organic creativity, the suggestions it offers are generally aesthetically pleasing and theoretically sound. On top of that, if you’re specific about how you’re feeling about a particular topic, it at least comes across as empathetic.

Prompt: I’m feeling like I have hit a creative wall with a song I am producing. The music and lyrics for the verses are complete, but I’m stuck on the chorus. The chords in the verses are A minor, G major, C major and F major, played in a repeating pattern. Can you suggest some ideas for a chorus? Also, how can I be less hard on myself?

ChatGPT Response: “When it comes to coming up with a chorus, one idea is to try playing around with the melody and structure of the verses. You can also try experimenting with different chord progressions, rhythms and harmonies to create a new and catchy chorus that complements the verses. Here are a few tips to help you come up with a chorus for your song:

1. Focus on the main message or theme of your song. Your chorus should reflect the overall sentiment of the song and capture the listener’s attention.
2. Try playing around with different chord progressions. For example, you could try using the chords E minor, D major, C major, and G major for the chorus.
3. Experiment with different melodies and rhythms. Try humming or singing different melodies over the verse chords and see what feels natural.
4. Keep it simple. A catchy chorus doesn’t have to be overly complicated. Sometimes, the simplest melodies and lyrics can be the most effective.

As for being less hard on yourself, it’s important to remember that creativity is a process, and it’s normal to hit roadblocks along the way. Don’t be too hard on yourself if you’re feeling stuck. Take a break, listen to some music that inspires you, and come back to it with fresh ears. Sometimes, stepping away from a project for a little while can give you a new perspective and help you overcome creative blocks.”

Prompt: I want to put a key change at the end of a song, which is in the key of G Major. Can you offer two suggestions?

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ChatGPT Response: “Sure, here are two possible key change options to consider for your song in G Major:

1. Key change to A Major: One possible key change for your song could be to move up a whole step to A Major. This would give you a new set of chords to work with, including A Major, B minor, C# minor, D Major, E Major, F# minor, and G# diminished. This key change can create a sense of lift and excitement towards the end of the song, as it moves to a brighter and more uplifting tonality.
2. Key change to E Major: Another option could be to modulate to the relative major key of E Major. This would give you a new set of chords to work with, including E Major, F# minor, G# minor, A Major, B Major, C# minor, and D# diminished. This key change can create a sense of resolution and finality towards the end of the song, as it moves to a tonality that is closely related to the original key of G Major. (What happened here? E major is not relative to G major. Sometimes ChatGPT gets it wrong.)

Ultimately, the key change you choose will depend on the specific mood and emotion you want to convey in your song, as well as the musical ideas you want to explore. It’s always a good idea to experiment with different options and see what feels right for your particular song.”

4. As A Plugin Designer and Developer

Inspired by the concept that you can use ChatGPT to generate Reaper scripts that make working within that particular DAW more efficient, I decided to test if it could help me generate instruments and effects within Max for Live. Check out the beneath prompt and subsequent response, which was a valiant effort on the part of ChatGPT.

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Prompt: Create a Max for Live patch that is a delay-like effect that gets gradually more distorted with each repeat.

ChatGPT Response: “As an AI language model, I don’t have the ability to create Max for Live patches directly, but I can guide you through the process of creating one that fits your needs. Here are the steps to create a Max for Live patch that is a delay-like effect that gets gradually more distorted with each repeat:

1. Open Max for Live in Ableton Live, and create a new patch.
2. Add a delay effect to the patch by dragging the “Delay” object from the Max for Live Devices Browser to the patch.
3. Connect the audio input of the delay to the audio input of the patch, and the audio output of the delay to the audio output of the patch.
4. Add a “Wave Shaper” object to the patch by dragging it from the Max for Live Devices Browser.
5. Connect the output of the delay effect to the input of the wave shaper object.
6. Adjust the settings of the wave shaper object to introduce distortion to the delayed signal. You can do this by adjusting the “Drive” and “Mix” parameters.
7. Add a “Line” object to the patch by dragging it from the Max for Live Devices Browser.
8. Connect the output of the wave shaper object to the input of the line object.
9. Adjust the settings of the line object to gradually increase the distortion over time. You can do this by adjusting the “Duration” and “End Value” parameters.
10. Play with the parameters until you get the desired effect.
11. Save the patch as a preset so you can easily use it in your productions.

You can now use this patch as a delay effect that gradually gets more distorted with each repeat.”

I’m not switching to Reaper, please stop trying to get me to switch to Reaper.

This response is pretty good, but not as straightforward as some of the responses to the other questions. As someone who has a basic understanding of Max For Live, but is by no means an expert, it took me a fair amount of playing around and doing research outside of ChatGPT to get my effect up and running. I believe in a future update it will be more powerful for this utility, and I’m truly looking forward to it. Check out this next prompt in which I ask for ChatGPT to generate a unique plugin effect.

Prompt: Provide me an idea for a unique effect plugin that transforms audio in wild and expressive ways that isn’t currently available for any DAW.

ChatGPT Response: “One idea could be a plugin that applies a “molecular distortion” effect to audio, inspired by the behavior of molecules in a heated gas. The plugin could take an audio signal and apply random, chaotic distortions to the signal, simulating the way that molecules in a heated gas move around in random directions and collide with each other. The plugin could have parameters to control the intensity and frequency of the distortions, as well as the amount of randomness and chaos in the effect. It could also include a filter section to allow users to shape the frequency content of the distorted audio. Another idea could be a “quantum entanglement” effect that applies a type of non-local correlation to the audio signal, similar to the way that particles can become entangled in quantum physics. The plugin could take two audio signals as inputs and apply a mathematical transformation that creates a type of “quantum entanglement” between the two signals. The result would be a wild and unpredictable transformation of the audio signals, with elements of both signals intermingling in unexpected ways. The plugin could have parameters to control the degree of entanglement and the frequency range of the effect, allowing users to create everything from subtle blends to extreme and unpredictable transformations. These are just a couple of ideas for unique audio effect plugins that could transform audio in wild and expressive ways that aren’t currently available for any DAW. The possibilities are endless, and with the right programming and design, it’s possible to create truly innovative and inspiring audio effects that push the boundaries of what’s possible with digital audio technology.”

Imagine the possibilities when AI can not only envision such an effect, but perhaps write the code for it — or at the very least, more clearly explain how to create it yourself. It’s important to note, as of the time of this article being created, it is already possible to connect ChatGPT to Max for Live to create music within Ableton Live, even if the results are very primitive-sounding.

5. As a Tool You Use When You Desire, but Not Always

One of my concerns about this technology is that it uses the sum of a great deal of human knowledge that existed before and therefore without ChatGPT, so there is a danger in human reliance on this technology. Otherwise, how long until we get a feedback loop of ChatGPT suggesting humans to try something that humans generated using ChatGPT, and not with their own original thought and creativity? I’ll admit that after a few hours of experimenting with different prompts, I started to feel a bit overwhelmed at the possibilities — sort of the same feeling as when you spend an excessive amount of time clicking through synth plugin presents, or tweaking guitar pedal settings, instead of actually making music with the tools in front of you. I am seeing a backlash against this kind of technology, and I am not surprised. After all, we are the same society that tried to ban synthesizers in the 1980s. But I believe the best response when you feel afraid of or threatened by something is to learn more about it. I recommend that everyone, regardless of profession, political affiliation or general outlook on humanity should spend some time using ChatGPT, because it isn’t going away anytime soon.

  *Credit to my friend Jason Cummings for this brilliant scenario.