dear all, I am always a little stuck when it comes to arrange the running-order of vocal plug-ins...I have heard somewhere that you sould first use deductive, than adding plug-ins. so I guess a running order which would make sense could be like this: 1. De-esser 2. Auto-pitch 3. EQ 4. Compression (light, f.i. the tube leveller) 5. More Compression (light, f.i. thrillseekerLA) 6. Exciter 8. Delay 9. Reverb 10. Limiter what do you think, would this be okay? thanks!

hi there,
 
nothing to do with your threat, but just noticed you had an Epiphone Casino. Great guitar. Over the years I had all the usual Fender and gibsons, but with a great valave amp a Casino is wow !

sorry meant thread.......not threat !

Speedtom.... 

I really don't think too much about the order I use plugs in a track.... I do know, from reading, that it's industry practice to place plugs in certain orders..... even back in the old band days, certain things were in certain orders in the signal chain.

Having said that.... on vocals, a tiny bit of EQ, some verb and very light compression is about all I use. 

(My) Rule of thumb: Use only what you NEED to use, and error on the lighter side. If you don't need it, don't use it. 

My default vocal chain (using the ProChannel) tends to be PC76 Compressor (to catch peaks), QuadCurveEQ, CA-2A Leveling Amp, Sat Knob (set to keep high), Reverb.
 
Sometimes I use the VX-64 Vocal strip for de-esser, doubling, delay.  I also sometimes use the EQ section of the VX-64 to add tube saturation to the high frequencies, instead of the Sat Knob.

I usually use an EQ to filter out the highs & lows before compression.

This way the compressor is not reacting to the extremes of the freq. response.

Then if necessary I'll insert another EQ after the compressor for tonal shaping purposes.

The more I practice with microphone/pre set up and monitoring my vocalist before hitting record, the less EQ I find is necessary.

1) hpf at 100hz, lpf at 16khz
2) de-esser if needed
3) la2a compression
4) delays, efx, decapitator, 10% wet
5) reverbs typically 5% wet on plugins
6) tape sim

...then send to shared bus with limiter setting on a comp with slow release which allows reverb tails to blossom without extreme plosives that might have poked through. unless going for creative EQ, do most tone shaping with mic and placement. i never use gates or parallel comp on vocz channel unless you count bus compression as such.

wow this forum posting is a nightmare to edit on a droid pad. anyway, i forgot to mention that if you sing close to the mic, like within 8 inches or so, do hpf at 200hz to compensate for proximity effect. i will also do small fades at the brginning of clips to retain some breath noise while keeping apparent compressor initial attack clamping to minimum (like whrn you take big breathe before singing phrase and compressor goes all squirrely)

thanks to all, this all makes sense. None of you mentioned an Autopitch (I like to use the G-Snap on subtle mode, just to make sure the vocals are more-in-tune) when you use one, where do you place it - at the beginning, I suppose?

I use Bristol Jonesey's method mostly. I usually start with a Console emulation at the front, but otherwise, his method is spot on. Mine is typically:

1) Waves NLS Nevo (picking some channels over others, 25% Drive); which you can easily get what you need from the N-Type CE in Sonar.
2) DMG EQuality or EQuilibrium for High and Low cutoff and surgical fixes. Be careful not to cut too much off. Vocals can have greater range than you may expect.
3) Waves CLA-76 Blue-Face (or 76-type Sonar). 
4) GChorus with 16% effect (very slow rate).  
5) Waves L1 Limiter (If I really want to get an even response). You can also place the 2A here as well. 

I use a Chorus for punk-ish vocals. With a very subtle effect, it can bring to life an otherwise dull and bland lead vocal.