dual dbx 160 trick for HEAVY vocals?

rossta1 · Post by **rossta1** » Mon Jan 19, 2015 5:55 pm

I remember reading a Tapeop interview with a producer (possibly for Ministry at one point) about this technique roughly 10 years ago but I can't for the life of me find the issue. Anybody know about this 'trick'? Basically it was to run vocals into two 160s and have one set clean or transparent or no compression and the other set some other way...I guess if I knew I wouldn't be inquiring here.

Does anybody know anything about this method of recording really heavy vocals?

If not does anyone want to share another one?

Thanks

Ross

floid · Post by **floid** » Mon Jan 19, 2015 6:07 pm

i believe the trick is using one to overdrive the other. it was Ministry, think you'll find it here on the TOMB as well.

kslight · Post by **kslight** » Mon Jan 19, 2015 6:17 pm

It was Ministry, I'm pretty sure the first 160 was slow attack with the output slamming the input of the next 160 set with a fast attack.

rossta1 · Post by **rossta1** » Mon Jan 19, 2015 7:02 pm

Sweet! but my 160s only have gain, ratio and threshold. How do you make one fast and the other slow??

Anyone know the name of the ministry producer?

I actually looked already on Ministry's wiki page but no luck there. I cannot believe I can't find this info! I'm obviously new to this 'Infranet' thingy!

JWL · Post by **JWL** » Mon Jan 19, 2015 8:14 pm

Issue 86, Sanford Parker:

"You take a [dbx] 160 and turn the threshold all the way off, then you turn the ratio all the way down so there's no compression at all, and then turn the output all the way up to where it distorts. Then you send it to another 160, or any other [compressor] - I usually use an [Empirical Labs] Distressor. Then I dial back a reasonable amount [of level] to tape and that's the one I use for my compression. It's cool because you talk into the mic and it sounds completely fine; but as soon as you scream, it starts to hit the output of that 160 and breaks up - to me it just sounds natural. I've recorded vocalists that had no idea I even put that on there. It's so funny too; there're so many vocalists who say, "Man, I might have to do one song a day... my voice... I hate recording." And we run through the song and every time it's like, "Dude, I sound great! This is way easier than I thought!" And I'm like, "Yeah, you sound great man!" [laughs] I don't ever say a word."

http://tapeop.com/interviews/86/sanford ... oom-Maker/

kslight · Post by **kslight** » Mon Jan 19, 2015 8:22 pm

Must have been thinking of something else... Either way, it's just an overcompressed sound, I bet you can get close just by noodling around.

rossta1 · Post by **rossta1** » Mon Jan 19, 2015 9:15 pm

THANK YOU JWL!! Now I can finally get some sleep...
after I fiddle around w/ that trick for a few hours

JWL · Post by **JWL** » Mon Jan 19, 2015 10:29 pm

rossta1 wrote:THANK YOU JWL!! Now I can finally get some sleep...
after I fiddle around w/ that trick for a few hours

No problem. My google-fu is superior.

Sleep well..... eventually.

trodden · Post by **trodden** » Mon Jan 19, 2015 11:40 pm

yes, the overdriven/distorted DBX 160x is a good thing to try. It's been used on a few records over the years.

Seems I keep the stereo Ashly comp around just to tame output from over driven 160's and Symetrix 501's.

Theo_Karon · Post by **Theo_Karon** » Tue Jan 20, 2015 11:20 am

A very cool buzzsaw-y distortion for shouty vox (or any number of other things) can be had by opening up the output and then cranking down the peak limiter on a 166 or similar so that it's constantly engaged... never found much use for that limiter in its intended role, but I love this trick. Awesome for parallel distortion on bass and drums, too!

losthighway · Post by **losthighway** » Fri Jan 23, 2015 4:06 pm

I've gotten some great sounds with this. You can do it so it isn't "compressing" just distorting (which I know is compressing but different feel). Using the gain staging you can make it subtle grit or nuclear. It definitely does some interesting things to your mids, while rolling off highs. I've found it can be a little softer around the edges than sending vocals to guitar amps for an effect.

emrr · Post by **emrr** » Sat Feb 07, 2015 7:45 am

I wonder if the 903's do a similar thing, I'll have to try it.

vvv · Post by **vvv** » Sat Feb 07, 2015 10:39 am

I'm feeling like I wanna run my 160XT into my 166A, into itself.

As Al mighta said, who needs H?

frans_13 · Post by **frans_13** » Mon Mar 16, 2015 12:26 pm

For my part, I use a buttery tube preamp first, which acts as a compressor when driven a little, then go from there into the DIYRE color, adding to taste. Same idea: as long as the vocals don't get too loud, it all sounds harmless. As soon as you push it, it translates seamlessly into the red. http://www.diyrecordingequipment.com/collections/colour

I'm Painting Again · Post by **I'm Painting Again** » Tue Mar 17, 2015 11:03 am

As I type I have a variation of the Sanford Parker technique patched in..mixed with a hint of what frans_13 is doing on the input..

I'm using the distressor first then into a 418a for color and tone. Distressor is nuked and the Orban is moderate with the Mu set to 75 (max) it's coming from a DW Fearn preamp on like the first notch originating with a C12 clone with old tube inside all for a really nice crushed drum room sound to mix with the kit mics..

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dual dbx 160 trick for HEAVY vocals?

dual dbx 160 trick for HEAVY vocals?

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