Best Vocal Chain Ever.. Opinions?

[NeglectedFred]

I'm just starting to get more serious about my recordings. I recently purchased a Rode K2 and a Focusrite Twintrak Pro as my first mic and preamp over $500. Well, I'm pretty happy with the combination on most applications, but man, the focusrite compressor is a vocal killer.. It makes the vocalist sound like he or she is channelling the sound more and more through their nose as you up the compression. Seiously, it sucks.. I've had great luck with it on bass, accoustic guitars, electric guitars, overheads, but vocals?? No way!

I've had luck in the past with AKGC414 on vocals, I think that's my next mic.. I actually prefer my cheap Marshall V57M over the Rode K2 for vocals. The K2 seems for female vocal friendly, in my opinion. I'll probably stick with the focusrite preamp and bypass the dynamics processing until after I get the right mic and compressor..

I'd like some opinions.. I'm considering an ART VLA Pro, I've seen a lot of good reviews about them, but no one really praising them for vocal applications. The DBX 160A is also on my mind, but I could certainly use some advise.

With roughly $1200 what would be a good mic and compressor combination for male vocalist, very dynamic, whisper to a scream in the same sentence?[/b]

[chetatkinsdiet]

Shure SM7 and an older dbx 160x. Then pocket the other $600...pay rent, whatever.....
later,
m

[I'm Painting Again]

but man, the focusrite compressor is a vocal killer.. It makes the vocalist sound like he or she is channelling the sound more and more through their nose as you up the compression. Seiously, it sucks.. I[/b]

i wish i had a compressor that would do that to vocals..in the right situaion that would be awesome..

there are 5 million combinations of mics/preamps/compressors..each one will be different and has the potential to be the best for a specific situation/voice/style/song..be it a 15$ chain or a 10,000$ chain..if you need one thing to work on a variety of sources look into asking the question of what mic/comp is most versitile..the idea is to flatter the source.. mic x might make singer a's "good" qualities enhanced and mic y might highlight the same singers "worse" qualities..

[shedshrine]

chetatkinsdiet-

How old would you say is 'older' for the dbx 160x?

thanks.

[rpowell]

chetatkinsdiet-

How old would you say is 'older' for the dbx 160x?

thanks.

IIRC...The 160 X is a descendent of the old 160; I think they were introduced in the early 80's and had unbalanced 1/4" I/O. Later the 160 XT came along, which was basically a transformer balanced version w/ XLR I/O. When the 160A was introduced the 160X series was discontinued, maybe mid-to-late 90's. Interestingly, a 160 X series and 160 A series cannot be stereo linked.

RP

[joel hamilton]

Ultimate vocal chain? Whatever works best with that singer.

A 1073 with a U47 and an LA2A or collins or fairchild or 33609 works well usually. Or a C12 with a 1066 and the same comp choices. Or a 251 with all of the above as choices. Or an RE20 with a Manley pre and the above comp choices. Or how about a copperphone with an ampex 601 and an AM864/U compressor?

There are so many that rock.

[bigtoe]

'With roughly $1200 what would be a good mic and compressor combination for male vocalist'

EV pl20 - 150.

Red Stripe Comp - 1000.

Mike

[Russian Recording]

Depends on th vocalist. Ive been doing a lot of aggressive male mox lately and my "flagship" mics just don't sound good on them. Ive A/B'ed over 9 mics for various aggressive male vocalists and only one comes out on top every time, not only by my choice, but by the bands' as well:
Sennheiser 421.
This mic sounds awesome on aggressive male vox>Langevin Dual Vocal Combo>Distressor.

It can also be used hand-held for those vocalists that are used to performing live.

mtar

[jspartz]

I really like the SM7 into an OSA MP-1L. I also have had good luck with a TLM-103 into a PV VMP-2 (not on everyone but on some). My royer/tapeop/MXL 2001 into an HV-3 also sounds really good. As for a compressor I usually find myself using an RNC on vocals while tracking. It is clean and clear. Plus for the cost you can't go wrong.

As for the VLA Pro I had a stock unit and it did not blow my horn. I just modified it with some burr brown opamps. But in the process I killed another chip. I am waiting on my replacement parts from Digikey. I hope to have it working for a mix project next weekend.

For you I would vote for an SM-7 and RNC. Both are great tools and neither will break the bank.

Jason

[Ryan Silva]

I'd like some opinions.. I'm considering an ART VLA Pro, I've seen a lot of good reviews about them, but no one really praising them for vocal applications. The DBX 160A is also on my mind, but I could certainly use some advise.[/b]

I own both the 160A and a Focusrite Twin Track So here is your answer(or someones answer). Yes those comps on the 'TwinTrack' do kinnda suck, and not even in a good way. Most usefull for clip protection (brickwall for DAWs).
The 160a I love, and does have a very transparant low Ratio compression. However not very good for Ratios over 8:1 for that you need a good destructive comp. (RNC,Joe Meek, Distressor, ect.)

Nice to help on gear that I actuly own.

[nacho459]

DIY an LA2A and then do that mod where you futz with the input and turn the first gain stage into a mic pre. OH CRAP I'm giving peoples trade secrets away!

[slowblue]

I've got both a RNC and a Pro VLA with a Sytek feeding them plus the usual motley assortment of mics.

I really like the RNC for vocals on just about everybody with various mics, what you hear is what you get, but the VLA really darkens the sound, which can be cool for shrieky vocals but in most everyone else sounds really muddy.

[KennyLusk]

An all-tube pre is the most amazing thing in the world for vocals because the tubes absorb the spikes in signal input so well. Granted, a vocalist is always responsible for having some rudimentary understanding of mic technique but there's nothing like the warm, forgiving, eveloping presence of the male voice through an all tube mic pre.