so at this point I think we ought to check out our background vocals right
now the background vocals are going straight to an output pair 21 and 22
just in case I want to do anything overall to them inside of Pro Tools
instead of using an ox to go through I'm actually just going to use a master
fader for that output and it's just an easy way for me to be able to grab the
level of what's coming out of a certain stereo pair without actually changing
the Pro Tools mixer so I've assigned a master two outputs 21 22 then I can put
either just adjust the level up and down or actually put plugins on if there's
something I want to do overall to these tracks that isn't something I would do
in the console so first thing we're going to do is solo these up and listen
and hear the exquisite sounds of the Marley sisters plus some other folks so
those sound pretty great right away all I'm really going to do is sort of
standard vocal processing they're going to get a little bit of reverb they're
going to get a little bit of effects maybe a little bit of EQ some high-pass
they're definitely going to go in the rear buss and what I'm going to do right
now is set up a reverb that I imported that was a vocal reverb on another mix
it's the UAD plate with a little filter on the way in and I'm going to set that
up to get the input that I had from sense 7 & 8 so I'm actually going to use
a physical sent from the console to hit a Pro Tools reverb and then that reverb
is going to come up on two channels on the desk over there
so inputs 25 and 26 outputs 27 28 that should do it
all right so let me solo these guys up see what this reverbs like okay so now
I'm gonna go ahead and EQ do a little bit with the FX and that's probably all
these need paint here is without effects and without EQ who wouldn't want that
alright I'm gonna pop them in the track get a quick level and then it's time to
move on to some lead vocals
all right it is time for some lead vocal I'm going to go to a verse here where
Ziggy's singing a bunch I'm going to solo them up basically what I'm going to
be working with here is the EQ the effects the reverb maybe the BA 6a so
these are all things that are on sends then if you remember we have our special
1176 setup and that's another one where I'm going to want to play with the level
of the return I know I'm going to want to hammer it just with whatever the
post-fader level is so I'm not really worried about the send level which is
why it's on a bus but I am worried about the return level so the first thing I'm
going to do is set up a group on my forth by a third group fader which we've
been using as a spare so again engage group mode it's select run over here
it's select and now I have my group my vocal crush so I'm going to go ahead
and engage it and then bringing it up here is sort of the same motion as
bringing up the sand when you're checking out a reverb or checking out a
parallel compressor on a send I think it's best if I just now work on the
vocal and then I'll tell you what we ended up doing separation unto the Lord
jig no strong drink Cena dead and all the days of your vow of separation no
razor shall come upon your head off light Rasta fly Rasta root that and root
true to the in truth now there's an eva which we've seen under the sun and it is
common among let's forget about the slap for a second give you a quick recap on
what i did and this is one of the things that's awesome about working on a
console is I just adjusted five effects on an EQ in about five seconds so with
the EQ doing exactly what you would expect I'm hi passing around seventy
adding a little to twenty four some body and then the 7.2 mid band and the 10k
shell for adding together to give me some top that's going into the FX a
little bit of a effects so exactly like what we did with background vocals
basically alright so let's check out our lead vocal in the track and see if we're
even close
our separation unto the law jig no strong dream seeing a dead and all the
days of your vow of separation no razor shall come upon your head Oh fly Rock
stop fly Rasta the true to danger now there's an evil which we've seen under
okay so all I've done is take the slap off of Ziggy's voice probably needed a
new Roy and I might even need to be set differently I've added a little bit of
the reverb because I like that and that's it so it's time for the big man
Roy I'm going to go to the end where he is representing something fierce and
let's see what's going on here yeah we got the medical stuff about ain't no
blubbers I will tell it to you yeah and I got picked this stand up firm but
cannot be eaten by a worm yes and I will tell each and every moment sound ELISA
way so you feet jump up 90 and no flying monster yes and I would say love is all
I've got you got his spunk up on top of the Bambi dolls dropping or turning back
and tinny to me like I would say yeah no shame rubble on the we let go but let
them stay fly Rasta try was done all right let's hear it in context again
almost exactly the same treatment as Ziggy's vocal I've used bus six which is
that 1176 set on stun blending that in it's the same blend as Ziggy because
he's actually sharing it with Ziggy then eq'd the e keys have ended up almost
identical high-pass 70 little boost with the shelf at 220 little boost at 7.2
which on interesting on Ziggy it's actually cut a tiny bit at 7.2 that may
or may not be a good thing then a little bit of the 10 K shelf uh and some
effects little bit of the slap which we set up
with Ziggy's voice but now we're using on who Roy's voice a little bit of the
spread which is that micro pitch slap basically a little bit everything
because it's on the menu why not use it