Originally Posted by u b k
In addition to all the ones listed --- because they're all badass --- I'll add the api 2500
. The more it holds the vocal back the wider it spreads it out, and it creams out the 1k-3k area that can so easily get edgy and hard when smashed, without losing a trace of focus.
Gregory Scott - ubk
Nice one, Gregory. Funny, I was thinking of you today, I was recording a hard rock vocalist and it was the first time the UBK Fatso
didn't get used when I patched it in. The guy had about a 30 db dynamic range, maybe more.
I started with the signal chain UM900 into Neve 1272 into Ubk Fatso
, couldn't quite dial in the right GR after working with it with a bunch of different settings and input levels..
Then I patched in my 1176. Not enough comp no matter how I set it up. Then added an STC-8
. STILL not enough compression. Then added the API 2500
(these were all being used, with different ratios and thresholds, and the vocal finally started to sit well in the mix. I probably should have THEN patched in the UBK, so I'd have 4 compressors GR'ing. But I didn't. I was surprised by how great the API sounded in OLD mode with quite a bit of feedback. I will def use the 2500
again, never tried it on voice before.