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Peter Gabriel's vocal chain ?
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stevep
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12th April 2006
Old 12th April 2006
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Peter Gabriel's vocal chain ?

Does anyone know what Mic and Pre he uses ?

I know he would sound great on a 57 ..........

His slower songs really bring out the Mic sound and the dialed in reverb



steve



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12th April 2006
Old 12th April 2006
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My guess is he has at least one piece of SSL gear in that chain...
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PG - one of my ALL TIME FAVs - an unbelievable talent. "Blood of Eden" is incomparable. Always great vocal sound on his ballads, and ALL his material, for that matter - but he also REALLY knows how to WORK the mic, and does a lot of editing, as well. He is TRULY unique.

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I always heard
Hand held 57
In the control room
Printed with effects

I also don't know where I heard this!
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12th April 2006
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I would like to know this too. All of his vocal work is great, but there is one of the more recent tracks that really stands out. The tune "Father, Son" on the "OVO" CD. Absolutely amazing vocal sound. If you haven't heard it, I recommend checking it out on the best speakers you can find.

DP
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On a the stuff during 80's and 90s', you can hear a Dimension D on nearly every vocal track, I believe using button 3 (?--I forget which, ask Thrill). It is the most useful button on the box, and is a beautiful, subtle vocal chorus that creates the archtypical Gabriel sound from that era. I know, that's a mix thing, not an input chain, but just thought I would point that out.
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Quote:
Originally Posted by Dave Peck
I would like to know this too. All of his vocal work is great, but there is one of the more recent tracks that really stands out. The tune "Father, Son" on the "OVO" CD. Absolutely amazing vocal sound. If you haven't heard it, I recommend checking it out on the best speakers you can find.

DP
YEa ! this song and the one with the female vocalist " Don't Give Up ".

Both have the same vocal sound.....

I wonder what compressor he uses ? not to much color or smashing just the right amount ,,,,, probably lots of fader rides instead .

someone must know......

Mic, Pre, Comp. ?






steve





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Quote:
Originally Posted by stevep
YEa ! this song and the one with the female vocalist Don't Give Up .

Yeah, that one chick...hmm... oh, Kate Bush...oh yeah, that female vocalist
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Full interview with Kevin Killen, P G engineer from MixOnLine...

http://mixonline.com/mag/audio_kevin...ing/index.html


Excerpt...

"Do you remember how you recorded Peter's voice?

We used a tube 47. Peter always maintained that he'd used a handheld 57 in the control room on his previous records. Dan and I were skeptical, so we did a test. We set up a bunch of mics, and we blindfolded Peter and had him sing into each and tell us which one he liked the best. It came down to one, and he was sure it was the 57. When we took the blindfold off, of course it was the 47.

But there was a funny sound to that 47. It had much more air than you would normally expect-very pleasing sounding, but not as much bottom as you'd expect. We had our maintenance guy, Neil Perry, take a look and it turned out that one of the cables had a little nip in it. It wasn't getting full contact on the shield, and when he reconnected it back up it sounded much fuller-but the presence that we loved was gone. So we rigged up a system where we plugged the output of the mic into the patchbay, and we took the shield off a regular patch cord and used a mult of the two things; we brought the mic up on two faders to duplicate that sound-the regular 47 and the dropped shield version of it-and we'd balance between them.

What about the rest of the chain?

Peter had an old Decca compressor, kind of like an LA2A, very smooth, very slow. I set it up for a minimum amount of compression. I chose not to use a lot of EQ, mostly because I knew we'd be dropping in lines further down the road. We'd have EQ on the monitor side."

Hope this helps.

Tom
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Quote:
Originally Posted by Moofie
Full interview with Kevin Killen, P G engineer from MixOnLine...

http://mixonline.com/mag/audio_kevin...ing/index.html


Excerpt...

"Do you remember how you recorded Peter's voice?

We used a tube 47. Peter always maintained that he'd used a handheld 57 in the control room on his previous records. Dan and I were skeptical, so we did a test. We set up a bunch of mics, and we blindfolded Peter and had him sing into each and tell us which one he liked the best. It came down to one, and he was sure it was the 57. When we took the blindfold off, of course it was the 47.

But there was a funny sound to that 47. It had much more air than you would normally expect-very pleasing sounding, but not as much bottom as you'd expect. We had our maintenance guy, Neil Perry, take a look and it turned out that one of the cables had a little nip in it. It wasn't getting full contact on the shield, and when he reconnected it back up it sounded much fuller-but the presence that we loved was gone. So we rigged up a system where we plugged the output of the mic into the patchbay, and we took the shield off a regular patch cord and used a mult of the two things; we brought the mic up on two faders to duplicate that sound-the regular 47 and the dropped shield version of it-and we'd balance between them.

What about the rest of the chain?

Peter had an old Decca compressor, kind of like an LA2A, very smooth, very slow. I set it up for a minimum amount of compression. I chose not to use a lot of EQ, mostly because I knew we'd be dropping in lines further down the road. We'd have EQ on the monitor side."

Hope this helps.

Tom
Nice !!

Thank you,



I wounder how many people started to nick the shield after that article





steve






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12th April 2006
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It's hearsay ( I wasn't there ) but one of my friends that worked with Peter Gabriel a while back. Confirmed the handheld 57 in the control room story and added that he always felt that the combination of sound and Fx was because Peter doesn't like the sound of his own voice. Weird huh ??

Jam
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I believesome of US and UP used a sony 8000 I rember reading an article some where that the sony and the 47 were what peter was carryin with him everywhere also had some old video of original demo of don't give up with a B&K!!
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Quote:
Originally Posted by ddageek
I believesome of US and UP used a sony 8000 I rember reading an article some where that the sony and the 47 were what peter was carryin with him everywhere also had some old video of original demo of don't give up with a B&K!!
You mean a Sony C800 or C800G?
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Quote:
Originally Posted by natpub
On a the stuff during 80's and 90s', you can hear a Dimension D on nearly every vocal track, I believe using button 3 (?--I forget which, ask Thrill). It is the most useful button on the box, and is a beautiful, subtle vocal chorus that creates the archtypical Gabriel sound from that era. I know, that's a mix thing, not an input chain, but just thought I would point that out.
I always associated the archetypal Gabriel vocal processing with the AMX 15-80S or DMX-S, whichever the delay w/ the harmonizer option was...and an RMX-16 for the ambience.

On the other hand, my hearing may have been coerced by the fact that PG gave thanks to Stuart Nevitt at AMS in the liner notes to all those albums!
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Quote:
Originally Posted by GearHunter
You mean a Sony C800 or C800G?
yea , i was thinking this to, Great Mic........ I don't buy the 57 thing except for maybe some scratch tracks, who knows maybe some of the scratch tracks made it to the final mix, but i wouldn't think they planed on it to be the main vocal Mic.

Thanks to all who have replied !



steve







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Quote:
Originally Posted by Dave Peck
I would like to know this too. All of his vocal work is great, but there is one of the more recent tracks that really stands out. The tune "Father, Son" on the "OVO" CD. Absolutely amazing vocal sound. If you haven't heard it, I recommend checking it out on the best speakers you can find.

DP
The Piano recording in this song is one of the best warm piano recordings i have ever heard.






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Quote:
Originally Posted by natpub
Yeah, that one chick...hmm... oh, Kate Bush...oh yeah, that female vocalist
Kate has A GORGEOUS VOICE.

I also like the work Paula Cole did on the Secret World tour stuff
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Quote:
Originally Posted by ddageek
I believesome of US and UP used a sony 8000 I rember reading an article some where that the sony and the 47 were what peter was carryin with him everywhere also had some old video of original demo of don't give up with a B&K!!
Only excellent experiences with B&Ks here
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Quote:
Originally Posted by bongo
I always heard
Hand held 57
In the control room
Printed with effects

I also don't know where I heard this!
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I told you!!....'cause Rick Bell told me. Ha!

Rick Bell (Sax player) had just returned from an Apartheid tour that was Bono, Lou Reed and Peter Gabriel. Rick was in Peter's studio when he was told that.
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Quote:
Originally Posted by Sqye
Kate has A GORGEOUS VOICE.

I also like the work Paula Cole did on the Secret World tour stuff
Secret World Live is one of my favorite live recordings ever. Paula Cole sounds fantastic. Peter Gabriel as always was amazing. Manu Katche and Tony Levin throw it down so hard on that show that it's ridiculous.
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A good friend of mine from several years ago (mid '80s) had engineered a bunch of stuff for Robert Fripp (they lived in the same town.)This same fellow also maintained all of Petter's analog decks.
I was commenting on how the vocal sound evolved and changed on Peter's records and how well crafted the sounds were for each particular section of the cut. My friend said, "Well, it certianly isn't a planned thing." He said that all of the work tapes that they got had comped vocals that sounded completely different.
He had to build a mix for Robert to OD to, so he was pretty familiar with the raw tracks. In fact, he was a bit surprised at how little thought Peter put into the continuity of the vocal sound!
I recall him saying, "Peter will cut vocals sitting at his Yamaha CS80 and then a few days later cut more vocals while standing at the board. He never writes down what he used, so it never matches."

There you go.

Danny Brown
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Quote:
Originally Posted by stevep
yea , i was thinking this to, Great Mic........ I don't buy the 57 thing except for maybe some scratch tracks, who knows maybe some of the scratch tracks made it to the final mix, but i wouldn't think they planed on it to be the main vocal Mic.
Not sure why this is hard to believe. Lots of big albums have been done with 57s and 58s. I am currently in the studio with an artist now with a very similar vocal sound to Peter and a 57 won the the vocal shoot out (and have plenty of nice mics to choose from)
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Quote:
Originally Posted by Sqye
Kate has A GORGEOUS VOICE.

I also like the work Paula Cole did on the Secret World tour stuff
I went to school with Paula, and still have tapes os sessions we did. She was the only person that could sing vocals through a 4011 (referencing to your other post) without popping it. They're too sensative for most people, but not Paula.
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Quote:
Originally Posted by rcm
Not sure why this is hard to believe. Lots of big albums have been done with 57s and 58s. I am currently in the studio with an artist now with a very similar vocal sound to Peter and a 57 won the the vocal shoot out (and have plenty of nice mics to choose from)
I agree !

I have nothing against the 57, Or the Beta58 , Ive cut plenty of scratch vocals with them and I'm sure some ended up keepers.

whatever works,, it doesn't have to be a high dollar Mic to get the job done .


The sound of "Don't give up" and "Father son" doesn't sound like a 57......


But who knows............


I could see some of the more upbeat/ rock tunes being the 57 , and after some people here have said that he works in the control room that would make sense
to me.



steve











i dont know.......
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13th April 2006
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Don Larking once told me that Peter used a Dolby 360 (encode only) in the chain.

Greets

Paul
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Quote:
Originally Posted by dobby12
Secret World Live is one of my favorite live recordings ever. Paula Cole sounds fantastic. Peter Gabriel as always was amazing. Manu Katche and Tony Levin throw it down so hard on that show that it's ridiculous.
Same here - one of my all time favorites - totally agree. That show has a really magical energy, and some SLAMMING MUSIC, and musicianship.
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Quote:
Originally Posted by jonnyclueless
I went to school with Paula, and still have tapes os sessions we did. She was the only person that could sing vocals through a 4011 (referencing to your other post) without popping it. They're too sensative for most people, but not Paula.
Paula was at Berklee before I was, but I heard some fables about her performances there She does have an amazing voice, very expressive and beautiful, as well as great technique. Also, a really positive energy in her performances. Some of the Secret World duets with PG are incredible. "Womans' Day", "Don't Give Up" and Blood of Eden" are some of the more inspired performances I've witnessed. he IOT

Sorry for all OT, Steve - even though I'm the master of thread hijacking
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14th April 2006
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Quote:
The tune "Father, Son" on the "OVO" CD. Absolutely amazing vocal sound. If you haven't heard it, I recommend checking it out on the best speakers you can find.
IMO good one, but nothing special about it. And the ´t and s´ kinda struck my ears, too loud.

But then again I like bit more "processed" sound, check out Devin Townsend´s Terria. Especially the songs Deep Peace and Stagnant... all matter of tastes of course.
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Quote:
Originally Posted by JMWS
IMO good one, but nothing special about it. And the ´t and s´ kinda struck my ears, too loud.

But then again I like bit more "processed" sound, check out Devin Townsend´s Terria. Especially the songs Deep Peace and Stagnant... all matter of tastes of course.
I really liked that dry sound... But its got comp, and reverb and some really cool mic......



I would love to have that chain.




Maybe my Pearlman and the 1176 will do the job



steve




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14th April 2006
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Quote:
Originally Posted by Moofie
Full interview with Kevin Killen, P G engineer from MixOnLine...

http://mixonline.com/mag/audio_kevin...ing/index.html


Excerpt...

"Do you remember how you recorded Peter's voice?

We used a tube 47.... (snip)..... But there was a funny sound to that 47. It had much more air than you would normally expect-very pleasing sounding, but not as much bottom as you'd expect. We had our maintenance guy, Neil Perry, take a look and it turned out that one of the cables had a little nip in it. It wasn't getting full contact on the shield, and when he reconnected it back up it sounded much fuller-but the presence that we loved was gone. So we rigged up a system where we plugged the output of the mic into the patchbay, and we took the shield off a regular patch cord and used a mult of the two things; we brought the mic up on two faders to duplicate that sound-the regular 47 and the dropped shield version of it-and we'd balance between them.... (snip)....
I can confirm this (including the wiring trick) - as a number of years back I was in Peter's private studio up in the top of his RealWorld Studios just outside of Box in the UK. When I was there the 47 was setup right by his CP80 (is that the name of his fav keyboard? I think it is) and there were speakers setup that would blast right into where he would be sitting. I was told that he insisted on NOT wearing headphones... and he wanted the music to be right in his face, on speakers. They did the old "flip the phase" trick.....
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