What are the standards?

[Shobiz]

For rap and r&b, list the top three of each to be official. thumbsup no budget

Mics
Mic Pre for vocals
Mic Pre/DI's for MPC/Motif/Triton/Fantom X
Compressors
EQ's
and plugins

[XHipHop]

Standards? These are probably the most used:

Mics - U87, Shure 57/58,SM7, Sony C800G

Mic Pre - Avalon 737sp, Neve 1073, whatever is built into your interface/mixer/or is cheap

DI for synths/mpcs - Avalon, API, whataver has a 1/4" jack

EQs - SSL 4000 (depends on which board), Neve 1073, Avalon, plugin.

Plugins - If using Protools, Bombfactory stuff, autotune, vocalign. Native - UAD, autotune.


---------------------------

I'll just add compression: 1176, Distressor, SSL, Dbx 160 (or one of its siblings)

[TonyBelmont]

Not really in any specific order...

Mics - U87, Shure 57/58,SM7, Sony C800G

Mic Pre - Avalon 737sp(though I can't stand it), Neve family, API

DI for synths/mpcs - Aurora Audio GTQ, API, Desk Doctor

EQs - SSL, Neve family, API

Compressors: Distressor, Dbx 160, Smart C2/ SSL G384, (honorable mention: 1176 and LA2a type compressors)

[Shobiz]

The reason why I asked the question is because,I will be doing some major upgrades to my setup in the coming months. A new vocal mic, and mic pres for the 4000 and motif. etc

So if you have to start over, what would you get? Lets start the new standard for 2006 and beyond.

Right now my set up is:
Blue Blueberry (I think I need something better, a tube mic)
Great River MEQ-1NV (sweet)
FMR RNLA (need something better)
Digi 002R (can't afford HD)
KRK V6 series 2

[thethrillfactor]

Originally Posted by TonyBelmont

Compressors: Distressor, Dbx 160, Smart C2/ SSL G384, (honorable mention: 1176 and LA2a type compressors)

I would say also a Tubetech CL1B or a Summit TLA-100.

[3rd world order]

Originally Posted by Shobiz

For rap and r&b

what no dbx subharmonic synthesizer or SPL vitalizer???

another "standard" is the sansamp PSA-1... just ask RZA.

you might wanna toss in an eventide too.. i hear that micro pitch shift/spread thing all the time...

[nukmusic]

The next question would be .............what works in place of the "standards"??

[sunrck]

Sorry for hijacking the thread, but this is kinda related...

Is it possible to track R&B vocals without compression, and just get it done during mixdown ?

Since we have so much headroom to play with anyways these days, is splurging in an expensive compressor really necessary during the tracking phase ?

-sunrck

Originally Posted by thethrillfactor

I would say also a Tubetech CL1B or a Summit TLA-100.

[TonyBelmont]

Originally Posted by thethrillfactor

I would say also a Tubetech CL1B or a Summit TLA-100.

Absolutely, they were exactly what I was thinking when I said LA2a-type compressors..

[Lawrence]

Originally Posted by sunrck

Sorry for hijacking the thread, but this is kinda related...

Is it possible to track R&B vocals without compression, and just get it done during mixdown ?

Since we have so much headroom to play with anyways these days, is splurging in an expensive compressor really necessary during the tracking phase ?

-sunrck

Absolutely to the first question. Actually I would recommend doing just that. Others will disagree but I never compress singers during tracking, especially really good singers. I want the real deal going to disk.

IMHO this gives the most flexibility during mixing. You can squash the hell out of it or lightly compress it or don't touch it and use automation to make every word clear. When I sit down to mix I want to hear it exactly as it was during the performance, dynamics and all. If I need a more warm analog sound I count on the mic/pre combination to get that done. I personally think vocal (singing) compression is best left for the mixing stage. With 24-bits you should never be approaching clipping anyway. If you are you're tracking too hot.

With that said...

Circumstances differ. If you have a special analog comp that you want to use for "character" on a vocal that will be going to digital disk, and you don't want to add another DA/AD stage to insert that comp later then by all means use it during tracking. Just be aware that if the singer goes really (unexpectedly) loud on a bridge or something and gets radically compressed (your 4db of comp is now 8db) it's there to stay. If you use a comp during tracking record a uncomped split just in case.

Splurging on an expensive comp? That's a personal choice. I personaly feel that much of the equipment we lust after isn't "necessary" but a lot of it can make a big difference in the right hands. A $250,000 Neve console 'aint neccesary but I sure would love one!

Lawrence