Adele – 25
The music gear and equipment used by the artists, producers, engineers, and more involved in the making of the 2015 album 25.
Music from 25
Gear Used On 25
Explore the instruments, equipment, software, and production tools used in the making of Adele – 25 (2015). Click more on each item to see exactly how it was used.
DAWs used by Adele on 25
Adele used logic pro x to create 3 songs on her album "25" with Greg Kurstin
Software Plugins and VSTs used by Adele on 25
Waves Q10 Paragraphic Equalizer Plugin
Avg price: $34.74
Used for vocals on "Hello", as stated by mix engineer Tom Elhirst in this December 21, 2015 SonicScoop interview. An image of the settings can be found here.
The chain in LA was the Neve 1066 (Mic pre/3-band EQ) to the Bluestripe UREI 1176 compressor into a Fairchild 660 limiter. I’m taking the multitrack return from Pro Tools to the line amp on the Neve 1066, then straight into the 1176 and 660 and back up the insert return.
The UREI is hitting and releasing quicker, while the Fairchild is doing a much slower attack and release. Here at Electric Lady I use a Neve 1081 into a Blackface 1176 and then into a Tube-Tech CL 1B compressor.
A large part of the vocal sound is the plates and chambers at Capitol Studios: There’s chambers that Les Paul built back in the 1940’s, and they are literally like nothing else on earth. When I got back to NY in September, I mixed five or six songs at Electric Lady, so we’d send the vocals from here and they’d record it through the chamber, and send back the prints.
Once you’ve found the vocal sound for someone like Adele, you want to use it through the whole record, and these plates and chambers sound incredible. To get to them is hard enough: you go in to the basement of Capitol, you then climb through a ladder to get to the sub-basement, where it looks like no one has been for 50 years. You literally open a hatch and climb down a steel ladder.
Have you ever been in a reverb chamber? They’re like tiled rooms, not painted – like Alice in Wonderland rooms, they don’t look right.
There’s a lot of effects going on behind the vocals. There’s an AMS delay, an Eventide preset called “Canyon,” a plate, a spring…You can see the escalation of things. There’s about seven or eight things going on. You get this wide kind of thing, but her vocal remains super-present.
So what’s going on in the box?
There’s no compression processing going on at all, just some de-essing and some little volume draws on the vocals – little dots and dips, but no rides. The rides have been done with automation on the flying faders.
Studio Gear used by Adele on 25
Avg price: $24,000.00
Used for vocals on "Hello", as stated by mix engineer Tom Elhirst in this December 21, 2015 SonicScoop interview.
The chain in LA was the Neve 1066 (Mic pre/3-band EQ) to the Bluestripe UREI 1176 compressor into a Fairchild 660 limiter. I’m taking the multitrack return from Pro Tools to the line amp on the Neve 1066, then straight into the 1176 and 660 and back up the insert return.
The UREI is hitting and releasing quicker, while the Fairchild is doing a much slower attack and release. Here at Electric Lady I use a Neve 1081 into a Blackface 1176 and then into a Tube-Tech CL 1B compressor.
A large part of the vocal sound is the plates and chambers at Capitol Studios: There’s chambers that Les Paul built back in the 1940’s, and they are literally like nothing else on earth. When I got back to NY in September, I mixed five or six songs at Electric Lady, so we’d send the vocals from here and they’d record it through the chamber, and send back the prints.
Once you’ve found the vocal sound for someone like Adele, you want to use it through the whole record, and these plates and chambers sound incredible. To get to them is hard enough: you go in to the basement of Capitol, you then climb through a ladder to get to the sub-basement, where it looks like no one has been for 50 years. You literally open a hatch and climb down a steel ladder.
Have you ever been in a reverb chamber? They’re like tiled rooms, not painted – like Alice in Wonderland rooms, they don’t look right.
There’s a lot of effects going on behind the vocals. There’s an AMS delay, an Eventide preset called “Canyon,” a plate, a spring…You can see the escalation of things. There’s about seven or eight things going on. You get this wide kind of thing, but her vocal remains super-present.
So what’s going on in the box?
There’s no compression processing going on at all, just some de-essing and some little volume draws on the vocals – little dots and dips, but no rides. The rides have been done with automation on the flying faders.
Studio Equipment used by Adele on 25
Urei Universal Audio 1176 Blue Stripe Rev. A/B Limiting Amplifier
Used for vocals on "Hello", as stated by mix engineer Tom Elhirst in this December 21, 2015 SonicScoop interview.
The chain in LA was the Neve 1066 (Mic pre/3-band EQ) to the Bluestripe UREI 1176 compressor into a Fairchild 660 limiter. I’m taking the multitrack return from Pro Tools to the line amp on the Neve 1066, then straight into the 1176 and 660 and back up the insert return.
The UREI is hitting and releasing quicker, while the Fairchild is doing a much slower attack and release. Here at Electric Lady I use a Neve 1081 into a Blackface 1176 and then into a Tube-Tech CL 1B compressor.
A large part of the vocal sound is the plates and chambers at Capitol Studios: There’s chambers that Les Paul built back in the 1940’s, and they are literally like nothing else on earth. When I got back to NY in September, I mixed five or six songs at Electric Lady, so we’d send the vocals from here and they’d record it through the chamber, and send back the prints.
Once you’ve found the vocal sound for someone like Adele, you want to use it through the whole record, and these plates and chambers sound incredible. To get to them is hard enough: you go in to the basement of Capitol, you then climb through a ladder to get to the sub-basement, where it looks like no one has been for 50 years. You literally open a hatch and climb down a steel ladder.
Have you ever been in a reverb chamber? They’re like tiled rooms, not painted – like Alice in Wonderland rooms, they don’t look right.
There’s a lot of effects going on behind the vocals. There’s an AMS delay, an Eventide preset called “Canyon,” a plate, a spring…You can see the escalation of things. There’s about seven or eight things going on. You get this wide kind of thing, but her vocal remains super-present.
So what’s going on in the box?
There’s no compression processing going on at all, just some de-essing and some little volume draws on the vocals – little dots and dips, but no rides. The rides have been done with automation on the flying faders.
Avg price: $21,096.67
Used for vocals on "Hello", as stated by mix engineer Tom Elhirst in this December 21, 2015 SonicScoop interview.
The chain in LA was the Neve 1066 (Mic pre/3-band EQ) to the Bluestripe UREI 1176 compressor into a Fairchild 660 limiter. I’m taking the multitrack return from Pro Tools to the line amp on the Neve 1066, then straight into the 1176 and 660 and back up the insert return.
The UREI is hitting and releasing quicker, while the Fairchild is doing a much slower attack and release. Here at Electric Lady I use a Neve 1081 into a Blackface 1176 and then into a Tube-Tech CL 1B compressor.
A large part of the vocal sound is the plates and chambers at Capitol Studios: There’s chambers that Les Paul built back in the 1940’s, and they are literally like nothing else on earth. When I got back to NY in September, I mixed five or six songs at Electric Lady, so we’d send the vocals from here and they’d record it through the chamber, and send back the prints.
Once you’ve found the vocal sound for someone like Adele, you want to use it through the whole record, and these plates and chambers sound incredible. To get to them is hard enough: you go in to the basement of Capitol, you then climb through a ladder to get to the sub-basement, where it looks like no one has been for 50 years. You literally open a hatch and climb down a steel ladder.
Have you ever been in a reverb chamber? They’re like tiled rooms, not painted – like Alice in Wonderland rooms, they don’t look right.
There’s a lot of effects going on behind the vocals. There’s an AMS delay, an Eventide preset called “Canyon,” a plate, a spring…You can see the escalation of things. There’s about seven or eight things going on. You get this wide kind of thing, but her vocal remains super-present.
So what’s going on in the box?
There’s no compression processing going on at all, just some de-essing and some little volume draws on the vocals – little dots and dips, but no rides. The rides have been done with automation on the flying faders.
