Nicki Minaj – Beam Me Up Scotty
The music gear and equipment used by the artists, producers, engineers, and more involved in the making of the 2021 album Beam Me Up Scotty.
Music from Beam Me Up Scotty
Artists on Beam Me Up Scotty
Gear Used On Beam Me Up Scotty
Explore the instruments, equipment, software, and production tools used in the making of Nicki Minaj – Beam Me Up Scotty (2021). Click more on each item to see exactly how it was used.
Nicki Minaj
Roles:
DAWs used by Nicki Minaj on Beam Me Up Scotty
Avg price: $408.43
In "I Get Crazy" from the "Beam Me Up Scotty" mixtape Nicki Minaj mentions using Pro Tools, presumably Pro Tools 8, the latest version at the time of the mixtape's release.
Studio Equipment used by Nicki Minaj on Beam Me Up Scotty
Avg price: $2,878.54
Mentioned by sound engineer Trevor Muzzy in this Sound on Sound interview about the production of "Starships".
All Nicki's vocal tracking was done at Conway Studios in LA, where she had a lockout and was working with her engineer, Ariel Chobaz. I did not want to assume that how he was recording her wasn't working, so I asked him what he had set up, and he told me that there were two vocal signal chains, one being a Telefunken ELAM 251 going into a Chandler TG2 mic pre and then through an Urei 1176 [compressor]. The other was a more traditional Neumann-Neve chain. The 251 chain sounded amazing and worked really well with the 1176, which I don't typically use for cutting vocals. It gave her voice a unique character with a cool edge that wasn't there with the other chain. We cut Nicki's vocals in a day, and I came back and we redid a few things, so you could say it was a two-day process.
Urei Universal Audio 1176LN Rev. H Limiting Amplifier
Avg price: $3,040.57
Mentioned by sound engineer Trevor Muzzy in this Sound on Sound interview about the production of "Starships".
All Nicki's vocal tracking was done at Conway Studios in LA, where she had a lockout and was working with her engineer, Ariel Chobaz. I did not want to assume that how he was recording her wasn't working, so I asked him what he had set up, and he told me that there were two vocal signal chains, one being a Telefunken ELAM 251 going into a Chandler TG2 mic pre and then through an Urei 1176 [compressor]. The other was a more traditional Neumann-Neve chain. The 251 chain sounded amazing and worked really well with the 1176, which I don't typically use for cutting vocals. It gave her voice a unique character with a cool edge that wasn't there with the other chain. We cut Nicki's vocals in a day, and I came back and we redid a few things, so you could say it was a two-day process.
