Soundtoys EchoBoy

> for vocals I use a lot of SoundToys stuff, the Decapitator or EchoBoy

Used on Grohl's vocals for "The Pretender", as stated by mix engineer Rich Costey in this March 2008 *Sound on Sound* interview. An image of the settings for the intro vocal can be found [here](https://dt7v1i9vyp3mf.cloudfront.net/styles/news_large/s3/imagelibrary/i/insidetrack08-QZr_znXjG8ybLUYiVnWLoUMm_u7SMlzF.jpg). > Very few plug-ins were used on the mix for 'The Pretender', but intro vocals were treated to Reel Tape Saturation and Pultec EQP1A, while a vocal overdub at the end of the track was processed with Sound Toys' Echoboy. > (...) **Vocals: Mercury EQH, UA 175, Roger Mayer RM58, Waves DeEsser, Digidesign Reel Tape Saturation, Sound Toys Echoboy, Pultec EQP1A, SPL De-esser, Neve Portico 5042** > "If I recall correctly, the lead vocal is doubled throughout the song. I used a Waves DeEsser plug-in on it, which I'm quite a fan of, as I've not heard a hardware de-esser that is competitive with it. The main signal chain after that was a Mercury EQH tube EQ and then a couple of vintage UA 175s. I hit the background vocals with the Roger Mayer RM58. I haven't mentioned any plug-ins yet, apart from the Waves DeEsser, because I hardly used them on 'The Pretender.' The only other ones I used were the Reel Tape Saturation and the Pultec EQP1A on the intro vocals, and the Sound Toys Echoboy on one of the end vocal overdubs. > "I used board EQ on all the vocals. The Pultec EQP1A plug-in on the intro vocals was to help them cut through. The Reel Tape Saturation was a plug-in that I had just bought. I wanted to warm the vocals up a little bit with it and make them a little bit crisper. Nothing too distorted. The Echoboy plug-in was used on a vocal overdub at the end for a tight delay. I don't tend to use plug-ins that much; they're really not that interesting, in my opinion. Finally, I also used an SPL De-esser on some vocals, and the Neve Designs Portico 5042 for a bit of crispness. It has its own sound, and I used it a lot on the whole Foo Fighters album. > "To complete the picture, I used an EMT plate and the room mics for general reverb, and my two EAR 660 limiters were my bus compressors, together with the Manley Massive Passive. We printed the mix to the ATR102, on half-inch analogue tape, from which it was mastered."

In this inteview, Steve Aoki gives us a look to the main gear he use to produce records in both of his studios : The ''Neon Future Cave'' in Las Vegas, NV and the ''Dim Mak Studio'' in Los Angeles, CA. > I have a good amount of Waves plugins, like the CLA Vocal and the JJP Vocals. I think that most people use those. These are all basically one vocal engine that includes compression, EQ Boost, Delays etc. Soundtoys is another plugin that I use, Echo Boys for delays, Crystalliser, which has some cool stuff with pitch shifting and reverse echo.

The EchoBoy plugin is used by Kaskade on vocal tracks.

[This article on the making of Marr's 2018 *Call the Comet* album by MixOnline.com](https://www.mixonline.com/recording/johnny-marr-finds-his-voice-on-call-the-comet) touches on some of the gear used during the recording process. "'We used some Lexicon PCM91 outboard reverb and some EchoBoy, not necessarily timed to the track so it could bounce around a bit and fill space,' says [engineer] Doviak." (While the engineer is providing this feedback, the gear is housed in Marr's own Crazy Face studios, which contains gear he's collected over his decades in the music industry.)

"Calling EchoBoy a delay plug-in is doing it a disservice. It has become the first thing I turn to for treating a wide variety of sources. An EXCELLENT sound / space shaping tool and the most flexible and musical delay out there"

After being asked: "Is all of your processing/production work done inside Ableton Live?", he answered "There are a few third-party gizmos that I couldn't live without. The PSP Vintage Warmer is on everything; the SoundToys stuff goes well beyond anything you'd expect from a delay unit - it almost has a voice of its own; and CamelPhat is a versatile combined filter and overdrive - a very creative tool."

Used for the vocals and electric guitar on "Sex on Fire", as stated by *Only by the Night* producer Jacquire King in this December 2008 *Sound on Sound* interview. An image for the vocal settings can be found [here](https://dt7v1i9vyp3mf.cloudfront.net/styles/news_large/s3/imagelibrary/I/IT_King_10-kCKXfpjCJa7B8R6QLEEmj3NRr3VXtWIW.jpg). > * **Vocals:** Sound Toys Echoboy, Audio Ease Altiverb, Massenburg DesignWorks EQ, Neve 1099, Urei 1176, Dbx 902, Dolby A encoder, Teletronix LA3A > "I had a Sound Toys Echoboy delay and an Altiverb reverb, set to the EMT 140 plate, on the vocals. In fact, there are two or three delays and two or three reverbs in total, different amounts in different sections of the song. I had a Massenburg plug–in EQ on the vocal bus, and underneath it you can see my insert signal chain: Neve 1099 EQ/Urei Blue Stripe 1176/Dbx 902 de–esser. I pre-mix in my computer and things are coming out in stems, and going out into the desk and the Folcrom mixer for mixdown to stereo. The 1099/1176/902 were inserted in the analogue realm and daisy-chained. There's also a distant lead double in the chorus. I call that a performed effect. Instead of using a delay and modulation to get something in the background, you record a second performance in a different space and with a different microphone. You get something more deliberate and unique that way. Finally, once it came to summing, I also added some Dolby A to the vocals, which gives an excited high-frequency sound that I sent through an LA3A and blended back in." > (...) **Guitars:** Massenburg DesignWorks EQ, Sound Toys Echoboy, Cooper Time Cube, Digidesign delay, Audio Ease Altiverb > (...) "I also used an Echoboy for delay on certain sections, like in the choruses. There was a little bit of bus compression on the guitars and a little bit of EQ, all very minor stuff, because I had already recorded what I wanted. The only radical EQ is on the Cooper Time Cube delay, which I described above, and which I applied to Caleb's guitar. I took out everything below 861Hz to get rid of the darker tone that was obscuring the source tone a bit. There's also a bit of Digirack delay on Caleb's guitar, to give it a bit more dimension by panning it to the other side than the track itself."

EchoBoy is the first plugin on the sixth channel strip from the right in Firebeatz's track in their "In The Studio" video. (33:47)

in the video at 2:38 seconds where you see as well as hear them talk about using the EchoBoy on the track "Alone"

I'll bring in some delay. If not the Space Echo or the Memory Man, I'll go with software and use Soundtoy's Echoboy. Although Echoboy emulates a lot of hardware I have in the studio, I find myself using it more and more, simply because of how flexible it is. And it really nails the sounds—it's hands-down the best software delay out there.

Used for the electric guitar on "Sex on Fire", as stated by *Only by the Night* producer Jacquire King in this December 2008 *Sound on Sound* interview. > "We had five or six guitar amplifiers available for each guitar, and again, we picked the ones that were most appropriate for the song. Angelo and I would listen to the guitar parts and mix and match amplifiers. Sometimes we'd put reverb on one amp and a delay on another, or effect pedals on both. We had all kinds of combinations, although we kept it to two amplifiers per performance for each player. I'd put an SM57 in front of one amp and a U67 in front of the other. The guitars went through API mic pres, an API 550A EQ, and I also used some APSI parametric EQs. Occasionally I'd put an 1176 in the signal chain, but in general I don't use much compression on distorted electric guitars going to tape, because there's not a lot of dynamic range to them as it is. The synth–like reverb you can hear on the guitar was done at Blackbird on an Eventide DSP4000 and added during the transfer to Pro Tools. > (...) **Guitars:** Massenburg DesignWorks EQ, Sound Toys Echoboy, Cooper Time Cube, Digidesign delay, Audio Ease Altiverb > "Using a guitar amp, I added a short slap delay on Matt's guitars. I also used an Echoboy for delay on certain sections, like in the choruses. There was a little bit of bus compression on the guitars and a little bit of EQ, all very minor stuff, because I had already recorded what I wanted. (...) The Altiverb on Matt's guitar is a very small room at Cello Studios, for a little bit more space."

Used on Lamar's vocals for "All the Stars" as stated by producer Matt Schaeffer in this May 2018 *Sound on Sound* interview. > Kendrick Lamar’s vocal audio tracks, named after his teenage stage name K.Dot, consist of his first verse rap track, ‘VS 1 LD’, and 10 tracks for three moments in the track where he sings the pre-hook in a robotic voice. The verse rap track only has the AIR Flanger on it, and is sent to the ‘Dot VS LD’ aux track, which has eight inserts and five sends. Nine of the 10 pre-hook tracks have Auto?Tune, while the top four have a number of plug-ins on the inserts, including the EQ3 seven-band, Waves RVox, UAD Galaxy Tape Echo, SoundToys Little AlterBoy, SoundToys MicroShift and Valhalla Vintage Verb. These four are sent to a ‘Hook Ref’ aux track higher up in the session with another four plug-ins on the inserts and five sends. The other six are backing vocals to the four other pre-hook tracks and have no other plug-ins, other than a Trim, and are sent to a ‘Hook Background’ aux, just below them, which itself also is sent to the ‘Hoof Ref’ track. It’s a pretty complicated vocal signal chain, as Schaeffer admits. > “The ‘Dot VS LD’ aux indeed has a lot of stuff on it! I did most of the processing on that bus. On the inserts there are the SSL E-Channel, Waves RComp, Waves Q10 EQ, Waves DeEsser, UAD LA2A, UAD Pultec EQP1A, SoundToys Decapitator and Pro?Q2. The SSL channel strip, Q10 and RCompressor remain from the tracking, and maybe the DeEsser as well, but I most likely messed with the settings more during mixing. The Q10 has a high-pass at 50Hz and I notched out a frequency that was bothering me around 8.5kHz with the Q2. I added the other plug-ins during mixing, and they all add something a bit different. I’m boosting 100Hz and 16kHz with the EQP1A. As I said, I like using several EQs on one thing. > “The sends go to a ‘FlangeVerb’ track, on which I put the RVerb and the UAD MXR Flanger, then the ‘Huge Verb’ with the [Audio Ease] Altiverb and EQ3, ‘Hook Valhalla’ with the Vintage Verb, and the SoundToys EchoBoy, the ‘EMT250’ aux with the UAD EMT250, Valhalla Plate and MicroShift, and then finally a send to the ‘Dot VS Delay’ track, with the EchoBoy, set to quarter note, the Reel Tape Flanger and the RCompressor. The EchoBoy is the main delay you can hear in the verse. The EMT250 is not set to a reverb, but to a phaser effect, which gives a cool stereo effect. The Valhalla adds a bit of reverb here, though it’s set to -12, so it only gives a tiny bit of ambience, and the MicroShift makes the whole thing a little wider. It probably still sounded a bit dry, which is why I sent the track to the ‘Huge Verb’ aux with the Altiverb, again taking out low end with the EQ3. > “In the pre-hook, Kendrick wanted that robotic sound with tons of effects. The main robotic effect comes from the iZotope VocalSynth, which gives it a vocoder-like sound. There also are some instances of the Little AlterBoy on the lead vocals in the pre-hook, with some formant adjusting and pitch-shifting. I think one of them is set to +12, so that’s an octave up, and another has a lower formant so it sounds pitched down, even though it remains in the same key. All that adds up to make the vocals sound robotic.” > Adding all inserts on audio and aux tracks together, Lamar’s verse rap is treated with a whopping 22 plug-ins! The ‘Hook Background’ aux, meanwhile, has the EQ3 seven-band, RCompressor, SoundToys Panman, a chorus, the MicroShift, the UAD MXR Flanger and the Valhalla Plate on the inserts and has sends to an aux track with the Waves Kramer Tape plug-in as well as the aforementioned ‘Hook Valhalla’ aux with the Vintage Verb, and Echoboy, and it then is routed to the ‘Hook Ref’ track, which has another four inserts and five sends. Phew.

Used for J. Cole's feature on 21 Savage's "A Lot", as mentioned by producer Maddmix in this March 2019 *Sound on Sound* article. > "The session was originally a 21 Savage track, and they later decided to add J Cole. His engineer sent me J Cole's vocal session with reverbs and delays already set, so I pretty much imported his vocal auxes, and just matched that to the mix that I had already going. However, the inserts are all mine, and similar to what I used on 21. There also are four Pro-Q2s here, plus two instances of the C6 multiband, and the Clariphonic EQ. The 'Slap' is a send to one of my aux effect tracks, just with a 30-millisecond EchoBoy delay, to widen the vocals a bit. I stripped all the other sends down, to match J Cole's vocals with a track that was more on the dry side, and actually disabled all the sends apart from the 'Slap' on the J Cole aux group track, 'Leads'. Finally, both '21 Leads' and 'Leads' go to the 'Lead All' [40] and parallel 'MadVoxComp' [41] tracks, and the latter has the Waves CLA-76 and L1, both for more presence and volume."

Used on the vocals for "Take Me to Church", as stated by mix engineer Rob Kirwan in this March 2015 *Sound on Sound* interview. > * **Vocals:** Bomb Factory 1176, Focusrite Red EQ, SoundToys Echo Boy, Line 6 Echo Farm, Knas Ekdahl Moisturizer, Waves Renaissance Compressor, Avid Trim & Audio Ease Altiverb. > “The two ‘tele’ voices at the top are backing vocals. I think they were ‘oohs’ and ‘aahs’ that came from the demo. They don’t sound like telephone voices at all, so I’m not sure why they’re called that. Instead they almost sound like church voices. Below are two aux tracks for those vocals, with Bomb Factory compression, Focusrite EQ and an Echo Boy delay. The backing vocals below that — ‘BV1–4’ — are the ones with the signature Leslie effect on them, and they again have some Focusrite EQ and Bomb Factory compression, and I gave them some Echo Farm slap delay to add depth to the reverb. > “The next tracks are the verse lead vocals from his Logic session, called ‘Male Creamy Lead Vocals’, on which I put some Renaissance compression and a Trim, and ‘Vox Verb’ is the Moisturizer track, plus two Trim plug–ins, one being +1dB and the other –0.5dB. I hate automating in Pro Tools, so I will often use the Trim to bypass it. Writing automation is a tedious task. Below this are the chorus vocals, called ‘New Vocal’, so we obviously recorded these again at my studio. In order to make them sound like the demo vocal I stuck them through the same chain and EQ’d them heavily. ‘Vox Plate’ is the Altiverb, and there’s a delay track below it which again has the Echo Farm, on a delay setting. Finally there are several more double–tracked chorus vocals, and they also have the Renaissance and Focusrite, and the Moisturizer and Echo Farm aux tracks below them.”

In an interview, when asked what some of their favorite VST / FX Racks are, Odesza reply, "Right now, my go to is Soundtoys. They have the best delay I’ve ever used..." (original interview [here](http://lostinsound.org/odesza-interview/)). The EchoBoy is SountToys' most renown delay plugin, so it can be assumed this is the one referenced by Odesza despite them not naming it exactly.

Used on "Sex on Fire", as stated by *Only by the Night* producer Jacquire King in this December 2008 *Sound on Sound* interview. An image of the settings can be found [here](https://dt7v1i9vyp3mf.cloudfront.net/styles/news_large/s3/imagelibrary/I/IT_King_09-TIRs8J7sG4pjEgIbUIe4okpKk82haUtZ.jpg). > * **Bass:** AMS delay, Sound Toys Echoboy, Empirical Labs Distressor, Chandler TG1, Dbx Disco Boombox > "On the Mix window screen you can see that there are bass DI, bass amp, bass AMS and bass delay tracks. The AMS is a delay that I applied at Blackbird and that I then printed to Pro Tools. The delay is the Echoboy delay, which I added during mixing. The idea was to get a different texture than I could with the AMS delay. Both delays had different delay times, different qualities of sound, and different feedback and modulation effects, and the idea was to spread them out and fatten up the sound, give it some space without putting a reverb or something poky–sounding on it. By spreading the bass out a bit you also make it sound bigger. In addition, there's some Distressor and TG1 compression and some EQ on the bass, as well as some more subharmonic synthesis, again using the DBX Disco Boombox. I have a slightly more modern version of the box." The item can be seen as a Pro Tools mix channel label in [this image](https://dt7v1i9vyp3mf.cloudfront.net/styles/news_large/s3/imagelibrary/I/IT_King_08-g19m8JKkgZaVXNofJyaAr.1x5ZNgHN3A.jpg) from the same interview. > The final Pro Tools Session included four bass tracks: the original miked and DI'd recordings, and duplicates treated with AMS hardware and Sound Toys (right) software delays.

> You can create reverb-like sounds with Soundtoys EchoBoy because you've got control over diffusion as well as the delays.

Used for "Get On Your Boots". > Most of Bono's vocals were recorded through a Shure Beta 58 dynamic mic, with some EQ (including the Waves VEQ3, top) and heavy compression from the Fairchild 660 plug-in. No reverb was used, but Sound Toys' Echo Boy provided delay. An image of the settings can be found [here](https://dt7v1i9vyp3mf.cloudfront.net/styles/news_large/s3/imagelibrary/I/IT_U2_07C-ZKYIXslGQirPLlx4cQ6Ywk10033YaCmm.jpg).

Used on *Purpose*, as stated by mix engineers Josh Gudwin and Andrew Wuepper in this May 2016 *Sound on Sound* interview about the mixing of the title track and others. > Gudwin picks out a few other interesting tracks, beginning with a vocal track named ‘vcls’. “That track contains a vocal sample that Blood made of Justin’s vocal. I’m just touching that with the LFO Tool for a bit of pumping, I take out some high frequencies with the Pro-Q 2, and then use the SoundToys Microshift for a slight pitch-shift/chorusing effect. ‘Sry1V’ below that is the vinyl sound in the track. ‘$JBU’ is the main lead vocal bus, on which I have the UAD 1176, Waves De-Esser, Manley Massive Passive, Metric Halo Channel Strip. The sends are to the generic aux tracks at the bottom of the sesion: verb, ping-pong delay, Dimension D. Below the lead vocal bus is the print track of a Bricasti outboard.” > Wuepper: “There are two tracks called ‘Bric’ around the main vocal bus; the one above is the print from the Bricasti effect that was used on the percussion, and the one below is the print of the Bricasti reverb on the vocal. Next are Josh’s vocal delays. Putting delays on audio snippets [ie. copying short vocal clips to new tracks and applying delays as inserts, rather than automating a send from the main vocal track] is a pretty interesting way of doing things. I’ve not seen anyone else do this, but it makes it easier for Josh to manipulate these delays and to go deeper into the effect. He can really fine tune the delay times and decay lengths and so on. Sometimes the feedback you get with plug-ins can act a little weird, and this approach allows him to have more control.” > Gudwin: “The five green tracks are all vocal throws and delays. I don’t like to automate delay throws via aux tracks. The top green track is the master track for the delays, ‘JB Throw All’, and it has a compressor and an SPL Vitalizer. The ‘1147’ delay track has the UAD Cooper Time Cube, with a quick ping-pong-y flutter delay that I use to widen, and the track called ‘1167’ has a basic eighth-note delay from the Echo Boy. The ‘A’ insert is Auto-Tune, but it’s not working on these tracks. When needed, our vocal tuning is normally done by Chris ‘Tek’ O’Ryan in Melodyne. I sometimes do it myself, if I have the time do it, in the stand-alone version. > “The blue vocal tracks below the vocal delay tracks are the main lead vocal comp tracks, and on many of them I have the UAD SSL Channel Strip, UAD LA-2A, and the Waves C6 multiband compressor, and sometimes also the Pro-Q 2 EQ. The ‘DLYP’ track has a delay pan effect, with the SoundToys Primal Tap delay and Panman auto-panner, SSL Channel Strip and the P&M Vinylizer. ‘White’ and ‘Master’ are printed reverbs recorded in two rooms at Henson. They are my main plug-in vocal reverbs, and the green tracks below are pitched with the Elastic Audio X-Form [in Pro Tools] and effected with the Waves H-Compressor for a pumping effect. I pitched the reverbs up an octave or two, and I mixed them in very low. The ‘PCM’ and ‘PC1’ tracks are prints from ping-pong delays from the Lexicon PCM42 outboard. > “Justin’s backing vocal tracks all go to the group track called ‘JBG1’, on which I have a Waves De-esser, an SSL Channel and the C6 multiband compressor, plus there are a number of delays and reverbs via the sends. Trevon’s backing vocals all go to ‘JBTR’, which has similar effects. I wanted to fill the song up a bit more, and sometimes it’s not the most enjoyable process for an artist to sing all these background parts. Plus a different vocalist will add a different texture to the song, as long as it complements the lead vocal and the record. As I mentioned, Julia added her vocals during the final mix in New York, and her group track also has the De-esser, SSl Channel and C6. Right at the bottom are some effects tracks, with the Dimension D and group delay throws, and so on. > (...) **'Love Yourself'** > (...) Next are Justin’s vocals, with I overdubbed in New York. Almost all the regular vocal tracks have the UAD SSL Channel, LA2 and the Waves C6 multiband compressor. These three plug-ins work great on his vocals, so I tend to stick with them. Each of the vocal tracks has slightly different settings from them. They all go to Justin’s lead vocal bus above them, which has the FabFilter Pro-DS de-esser and the Pro-2 EQ. Justin’s lead vocals also go through the Bricasti, and the effect is printed. My own four backing vocals went through a vocal bus on which I had the SSL Channel, and a compressor, but they didn’t do much, nor did the sends. These vocals are very much in the background, I just wanted to add some texture really quickly. Finally, at the top of the session everything went through a Master track, on which I had the UAD SSL channel, mainly for compression set to mid-attack and auto-release — without drums you don’t need the slow attack and quick release — a Massey EQ, boosting 100Hz and 16kHz, a FabFilter Pro-L for level, and the Sonnox Oxford Inflator to add some sheen.” > **'What Do You Mean?'** > (...) “There were a few more complicated vocal effects, like the ‘JG FX’ track, on which I used the Vitalizer doing some spatial expanding, a UAD Fatso to thicken it up, and I then cut some low mids with an EQ, and used a de-esser. This effect track gave more depth to the vocal and made him sound more like an angel! Underneath that are two ‘Radio’ tracks [which sound like they could have come straight from Peter Gabriel’s ’80s Fairlight experiments]. I used Auto-Tune to pitch the vocals up, and then put on a SoundToys AlterBoy, which changed the formant, and then I’m filtering 350Hz and below. > “Below the ‘radio’ tracks are all my vocal delay tracks, in green as usual, with the bus for all delay throws at the top. One delay track, ‘Splaater’, is a flutter delay with Auto-Tune and the Cooper Time Cube, and the other two have the Waves H-Delay and SoundToys Echo Boy. They’re both quarter-note delays, but with different feels. Below the delay tracks are some ad lib tracks, and all the actual lead vocals, pulled out over several tracks. Most of them have my regular trio of UAD SSL Channel, LA2 and Waves C6 plug-ins, and all vocals are sent to the ‘JB Buss’, on which I have the FabFilter DS de-esser, a Manley EQ doing light cuts at 330Hz, 560Hz and 3kHz, and then a whole bunch of sends to my regular aux tracks at the bottom: a hall reverb, a plate reverb, a light quarter-inch delay, a light ping-pong delay and a Dimension D. > “Further down are four Justin backing vocal tracks, which go to a bus above them, ‘JBG1’, on which I have the SSL Channel, boosting highs and cutting lows and doing some heavy compression, a UAD 33609 compressor, and then the Waves Enigma [phaser/flanger] on a Mutron setting, adding some sweeping sounds. The sends are once again hall and plate reverbs, a quarter-note and a ping-pong delay and a UAD Roland Dimension D. Once Justin had decided to go with my rough mix, I spent another half hour on it, doing some EQ adjustments, and that was it.”

"Plug in wise, SoundToys Echoboy is the one which gets most use around here, followed by Logic’s stereo and Tape delay: simple but effective."

“Soundtoys are my go-to creative plug-ins. Crystallizer, EchoBoy and Decapitator are so much fun to work with.

"Antonoff’s favourite outboard reverb is the spring in his Roland Chorus Echo. Plug-in-wise, he tends to use the Waves Renaissance Reverb and Valhalla’s Plate, SoundToys’ EchoBoy for delay and, for more extreme effects, SoundToys’ FilterFreak, PanMan and Crystallizer granular delay."

He uses SoundToys' EchoBoy for delays, clearly stated at 10:08 You can also see an instance of the plugin at 11:42 in another track, so I think he uses this plugin quite often.

5min 29 second mark you can see the Echo Boy on the attached video.

Used for Beyoncé's feature on Coldplay's "Hymn for the Weekend", as mentioned by *A Head Full of Dreams* co-producer Rik Simpson in this *Sound on Sound* article. > At the bottom of the session are the Beyoncé vocal tracks, on which I mainly used the SSL E Channel strip, UBK1, L2, SoundToys Echo Boy, Avid ModDelay and the QL Space.”

"And I do use a lot of plugins too for effects. I love EchoBoy. That’s been one of my favorite plugins for a long time. I think that’s actually the biggest bang for your buck out there on the Internet because the thing only costs $179. And not only does it give you every delay known to man, but it gives you amazing special effects. It’s a great, great plugin." - Henderson about SoundToys EchoBoy.

In NEW_ID's Instagram photo, an instance of Echoboy is the most visible plugin on the laptop screen. The Echoboy logo is visible on the left-hand side of the plugin.

In Issue 332 of Future Music magazine, on page 67, Iain says: '(Soundtoys) Echoboy is really good too.'

Jake One mentions how he likes Sound Toys plugins, in particular the Echo Boy plugin, at 7:44 in this video.

Used on "APESHIT", as stated by producer Stuart White in this September 2018 *Sound on Sound* interview. > The first four aux tracks feature SoundToys effects, namely Little Microshift, two EchoBoy delays, and a delay from the Little PrimalTap. Next are a Hall Reverb aux and a Church Reverb aux, both using Waves’ RVerb, an EMT plate from Audio Ease’s Altiverb, four aux tracks with the Waves H-Delay and various other plug-ins on them as well, and four more reverb auxes with the Avid Revibe II, two Avid D-Verbs and another RVerb. > White: “I use the Little Microshift in pretty much every mix, with the left-right micro pitch-shift effect that’s similar to the classic effect in the Eventide H3000 shift where you pitch one side down six cents and one side up six cents to create width. It’s a good way to get your vocals wider without them being out of phase. It thickens up vocals, and is kind of like a doubler. I do quite a lot of filtering on some of the EchoBoy delays, for example with the Waves REQ, and I am adding colour with the SoundToys Devil-Loc, which is great if you want to colour the delay so it is separate from the main vocal, and compress it with the UAD LA3A and mix that in to taste.” > (...) Jay-Z’s part consists of just two tracks, one lead, and one ad-lib, with an additional ‘reverse’ track, and a ‘jay clean’ track. White: “The main lead vocal track has the SSL E0-channel, Waves C4 multiband compressor for some control, FabFilter Pro-Q2 EQ, with a few notches, and McDSP AE400. Where Jay raps ‘Tell the Grammy’s fuck that 0 for 8 shit / have you ever seen a crowd goin’ apeshit?’, you can hear some stuff in the background, which is another example of me adding flair and energy. That actually comes from the third ‘Voice Sample’ track further up the session, on which I have some automated plug-ins, the ReVibe, Waves S1 Imager, and filter sweep from the EQ3. It’s subtle, but it gives you a little ear candy.”

Used on Lovato's vocals for Clean Bandit's "Solo", as mentioned by mix engineer Mark Ralph in this November 2018 *Sound on Sound* interview. > There also are very few sends in the session, and only Demi Lovato’s lead vocal tracks have sends to the three aux effect tracks: reverbs from Audio Ease’s Altiverb and Valhalla DSP’s Valhalla Room, plus delay from SoundToys’ Echoboy.

> There's also a Digirack Echo doing a quarter-note echo, and I also sent the glockenspiel to my EchoBoy quarter-note delay, and the two together make it a stereo quarter-note echo. Sound on Sound interview, 2013.

“I can’t rate this delay highly enough. Echoboy is really tweakable, so you can fine-tune your delay to an amazing degree. It’s such a user- friendly plugin. Its ping-pong delay and the saturation settings are just great, and the Tweak and Style Edit buttons are fantastic for creating unique delay effects.”

Used on Jones' vocals for *The Fall*, as stated by producer Jacquire King in this February 1, 2010 *Electronic Musician* interview with Jones, Jacquire King and assistant engineer Brad Bivens. > She was into adding delay on her voice, trying not to just make it pretty with reverb. The delays were both analog and plug-in. I use Audio Ease Altiverb, SoundToys EchoBoy delay, some of the UA plug-ins—they have a nice EMT 140 emulation—and the Cooper Time Cube Delay. We used The Magic Shop’s Marshall Tape Eliminator AR-300, a tape slap simulator. And Norah had an old Ibanez analog delay. We used a Roland Chorus Echo and EMT 140 plate reverbs, too. Sometimes I will use an Eventide H3000 for harmonic delay effects, and as I get them going I will print them in Pro Tools with the transfer from analog.

7:19 into this video SoundToys EchoBoy Echo Plugin is visible.

Mentioned by sound engineer Trevor Muzzy in this *Sound on Sound* interview about the production of "Starships". > "You can see that the pre-chorus and chorus vocals have a lot of timing and comp edits. They were imported directly from the session I cut the vocals in. I did not merge or consolidate them, they just are the way they are. There's quite a lot going on with the vocals. I tried to create a nice basic vocal sound using the inserts, and once they sat well in the track, most of the sonic variations between the sections came from the sends. There was no tuning on the rapping, but the sung vocals in this track had a fair amount of tuning with the Logic Pitch Corrector plug-in on the inserts. The tuning is part of the sound of the record, with vocals needing to be very, very precise. In some cases, we pitched them up or down for vocal effects. Logic Pitch Corrector is a little harder-sounding than Auto-Tune, but it has its own distinct sound that we liked for the vocals in this track. It really fits the song. > > "The other inserts on most of the vocals were all Waves: the C1 compressor, SSL Channel, Renaissance Channel, De-Esser, Renaissance Compressor, API 2500, and the Logic Channel EQ. The C1 compressor is the first in line on several lead vocals, and it does the same Pensado trick I used on the guitars, which is to compress a specific band — in the case of the verse lead vocal, around 2849Hz — focusing on notes that sounded a little harsh. It smooths this problem out more elegantly than using an EQ. Then the signal goes through the R Channel with some basic EQ, cutting significantly at 281Hz. Again, it was a matter of removing some less pleasant things to let the nice aspects shine. I bypassed the compressor in the R Channel. I needed a bit of de-essing, and the Waves De-Esser is a great all-purpose de-esser, in this case working at 5634Hz with the side-chain set to high-pass. > > "There were two more compressors on her vocal. There was no science behind this, it was just a matter of experimenting to find a unique sound. The first is the Renaissance Compressor, which I love and which is set to a fast attack time and takes off about 6dB, so quite subtle, not too intense. The API 2500 is set pretty aggressively and you can hear it pumping a little bit on the vocal. It was already in the session — it had been used on the demo vocal. I pulled it over to Nicki's channel and liked what it was doing, so I adjusted it to fit her vocal. Finally, the Channel EQ notches quite a lot around 600Hz and a little bit more around 235Hz, just carving out some low-mids to make the vocal sit better in the track. > > "Regarding the sends, there are some really distinct things happening here. The main lead vocal was similar throughout the song, but I tweaked it as it went along. The pre-chorus and chorus vocals all have Bus 1, which went to the same Altiverb effect that I had on the drums, to add some ambience to the vocal. The rap verses are much drier. Bus 35 is the Waves Doubler, which gives a bit of spread to the lead vocal — I used this on the rap as well as on the sung vocals. Bus 4 is the Waves CLA with a drastic telephone effect. That was another effect that was there from the demo version and added a cool quality. Bus 50 is the [Sound Toys] Echo Boy, which is the main plug-in I use for delay throws, whenever I want to repeat a word. In this case it's on a quarter-note Echoplex setting. It's a single, mono echo that I panned a little bit to the side. Bus 7 has the Waves VX1 Maserati Vocal Enhancer, and that was, again, a plug-in I inherited. It is set to a very compressed, bright vocal sound that I brought in and out to add some sparkle to the sound when necessary. > > "Bus 6 has the main reverb in the track, which you are hearing in the pre-chorus and chorus, and which is a Lexicon Plate plug-in on the 'VocalPlate2' preset. It's a really bright, over-the-top plate sound that is not trying to blend in but that's actually brightening the vocal up a lot. It's loud and wet. Busses 16 and 29 are different stereo delays: the Waves SuperTap was already in the session and I kept it, and the other is a standard Logic stereo delay that I use all the time on vocals. Bus 3 is the Logic Bitcrusher, which gives the vocals a grainy sound. The vocals already had an aggressive sonic quality to them because of the 251-TG2-1176 chain, and the Bitcrusher enhanced that. It's nasty, there's nothing nice about a bit-crusher, and it adds a bit of attitude. I used it on some of the background vocals as well, like in the second verse, where you have the pitch effects. You can hear it in the very processed harmony vocals that come in. That was something we added when we were doing the final vocal comp and arrangement. It gave that second verse some more life and helped the track build. The background vocals are a very big part of the hook vocal sound as well, and, for example, track 140 has many effects on it. That actually contains the vocals of the demo singers. Nicki's lead and background vocals are dominant, but in the chorus the background vocals from Mohombi and Wayne Hector added to the crowd feeling. The chorus vocals are really big in this track, and they were part of that.”

At the [3:12](https://www.youtube.com/watch?v=lGKlIJsz7bM) mark of the video Goransson explains his use of the Echoboy on Childish Gambino's "Redbone"

Jonas using Echoboy on his Song "Breathe"

In this video you can see Tom Staar using SoundToys EchoBoy Echo Plugin at 22:17s.

Do you use plug-ins on the guitar tracks, too? I always EQ the guitar, yeah. There are some pretty harsh overtones that you need to get rid of. Maybe I’ll compress it a little bit. Again, it depends on what it’s needed for. Usually the only plug-ins I use on guitar are ones that help the guitar spread out. If I want a little bit more stereo widening, then maybe I’ll use, like, a Waves S1 Stereo Imager, or maybe go through a Soundtoys EchoBoy plug-in with very minimal settings, just to give a bit of wideness to the guitar. Very rarely … well, lately I’ve been using it a little bit more, because sometimes it’s nice to have a big stereo-reverb sound, kind of like a Chris Isaak vibe. I’ll go through a reverb to make a nice, big sound—sort of like what you hear in “Z-Boys,” that clean guitar with a nice, big stereo sound. But I don’t record my guitar in stereo—it’s all mono. So if I want to do something stereo, then I’ll put a stereo plug-in on.

At 6:14, Stonebank opens up a list of his plugins. Among these plugins is EchoBoy.

Lenno seen using Echoboy by Soundtoys

Can be seen at 0:20

This plugin can be seen at 5:11 on the screen

Used for Quavo and Offest's features on Beyoncé and Jay-Z's "Apeshit", as stated by producer Stuart White in this September 2018 *Sound on Sound* interview. > The first four aux tracks feature SoundToys effects, namely Little Microshift, two EchoBoy delays, and a delay from the Little PrimalTap. Next are a Hall Reverb aux and a Church Reverb aux, both using Waves’ RVerb, an EMT plate from Audio Ease’s Altiverb, four aux tracks with the Waves H-Delay and various other plug-ins on them as well, and four more reverb auxes with the Avid Revibe II, two Avid D-Verbs and another RVerb. > White: “I use the Little Microshift in pretty much every mix, with the left-right micro pitch-shift effect that’s similar to the classic effect in the Eventide H3000 shift where you pitch one side down six cents and one side up six cents to create width. It’s a good way to get your vocals wider without them being out of phase. It thickens up vocals, and is kind of like a doubler. I do quite a lot of filtering on some of the EchoBoy delays, for example with the Waves REQ, and I am adding colour with the SoundToys Devil-Loc, which is great if you want to colour the delay so it is separate from the main vocal, and compress it with the UAD LA3A and mix that in to taste.” > (...) “The Migos vocals came in as seven audio tracks, with the Avid D-Verb on each of them. Putting a D-Verb on a track before EQ is not something I normally do, but it sounded great. So I adjusted them a bit, but otherwise left them as they were. The tracks also came in with the Aux track above, and the EQ3, with a high pass at 60Hz and notches at 430Hz and 1.41kHz and a high boost, the Waves API 2500 compressor, the RComp, the Waves Q10 EQ, following a slightly similar curve to the EQ3, the Waves De-esser, the Waves Aphex Aural Exciter, and the Avid Dyn3 expander/gate. I added the EQ3, with another high-pass filter at 144Hz, and the RComp, with a ratio of 10:1.”

"The Sound- Toys plug-ins have some of the same feel as the Eventide—especially Crystallizer, which combines delays with harmony effects. Other SoundToys plugs I like are FilterFreak, a powerful analog-like filter; Tremolator, which emulates old tremolo sounds; Sound- Blender for multieffects; and EchoBoy for delay."

In this interview, Benjamin Curtis of [The Secret Machines](https://equipboard.com/band/the-secret-machines), and [Tripping Daisy](https://equipboard.com/band/tripping-daisy), mentions the EchoBoy, "The SoundToys plugins are incredible. They have one called an EchoBoy."

EchoBoy can be seen in JAKKO's mixer.

Used for Jimin's lead vocals on "Fake Love", as stated by producer James Reynolds in this August 2018 *Sound on Sound* interview. > **Jimin chorus lead vocal: iZotope Neutron, FabFilter Pro-MB, Empirical Labs Arousor, iZotope Trash 2 & FabFilter Pro-DS, plus sends to Slate VerbSuite Classics, FabFilter Pro-R, Soundtoys EchoBoy, Waves Factory Trackspacer & FabFilter Pro-DS.** > “Welcome to my vocal world! BTS like bright, punchy vocals. There is not a lot of room in the mix because there is a lot of stuff going on, so I am not boosting low end on the vocals, because you are not going to hear that. Instead I’m trying to give the vocals more presence. The first thing I have in the chain is Neutron, which is a great EQ, and I love its dynamic mode. I boost high end with the Neutron, and band three is set to 4-6000 Hz, with the dynamic mode pulling down any loud ‘ess’ sounds or anything else too sharp. The Neutron is also tidying up the bottom end. After that is the Pro-MB multiband compressor just reining in a couple of frequencies to control the vocal. > “Next is the Arousor, adding some distortion so the vocal is very spitty and present, with lots of attack. After that there’s another instance of Trash 2 set to multiband, which I am using to give the vocal drive and really making it sit solidly in the mix. You have to know how to use Trash 2, otherwise vocals can get too harsh, but in general it is a very good way of saturating and really thickening a vocal and giving it presence. It does depend on the song, I am not always so full on with a vocal! At the end I have the Pro-DS de-esser just controlling the sibilance. Sometimes I used two instances of it, one at the beginning and one at the end, but the Neutron is already kind of doing a de-essing job. > “There also are many sends on that lead vocal. The first send is going to one of my favourites, the Slate VerbSuite Classics. It’s set to a hall-type reverb with 1.75s decay, and because I set quite high pre-delays it is almost like a slap on the vocal, which puts the vocal in a nice space. The next send is to the Pro-R for a longer, bigger reverb, which works for a chorus. I have cut low end and high end as you don’t want that floating around. The Pro-R is really good for controlling those things. Next is an EchoBoy quarter-note delay, saturated by setting it to ‘Splattered’ under ‘Style’ and that send then goes into the Trackspacer. I have a send from the lead vocal going to Trackspacer, so that whenever the lead vocal is singing the Trackspacer ducks the quarter-note delay out of the way. The Trackspacer is frequency-dependent, so it will duck whatever frequencies are dominant in the vocal, which makes it great for moving stuff out of the way. Then there’s another half-time EchoBoy delay setting, which is being automated for delay shots, and finally another Pro-DS.”

At 20:14 when talking about the Rhodes piano, this plugin is pulled up and Frank says "I think the echo boy was pretty important with giving us movment"

Plugin of the day, soundtoys echoboy. Pseudo-flange the crazies http://instagr.am/p/KlDu3wPleD/

Used for Quavo and Offest's features on Beyoncé and Jay-Z's "Apeshit", as stated by producer Stuart White in this September 2018 *Sound on Sound* interview. > The first four aux tracks feature SoundToys effects, namely Little Microshift, two EchoBoy delays, and a delay from the Little PrimalTap. Next are a Hall Reverb aux and a Church Reverb aux, both using Waves’ RVerb, an EMT plate from Audio Ease’s Altiverb, four aux tracks with the Waves H-Delay and various other plug-ins on them as well, and four more reverb auxes with the Avid Revibe II, two Avid D-Verbs and another RVerb. > White: “I use the Little Microshift in pretty much every mix, with the left-right micro pitch-shift effect that’s similar to the classic effect in the Eventide H3000 shift where you pitch one side down six cents and one side up six cents to create width. It’s a good way to get your vocals wider without them being out of phase. It thickens up vocals, and is kind of like a doubler. I do quite a lot of filtering on some of the EchoBoy delays, for example with the Waves REQ, and I am adding colour with the SoundToys Devil-Loc, which is great if you want to colour the delay so it is separate from the main vocal, and compress it with the UAD LA3A and mix that in to taste.” > (...) “The Migos vocals came in as seven audio tracks, with the Avid D-Verb on each of them. Putting a D-Verb on a track before EQ is not something I normally do, but it sounded great. So I adjusted them a bit, but otherwise left them as they were. The tracks also came in with the Aux track above, and the EQ3, with a high pass at 60Hz and notches at 430Hz and 1.41kHz and a high boost, the Waves API 2500 compressor, the RComp, the Waves Q10 EQ, following a slightly similar curve to the EQ3, the Waves De-esser, the Waves Aphex Aural Exciter, and the Avid Dyn3 expander/gate. I added the EQ3, with another high-pass filter at 144Hz, and the RComp, with a ratio of 10:1.”

"Good for guitars."

Used on "A Lot", as mentioned by producer Maddmix in this March 2019 *Sound on Sound* interview and as visible in a downloadable photo of the "A Lot" Pro Tools session (available in [this .zip file](https://dt7v1i9vyp3mf.cloudfront.net/assetlibrary/i/inside-track-maddmix-protools.jpg.zip?e.NufXPkJ6AA9d08Z4nh0YmAafFdQF5n)). > Although there are relatively few plug-ins on the drums and hardly any on the music, Maddox uses dozens on the vocals. 21 Savage's five vocal aux tracks, for example, all pass through a signal chain comprising Antares Auto-Tune, UAD 1176LN E, Waves Renaissance Vox, FabFilter Pro-DS, Waves C6, another Pro-DS, FabFilter Pro-Q2 and another C6, with only the latter one or two plug-ins dropping out on a couple of tracks. > All these tracks go the '21 Lead' aux (42), which has nine plug-ins, including compressors, de-essers, and four(!) more instances of Pro-Q2, as well as four sends. Both 21 Savage and J Cole's aux group vocal tracks then go to a vocal aux called 'MadVoxComp', and from there to the 'All Vocals' aux, each of which hosts two plug-ins; so in total, every 21 Savage vocal track passes through 19 to 21 insert plug-ins, as well as being sent to up to seven auxes. The situation with J Cole is even more elaborate, though complicated by the fact that some of the sends came with the vocal session that Maddox received from Cole's engineer. > "I guess my thought process behind my mixing is kind of messy!" laughs Maddox. "The thing is that I will start with adding compression and EQ on a vocal, and then if I hear something else that needs correcting, I will just add another compressor or EQ. I never go back and take plug-ins off or reset them, because I don't want to go back on what I already have, because I might mess it up. So I just keep going forward and adding plug-ins until I get the sound I want. That works for me. Some people like mixing with very few plug-ins, but I will mix with whatever I need to get what I want. > "The plug-ins I have on these inserts I use frequently. I guess you could call them my clean-up plug-ins. The 1176LN worked on 21's vocals in this session. I may also use the UAD Tube-Tech CL 1B or the Waves RCompressor. In this session the 1176 made 21's vocals really full and in your face. Next is the RVox, which is also is a good plug-in for bringing the vocals up front and making them really full. It is very subtle, but it makes a big difference. If I feel like the vocal does not sit up front enough I put that on, compress it a little bit, and it usually fixes the problem for me. The 1176 has a similar function, but I use it more for actual compression and the RVox more for tone and to make it sound bigger. > "Next is the Pro-DS, which as a de-esser obviously helps with the sibilance. Some vocals have more sibilance than others, and sometimes I use just one, but in this case I felt I needed two. I love using multiband compressors, and the C6 is here for some general compression, but there always are some frequencies that need adjusting, but that I don't want to take out with an EQ, because you need those frequencies. When I use a multiband, I find the frequency that bugs me, and set a threshold, so the frequency is only dipped when it needs to be dipped. If you look at my C6 plug-ins, they often address harsh frequencies that a de-esser can't take out. I'll have a really tight notch on the C6, and then just compress that frequency a couple of dB." > Of the '21 Lead' aux, Maddox says: "There are four instances of the Pro-Q2 on the signal chain, which is again an example of me working cumulatively. I now use the Pro-Q3 a lot, which is a dynamic EQ, which can do pretty much the same thing as the C6. Then insert 4 is the McDSP MC404 multiband compressor, which I use pretty often, and then I have the Eiosis Air EQ, the C6, the Kush Clariphonic EQ and the SSL G EQ. I use different EQs for different purposes. The Q2 has unlimited bands, so I use that to search and dip frequencies I don't like. I really like the high end on the Air, which opens up the vocal and makes it sound really good. I also often do some scooping in the lower mid-range with the Air, because it does a really good job of that. I use the Clariphonic mainly for the Clarity knob, which widens the vocal just by having that on. I really like that on vocals and use that in almost every session. > "The sends go to several aux effect tracks with delays and reverbs, but for this project they told me that they wanted the keep the vocals pretty dry, so I didn't use much reverb. Mostly just a small room reverb really subtly in the background to give it some space. The main reverbs that I have in my template are the Slate Digital VerbSuite Classics. They have great emulations of popular reverbs like the Bricasti and so on, that sound really good. I also use the UAD Lexicon 480 a lot. Those are my go-to reverbs. I occasionally use the Waves RVerb and TrueVerb. My main delays are the Soundtoys EchoBoy and the Waves H-Delay. For distortion I use the Soundtoys Decapitator and Devil-Loc, sometimes the Dada Life Sausage Fattener, which is fun, and the distortion pedal in the Waves GTR3 Stomps plug-in. > "The 'Slap' is a send to one of my aux effect tracks, just with a 30-millisecond EchoBoy delay, to widen the vocals a bit. (...) Finally, both '21 Leads' and 'Leads' go to the 'Lead All' [40] and parallel 'MadVoxComp' [41] tracks, and the latter has the Waves CLA-76 and L1, both for more presence and volume."

"I think having a few workhorses is better than running down pages of plugins to choose from. It helps me create quick presets for more consistency across projects. These are the plugins I use, very basic: [...]"

Tim uses this throughout the series.