Jono tweets out his love for the UAD Pultec EQ1A whilst working on the channel mix for a kick drum in the box.

Used on "Hymn for the Weekend", as mentioned by A Head Full of Dreams co-producer Rik Simpson in this Sound on Sound article.

It was very important to get the development and arrangement of the vocals right. Many of the 45 tracks are effect tracks. There’s only one lead vocal track each for the verses [LV Verse], for the bridge [LV Bridge], and the choruses [LV Chorus], and then Chris sang a number of bridge and chorus vocal overdubs. The main verse vocal has the Avid Channel Strip, which is taking out some low end, an SPL TwinTube, which adds some saturation, the UBK1 compressor adding more crunch, and the UAD Fairchild 670 and SSL E Channel. I don’t use a great deal of compression from each unit. I will just tickle it a little bit with each one, and each one adds a different characteristic. I could just add a whole load of compression from one plug–in, but like this it doesn’t sound over–compressed. The Pro–Q 2 is, again, a high–pass filter. In the sends there’s a Waves H–Delay that I recorded elsewhere, and sends to a main D–Verb and two QL Spaces aux tracks. I have different reverbs and delays for each part of the song so that the vocal sound evolves during the song.

“The main chorus lead vocal has the FabFilter Pro–Q 2 EQ, the Waves Rennaissance Vox, again the UBK1, two instances of the FabFilter Pro–DS de–esser, two instances of the UAD Pultec EQP–1A, and the FabFilter Pro–MB multi–band compressor. I like the FabFilter de–esser. I am still trying to find the ultimate de–esser, because it’s quite a hard thing to do right. I have two because one is doing high top sibilance, and the other lower stuff around 2kHz. The sends on chorus lead vocal go to aux tracks with the Waves H–Delay, the FXpansion Bloom with a lush, wide stereo delay, a small chamber from the QL Spaces plug–in, a mono delay from the UAD Echoplex, and several other delays. The sends to the delays are all automated independently, with different words getting different delays.

“One thing of note is that there also is a ‘Hope House M80’ vocal track, recorded when Chris was still using the Telefunken M80, and it’s mixed in very low. There’s also a lead-vocal double that has ‘251’ marked, indicating that Chris was also using that mic. But the main vocals were recorded using the Soyuz. There are two tracks marked ‘251 Melo Lead’ and ‘251 Melo Double’, again mixed in low. ‘Melo’ stands for Melodyne, and these tracks are raised two semitones. They were recorded in a different key for a different version of the song, and detuning them added a certain alien quality to these vocals which we really liked. 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.”

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 a Twitch stream, Headhunterz uses the UAD Pultec EQP-1A Pro Legacy plugin for processing leads and vocals.

"on the master bus we use UAD fatso, URS channel strip pro, UAD SSL comp, Pultec."

In the comment section of this video: https://www.youtube.com/watch?v=-bsXuaIVMB4 Mick answers questions and in one of his replies to a question regarding his favorite plugins, he mentioned this plugin

In the video, at 7:40, he uses UAD Pultec EQP-1A Pro Legacy

Used on the vocals for Lighthouse, as stated by mix engineer Fab Dupont in this December 2020 Sound on Sound interview. An image of the settings for the "Lead Aux" send can be found here.

Once I got the centre of the mix feeling record-like, the rest came together quickly. The 12-strings were double-tracked and got panned full stereo. Easy. The electric sat nicely a bit to the left, with slightly too much reverb, for sauce. The background vocals were just submixed to logically musical groups and all high-passed quite high, with not much life left below 400Hz. Some of them needed extra sheen when blended with the rest and I used the 16kHz band of the UAD Pultec Pro for that. No compression, no tuning, no phase tricks, just the singers and a bit of the same reverbs as the rest of the track.

As always when mixing, things that sounded perfect two hours ago feel like they need love right now. Everything is relative in mixing, like in love. So once all instrumental tracks got cleaned up and the centre beefed up, the lead vocal felt like it needed to be opened up. It felt dull. My go-to plug-in for this is the UAD Pultec Pro, using the 5kHz and the 10 or 12 kHz bands. Of course, once you start pushing the shine, you get into balance problems in the rest of the spectrum. Then you need to de-ess, and then stuff sticks out, so you need to compress a little... and then you’re screwed.

My aim was to stay true to the tone that David fell in love with during the tracking sessions, so I kept the processing to a minimum, constantly checking the bypassed sound to make sure the rest of the track was not skewing the vocal in the wrong direction. After I got the top I wanted with the Pultec, I beefed up the very low to rebalance the tone, and then I high-passed the whole track with a Sonnox Oxford EQ (thus achieving kind of a modern, more controlled, version of cutting and boosting the same frequency on a Pultec) and I set up an Oxford Compressor for the couple of peaks that resulted from boosting the high end. I also added a short Haas-style delay to push the sound slightly backward and lose a tiny bit of the presence and crudeness of the fairly close miked vocal (this one was tracked in the booth, not in the live room). I ended up dulling the guitars a bit to allow for the vocal to stay closer to the original. In the end, nothing sounds absolutely perfect in solo but it all sounds pretty glorious ‘in the sauce’, and the world only gets to hear the sauce. But not you! You’re special. I took the time to print both raw and processed stems so you can be ahead of the rest of the world and hear pre- and post-mix tones on every track of ‘The Things We Do For Love’. They are available here for free: http://puremix.net/crosbystems.

From The Midnight's March 3rd, 2021 Twitch.tv Stream ''Tim is breaking down Neon Medusa'' Tim McEwan of The Midnight shows how he is using UAD's Pultec EQP-1A Pro Legacy Equalizer Plugin to roll off some frequencies and adding some highs at 5K and rolling them off around 10K on a kickdrum track for Neon Medusa.

Used on SZA's vocals for "All the Stars", as stated by producer Matt Schaeffer in this May 2018 Sound on Sound interview. An image of the settings can be found here.

There are 12 SZA vocal audio tracks in total: two for the main hook, one second verse lead track, and nine verse backing tracks, which in fact provide emphasis and overdubs of single words. All SZA audio tracks have the Antares Auto?Tune 8.1 plug-in, the two hook tracks each also have the FabFilter Pro?Q2 equaliser, and the main SZA verse track also has a de-esser, while the backing vocals have two instances of the Waves RVerb and one of the same company’s H-Delay. Apart from Auto?Tune, most of the processing is done on the ‘SZA ?’ aux, to which all SZA audio tracks are sent.

Schaeffer: “The inserts of the sum track for SZA’s vocals consist of the EQ3 seven-band, Waves RComp, UAD Pultec EQP1A, UAD 1176E, Waves De-Esser, UAD LA2A, another Waves De-Esser, the Pro?Q2, yet another Waves De-Esser and the SoundToys MicroShift. The De-Essers affect 11400Hz, 15032Hz and 2000Hz respectively. I like stacking de-essers set to different frequencies. It works like narrow multiband compression. Sometimes I will in fact use a multiband compressor, like the Waves C4, but if the vocals have very specific harsh frequencies, I prefer to use several de-essers. They also are helpful as I like boosting high frequencies in vocals; here, the EQP1A boosts 16kHz. The EQ3 has a high-pass at 216Hz and cuts at 695Hz, and the Q2 lowers the high end to some degree. When a frequency bothers me, I usually sweep through [with a band set temporarily to boost] to find the frequency and then I cut. The MicroShift provides a little extra width and a slight ambience with the delay parameter, without actually making the vocal sound too stereo.

“The sends go to auxes called ‘SZA Verb’ and ‘DVerb’, both of which have the DVerb and EQ3 seven-band, two ‘SZA Delays’ with the Waves H-Delay, and the ‘SZA Chamber’, which has the Waves RVerb and again the EQ3 seven-band. I put an EQ after the reverb, because I don’t like too much low end in reverb. You get a cleaner sound by taking it out, and you make space for actual instruments to take up that spectrum. The delays are both set to eighth note, and one of them is set to ping-pong delay and also is automated to only come in on certain places.”

In an Instagram video, Lustmord is seen using the UAD Pultec EQP-1A Legacy plugin while working on a new album.

Clarence is seen using the UAD Pultec EQP-1A Legacy plugin @37:04