Mix engineer Tommaso Colliva on recording Drones : "Matt always tracks the vocals by himself. I set things up for him, and the mic pre we use is always a Neve 1073, usually with an 1176 compressor. I dial in some settings and he may nudge things up or down, depending on the kind of vocals he’s tracking. We also very occasionally used a Mercury M76 tube mic pre, and on a few songs Matt wanted to hold the mic in his hand, but we didn’t like the sound of a dynamic mic too much, so we ended up using a FET47 which I took out of the mic mount and wrapped in foam. "more
When asked if he has any Universal Audio analog gear int he studio, Diplo responded "Yeah, in our studios we have both a 6176 Vintage Channel Strip and a reissue 1176LN set up in our vocal chain. Much of the vocals on the record were recorded through those. Usually we’ll track with very light compression via those two components, so we are almost always choosing the UAD Powered Plug-Ins versions again later for the final mix or further sound design."more
Used on Lullabies to Paralyze by engineer Joe Baressi for Josh's vocals. "I tend to compress when I go to tape. The 1176 is my favourite on vocals, but sometimes the LA2A works really well. If you're looking for more dirt you can turn a tube compressor up a little more. I'm not opposed to dirtying the signal up and blending that in with the original. I'm not a transparent compressor guy. I may send one compressor into the other as well. That works well if you need a very up-front vocal. When I'm mixing I'll compress the vocal further, perhaps using an 1176 again."more
"These compressors here, they're always coming on the market and you need to keep an eye for them. I kind of sometimes trade gear for them. My engineers are always looking for this kind of stuff for me," says Steve Vai about the Universal Audio 1176 LN Compressor which he uses in his studio.more
"**Warren Huart on Steven’s vocals:** Most of Steven Tyler’s keeper vocals were cut at Swing House with a Neumann U 48 that Huart had used previously on The Fray, James Blunt, Adele and others. Other pieces of the chain included a Brent Averill Enterprises 1073, 'and then I mult to two sets of compression and I parallel compress. I have two [dbx] 160 VU’s, which I set pretty lightly, like 2-to-1 or 3-to-1. I split those out of a mult and then each of those goes to an 1176 set to limit on 20:1 and they just catch the peaks. I’ve got one for verses and softer vocals, attacking it lightly, and then when he goes into that louder, crazier Steven thing I have another set of compression set at half that. They’re multed back together and that’s the vocal sound. What it does is give you huge, fat vocals all the time. I ride the 1073—I’ll click the gain settings up and down depending on where he is on the vocal. It’s pretty old school. As an engineer, you’re blessed to work with a singer of that quality, because he makes your life very easy.'"more
"He listened to what we had, walked around doing his vocal exercises and getting loosened up, and I put up a U87 going to a Neve mic pre, with a Urei 1176 compressor. We worked with Joey until about six or seven in the morning, using about six tracks for his vocals, and then comp'ed a good vocal which we gave him on cassette."more
"This is the box that I use to add agressive coloration to sources. It can be just the right thing on some sources like bass guitar to make it jump out of the mix. It can also really destroy the integrity and beauty of an instrument. Don't be running every single track through this baby unless you're making punk rock!"