Damiano David's Software Plugins and VSTs
Used for the vocal tracks on "Beggin", as described by as described by Alessandro Marcantoni in this October 2021 Sound on Sound interview.
“All vocal tracks have the same inserts: Avid EQ3 7‑band, UAD 1176 LN, Mäag EQ4, and again the 7‑band. The main difference is in the plug‑in settings and in the sends. The a cappella at the beginning of the song is sent to the Very Large Hall aux with the Avid ReVibe II, as well as the Hall aux with the UAD Precision Delay Mod, and the V Hall which has another instance of the Lexicon 224. I wanted the a cappella to sound larger than the other vocals, which have only the 224 and a send to the V Slap aux, with a delay from the UAD Galaxy Tape Echo.
“The main vocal tracks also have a send to the V Amp track, on which I had the SansAmp, for some more edge. The singer has a very raspy voice, which I think sounds great, and the SansAmp enhances this. All vocal tracks go to the Group track, on which I have two EQs and the UAD Precision De‑Esser. I use volume automation a lot on individual tracks, so if I use de‑essers on them, it can emphasise the esses. For that reason I prefer to have the de‑esser on the subgroup at the end of the chain. It makes it easier to control things.”
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Used for the vocal tracks on "Beggin", as described by as described by Alessandro Marcantoni in this October 2021 Sound on Sound interview.
“All vocal tracks have the same inserts: Avid EQ3 7‑band, UAD 1176 LN, Mäag EQ4, and again the 7‑band. The main difference is in the plug‑in settings and in the sends. The a cappella at the beginning of the song is sent to the Very Large Hall aux with the Avid ReVibe II, as well as the Hall aux with the UAD Precision Delay Mod, and the V Hall which has another instance of the Lexicon 224. I wanted the a cappella to sound larger than the other vocals, which have only the 224 and a send to the V Slap aux, with a delay from the UAD Galaxy Tape Echo.
“The main vocal tracks also have a send to the V Amp track, on which I had the SansAmp, for some more edge. The singer has a very raspy voice, which I think sounds great, and the SansAmp enhances this. All vocal tracks go to the Group track, on which I have two EQs and the UAD Precision De‑Esser. I use volume automation a lot on individual tracks, so if I use de‑essers on them, it can emphasise the esses. For that reason I prefer to have the de‑esser on the subgroup at the end of the chain. It makes it easier to control things.”
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Used for the vocal tracks on "Beggin", as described by as described by Alessandro Marcantoni in this October 2021 Sound on Sound interview.
“All vocal tracks have the same inserts: Avid EQ3 7‑band, UAD 1176 LN, Mäag EQ4, and again the 7‑band. The main difference is in the plug‑in settings and in the sends. The a cappella at the beginning of the song is sent to the Very Large Hall aux with the Avid ReVibe II, as well as the Hall aux with the UAD Precision Delay Mod, and the V Hall which has another instance of the Lexicon 224. I wanted the a cappella to sound larger than the other vocals, which have only the 224 and a send to the V Slap aux, with a delay from the UAD Galaxy Tape Echo.
“The main vocal tracks also have a send to the V Amp track, on which I had the SansAmp, for some more edge. The singer has a very raspy voice, which I think sounds great, and the SansAmp enhances this. All vocal tracks go to the Group track, on which I have two EQs and the UAD Precision De‑Esser. I use volume automation a lot on individual tracks, so if I use de‑essers on them, it can emphasise the esses. For that reason I prefer to have the de‑esser on the subgroup at the end of the chain. It makes it easier to control things.”
Find it on:
Used for the vocal tracks on "Beggin", as described by as described by Alessandro Marcantoni in this October 2021 Sound on Sound interview.
“All vocal tracks have the same inserts: Avid EQ3 7‑band, UAD 1176 LN, Mäag EQ4, and again the 7‑band. The main difference is in the plug‑in settings and in the sends. The a cappella at the beginning of the song is sent to the Very Large Hall aux with the Avid ReVibe II, as well as the Hall aux with the UAD Precision Delay Mod, and the V Hall which has another instance of the Lexicon 224. I wanted the a cappella to sound larger than the other vocals, which have only the 224 and a send to the V Slap aux, with a delay from the UAD Galaxy Tape Echo.
“The main vocal tracks also have a send to the V Amp track, on which I had the SansAmp, for some more edge. The singer has a very raspy voice, which I think sounds great, and the SansAmp enhances this. All vocal tracks go to the Group track, on which I have two EQs and the UAD Precision De‑Esser. I use volume automation a lot on individual tracks, so if I use de‑essers on them, it can emphasise the esses. For that reason I prefer to have the de‑esser on the subgroup at the end of the chain. It makes it easier to control things.”
Find it on:
Used for the vocal tracks on "Beggin", as described by as described by Alessandro Marcantoni in this October 2021 Sound on Sound interview.
“All vocal tracks have the same inserts: Avid EQ3 7‑band, UAD 1176 LN, Mäag EQ4, and again the 7‑band. The main difference is in the plug‑in settings and in the sends. The a cappella at the beginning of the song is sent to the Very Large Hall aux with the Avid ReVibe II, as well as the Hall aux with the UAD Precision Delay Mod, and the V Hall which has another instance of the Lexicon 224. I wanted the a cappella to sound larger than the other vocals, which have only the 224 and a send to the V Slap aux, with a delay from the UAD Galaxy Tape Echo.
“The main vocal tracks also have a send to the V Amp track, on which I had the SansAmp, for some more edge. The singer has a very raspy voice, which I think sounds great, and the SansAmp enhances this. All vocal tracks go to the Group track, on which I have two EQs and the UAD Precision De‑Esser. I use volume automation a lot on individual tracks, so if I use de‑essers on them, it can emphasise the esses. For that reason I prefer to have the de‑esser on the subgroup at the end of the chain. It makes it easier to control things.”
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Used for the vocal tracks on "Beggin", as described by as described by Alessandro Marcantoni in this October 2021 Sound on Sound interview.
“All vocal tracks have the same inserts: Avid EQ3 7‑band, UAD 1176 LN, Mäag EQ4, and again the 7‑band. The main difference is in the plug‑in settings and in the sends. The a cappella at the beginning of the song is sent to the Very Large Hall aux with the Avid ReVibe II, as well as the Hall aux with the UAD Precision Delay Mod, and the V Hall which has another instance of the Lexicon 224. I wanted the a cappella to sound larger than the other vocals, which have only the 224 and a send to the V Slap aux, with a delay from the UAD Galaxy Tape Echo.
“The main vocal tracks also have a send to the V Amp track, on which I had the SansAmp, for some more edge. The singer has a very raspy voice, which I think sounds great, and the SansAmp enhances this. All vocal tracks go to the Group track, on which I have two EQs and the UAD Precision De‑Esser. I use volume automation a lot on individual tracks, so if I use de‑essers on them, it can emphasise the esses. For that reason I prefer to have the de‑esser on the subgroup at the end of the chain. It makes it easier to control things.”
Find it on:
Used for the vocal tracks on "Beggin", as described by as described by Alessandro Marcantoni in this October 2021 Sound on Sound interview.
“All vocal tracks have the same inserts: Avid EQ3 7‑band, UAD 1176 LN, Mäag EQ4, and again the 7‑band. The main difference is in the plug‑in settings and in the sends. The a cappella at the beginning of the song is sent to the Very Large Hall aux with the Avid ReVibe II, as well as the Hall aux with the UAD Precision Delay Mod, and the V Hall which has another instance of the Lexicon 224. I wanted the a cappella to sound larger than the other vocals, which have only the 224 and a send to the V Slap aux, with a delay from the UAD Galaxy Tape Echo.
“The main vocal tracks also have a send to the V Amp track, on which I had the SansAmp, for some more edge. The singer has a very raspy voice, which I think sounds great, and the SansAmp enhances this. All vocal tracks go to the Group track, on which I have two EQs and the UAD Precision De‑Esser. I use volume automation a lot on individual tracks, so if I use de‑essers on them, it can emphasise the esses. For that reason I prefer to have the de‑esser on the subgroup at the end of the chain. It makes it easier to control things.”
Find it on:
Used for the vocal tracks on "Beggin", as described by as described by Alessandro Marcantoni in this October 2021 Sound on Sound interview.
“All vocal tracks have the same inserts: Avid EQ3 7‑band, UAD 1176 LN, Mäag EQ4, and again the 7‑band. The main difference is in the plug‑in settings and in the sends. The a cappella at the beginning of the song is sent to the Very Large Hall aux with the Avid ReVibe II, as well as the Hall aux with the UAD Precision Delay Mod, and the V Hall which has another instance of the Lexicon 224. I wanted the a cappella to sound larger than the other vocals, which have only the 224 and a send to the V Slap aux, with a delay from the UAD Galaxy Tape Echo.
“The main vocal tracks also have a send to the V Amp track, on which I had the SansAmp, for some more edge. The singer has a very raspy voice, which I think sounds great, and the SansAmp enhances this. All vocal tracks go to the Group track, on which I have two EQs and the UAD Precision De‑Esser. I use volume automation a lot on individual tracks, so if I use de‑essers on them, it can emphasise the esses. For that reason I prefer to have the de‑esser on the subgroup at the end of the chain. It makes it easier to control things.”
Find it on:
Used for the vocal tracks on "Beggin", as described by as described by Alessandro Marcantoni in this October 2021 Sound on Sound interview.
“All vocal tracks have the same inserts: Avid EQ3 7‑band, UAD 1176 LN, Mäag EQ4, and again the 7‑band. The main difference is in the plug‑in settings and in the sends. The a cappella at the beginning of the song is sent to the Very Large Hall aux with the Avid ReVibe II, as well as the Hall aux with the UAD Precision Delay Mod, and the V Hall which has another instance of the Lexicon 224. I wanted the a cappella to sound larger than the other vocals, which have only the 224 and a send to the V Slap aux, with a delay from the UAD Galaxy Tape Echo.
“The main vocal tracks also have a send to the V Amp track, on which I had the SansAmp, for some more edge. The singer has a very raspy voice, which I think sounds great, and the SansAmp enhances this. All vocal tracks go to the Group track, on which I have two EQs and the UAD Precision De‑Esser. I use volume automation a lot on individual tracks, so if I use de‑essers on them, it can emphasise the esses. For that reason I prefer to have the de‑esser on the subgroup at the end of the chain. It makes it easier to control things.”
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michaelGear IQ 42641
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