Grace Jones

Used for Jones' vocals on Gorillaz's "Charger", as mentioned by recording engineer Stephen Sedgwick in this July 2017 Sound on Sound interview about the production of Humanz.

“Grace Jones’s vocal tracks were sent through the Roland RE201 Space Echo. I also had hardware compression on her, and then printed her vocals back in Pro Tools and added a Waves Renaissance Compressor just doing a bit of level control. Again, I just had fun with the Space Echo, and did loads of different passes. It’s more fun to use your hands like that, and you come up with stuff you would not do with a plug-in. All of a sudden the delay will hit a dirty bit of tape and you get a little glitch in there that repeats. These are the little bits of magic that you can’t get from the software. I presented what I had done to the guys and they edited it. You can still see this in the muted parts where I had done things they did not use. Tracks 75-77 are a reverse reverb on some of Grace’s vocals, leading into some words. I did these in Pro Tools. I would have taken her first word, printed it with a long reverb on it, probably just from the [Avid] D-verb, reversed it, and then put a UAD Dimension D on it to make it stereo.”

Used for Jones' vocals on Gorillaz's "Charger", as mentioned by recording engineer Stephen Sedgwick in this July 2017 Sound on Sound interview about the production of Humanz.

“Grace Jones’s vocal tracks were sent through the Roland RE201 Space Echo. I also had hardware compression on her, and then printed her vocals back in Pro Tools and added a Waves Renaissance Compressor just doing a bit of level control. Again, I just had fun with the Space Echo, and did loads of different passes. It’s more fun to use your hands like that, and you come up with stuff you would not do with a plug-in. All of a sudden the delay will hit a dirty bit of tape and you get a little glitch in there that repeats. These are the little bits of magic that you can’t get from the software. I presented what I had done to the guys and they edited it. You can still see this in the muted parts where I had done things they did not use. Tracks 75-77 are a reverse reverb on some of Grace’s vocals, leading into some words. I did these in Pro Tools. I would have taken her first word, printed it with a long reverb on it, probably just from the [Avid] D-verb, reversed it, and then put a UAD Dimension D on it to make it stereo.”

Used for Jones' vocals on Gorillaz's "Charger", as mentioned by recording engineer Stephen Sedgwick in this July 2017 Sound on Sound interview about the production of Humanz.

“Grace Jones’s vocal tracks were sent through the Roland RE201 Space Echo. I also had hardware compression on her, and then printed her vocals back in Pro Tools and added a Waves Renaissance Compressor just doing a bit of level control. Again, I just had fun with the Space Echo, and did loads of different passes. It’s more fun to use your hands like that, and you come up with stuff you would not do with a plug-in. All of a sudden the delay will hit a dirty bit of tape and you get a little glitch in there that repeats. These are the little bits of magic that you can’t get from the software. I presented what I had done to the guys and they edited it. You can still see this in the muted parts where I had done things they did not use. Tracks 75-77 are a reverse reverb on some of Grace’s vocals, leading into some words. I did these in Pro Tools. I would have taken her first word, printed it with a long reverb on it, probably just from the [Avid] D-verb, reversed it, and then put a UAD Dimension D on it to make it stereo.”

Used for Jones' vocals on Gorillaz's "Charger", as mentioned by recording engineer Stephen Sedgwick in this July 2017 Sound on Sound interview about the production of Humanz.

“Grace Jones’s vocal tracks were sent through the Roland RE201 Space Echo. I also had hardware compression on her, and then printed her vocals back in Pro Tools and added a Waves Renaissance Compressor just doing a bit of level control. Again, I just had fun with the Space Echo, and did loads of different passes. It’s more fun to use your hands like that, and you come up with stuff you would not do with a plug-in. All of a sudden the delay will hit a dirty bit of tape and you get a little glitch in there that repeats. These are the little bits of magic that you can’t get from the software. I presented what I had done to the guys and they edited it. You can still see this in the muted parts where I had done things they did not use. Tracks 75-77 are a reverse reverb on some of Grace’s vocals, leading into some words. I did these in Pro Tools. I would have taken her first word, printed it with a long reverb on it, probably just from the [Avid] D-verb, reversed it, and then put a UAD Dimension D on it to make it stereo.”