Halsey

In this Instagram post DPA confirms that Halsey is using a d:facto.

Used on "Closer", as stated by producer DJ Swivel in this February 2017 Sound on Sound interview.

I recorded Halsey’s vocals at Westlake Studios, in Production Suite 1, using a Telefunken ELA M251E, going into a Neve 1073 mic pre and a Tube Tech CL1-B compressor, which is a classic female vocal chain.

Used on "Closer", as stated by producer DJ Swivel in this February 2017 Sound on Sound interview.

I recorded Halsey’s vocals at Westlake Studios, in Production Suite 1, using a Telefunken ELA M251E, going into a Neve 1073 mic pre and a Tube Tech CL1-B compressor, which is a classic female vocal chain.

Used on "Closer", as stated by producer DJ Swivel in this February 2017 Sound on Sound interview. The settings for "Halsey LD 1.01" can be found here.

“All Halsey’s vocals apart from her hook vocals further down have tons of plug-ins and sends! The insert chain on these tracks is Auto-Tune, Waves Renaissance De-essser, Waves SSL Channel, Waves RVox, Waves RDe-esser and SPL Vitalizer, and on two tracks I add the Waves RVerb, and on the ‘Delay Chop’, which happens just one moment towards the end, the Valhalla Vintage Verb. Each of Halsey’s vocals here is EQ’ed slightly differently, and also the same with the de-essers. The first in the chain usually works as a normal de-esser, and the second functions more as corrective EQ. They each have different frequencies that they act on, with different thresholds and amounts, and they tend to correct small issues in just one word or so. It may be a harsh upper-mid thing, which female vocals can have, and I just carve out those frequencies with the RDe-esser. I don’t want to take it out of the entire performance, because that frequency may add energy to the overall vocals.

“I also like using the RVox as a second compressor, to really tame the vocal. It just brings it right out in front and sticks the vocal in your face. I usually am pretty subtle with the RVox, but every once and a while I’ll slam it and you get this really cool sound. I learned that from Pensado’s Place. Finally, the SPL Vitalizer again adds some sheen to these vocals. The ‘Halsey Delay’ track adds four delays at the end of the song, with the second one pitched down with Auto-Tune. You can get some cool things by pitching down the vocals in Auto-Tune and changing the throat length and things like that.

“In addition, all these tracks have tons of sends, going to the Lexicon plate reverb, in some cases the Lexicon hall reverb as well, and the H-Delay medium delay and the Doubler for more width. The ‘Halsey Lead 1’ track also has a send to the ‘Tape Delay’ track, on which I have a delay from the Waves Kramer Master Tape plug-in, which is set to a 15ips slap with not a lot of feedback. That delay adds a nice tonality and space. I also have several delay throws on certain words she sings, like in her opening line, where it goes ‘you... you’ on the upbeat.

“By comparison, there are very few treatments on Halsey’s hook vocals, which only have Auto-Tune, the SSL Channel, and the Doubler. Similarly, Drew’s backing vocals also have these plug-ins, and some Lexicon plate reverb. I’m using the SSL Channel to get rid of some high end on some of the tracks, because they were a little too bright, and had different effects on each of them to make sure they were not too similar.

Used on "Closer", as stated by producer DJ Swivel in this February 2017 Sound on Sound interview. The settings for "Halsey LD 1.01" can be found here and here.

“All Halsey’s vocals apart from her hook vocals further down have tons of plug-ins and sends! The insert chain on these tracks is Auto-Tune, Waves Renaissance De-essser, Waves SSL Channel, Waves RVox, Waves RDe-esser and SPL Vitalizer, and on two tracks I add the Waves RVerb, and on the ‘Delay Chop’, which happens just one moment towards the end, the Valhalla Vintage Verb. Each of Halsey’s vocals here is EQ’ed slightly differently, and also the same with the de-essers. The first in the chain usually works as a normal de-esser, and the second functions more as corrective EQ. They each have different frequencies that they act on, with different thresholds and amounts, and they tend to correct small issues in just one word or so. It may be a harsh upper-mid thing, which female vocals can have, and I just carve out those frequencies with the RDe-esser. I don’t want to take it out of the entire performance, because that frequency may add energy to the overall vocals.

“I also like using the RVox as a second compressor, to really tame the vocal. It just brings it right out in front and sticks the vocal in your face. I usually am pretty subtle with the RVox, but every once and a while I’ll slam it and you get this really cool sound. I learned that from Pensado’s Place. Finally, the SPL Vitalizer again adds some sheen to these vocals. The ‘Halsey Delay’ track adds four delays at the end of the song, with the second one pitched down with Auto-Tune. You can get some cool things by pitching down the vocals in Auto-Tune and changing the throat length and things like that.

“In addition, all these tracks have tons of sends, going to the Lexicon plate reverb, in some cases the Lexicon hall reverb as well, and the H-Delay medium delay and the Doubler for more width. The ‘Halsey Lead 1’ track also has a send to the ‘Tape Delay’ track, on which I have a delay from the Waves Kramer Master Tape plug-in, which is set to a 15ips slap with not a lot of feedback. That delay adds a nice tonality and space. I also have several delay throws on certain words she sings, like in her opening line, where it goes ‘you... you’ on the upbeat.

“By comparison, there are very few treatments on Halsey’s hook vocals, which only have Auto-Tune, the SSL Channel, and the Doubler. Similarly, Drew’s backing vocals also have these plug-ins, and some Lexicon plate reverb. I’m using the SSL Channel to get rid of some high end on some of the tracks, because they were a little too bright, and had different effects on each of them to make sure they were not too similar.

Used on "Closer", as stated by producer DJ Swivel in this February 2017 Sound on Sound interview. The settings for "Halsey LD 1.01" can be found here.

“All Halsey’s vocals apart from her hook vocals further down have tons of plug-ins and sends! The insert chain on these tracks is Auto-Tune, Waves Renaissance De-essser, Waves SSL Channel, Waves RVox, Waves RDe-esser and SPL Vitalizer, and on two tracks I add the Waves RVerb, and on the ‘Delay Chop’, which happens just one moment towards the end, the Valhalla Vintage Verb. Each of Halsey’s vocals here is EQ’ed slightly differently, and also the same with the de-essers. The first in the chain usually works as a normal de-esser, and the second functions more as corrective EQ. They each have different frequencies that they act on, with different thresholds and amounts, and they tend to correct small issues in just one word or so. It may be a harsh upper-mid thing, which female vocals can have, and I just carve out those frequencies with the RDe-esser. I don’t want to take it out of the entire performance, because that frequency may add energy to the overall vocals.

“I also like using the RVox as a second compressor, to really tame the vocal. It just brings it right out in front and sticks the vocal in your face. I usually am pretty subtle with the RVox, but every once and a while I’ll slam it and you get this really cool sound. I learned that from Pensado’s Place. Finally, the SPL Vitalizer again adds some sheen to these vocals. The ‘Halsey Delay’ track adds four delays at the end of the song, with the second one pitched down with Auto-Tune. You can get some cool things by pitching down the vocals in Auto-Tune and changing the throat length and things like that.

“In addition, all these tracks have tons of sends, going to the Lexicon plate reverb, in some cases the Lexicon hall reverb as well, and the H-Delay medium delay and the Doubler for more width. The ‘Halsey Lead 1’ track also has a send to the ‘Tape Delay’ track, on which I have a delay from the Waves Kramer Master Tape plug-in, which is set to a 15ips slap with not a lot of feedback. That delay adds a nice tonality and space. I also have several delay throws on certain words she sings, like in her opening line, where it goes ‘you... you’ on the upbeat.

“By comparison, there are very few treatments on Halsey’s hook vocals, which only have Auto-Tune, the SSL Channel, and the Doubler. Similarly, Drew’s backing vocals also have these plug-ins, and some Lexicon plate reverb. I’m using the SSL Channel to get rid of some high end on some of the tracks, because they were a little too bright, and had different effects on each of them to make sure they were not too similar.

Used on "Closer", as stated by producer DJ Swivel in this February 2017 Sound on Sound interview. The settings for "Halsey LD 1.01" can be found here.

“All Halsey’s vocals apart from her hook vocals further down have tons of plug-ins and sends! The insert chain on these tracks is Auto-Tune, Waves Renaissance De-essser, Waves SSL Channel, Waves RVox, Waves RDe-esser and SPL Vitalizer, and on two tracks I add the Waves RVerb, and on the ‘Delay Chop’, which happens just one moment towards the end, the Valhalla Vintage Verb. Each of Halsey’s vocals here is EQ’ed slightly differently, and also the same with the de-essers. The first in the chain usually works as a normal de-esser, and the second functions more as corrective EQ. They each have different frequencies that they act on, with different thresholds and amounts, and they tend to correct small issues in just one word or so. It may be a harsh upper-mid thing, which female vocals can have, and I just carve out those frequencies with the RDe-esser. I don’t want to take it out of the entire performance, because that frequency may add energy to the overall vocals.

“I also like using the RVox as a second compressor, to really tame the vocal. It just brings it right out in front and sticks the vocal in your face. I usually am pretty subtle with the RVox, but every once and a while I’ll slam it and you get this really cool sound. I learned that from Pensado’s Place. Finally, the SPL Vitalizer again adds some sheen to these vocals. The ‘Halsey Delay’ track adds four delays at the end of the song, with the second one pitched down with Auto-Tune. You can get some cool things by pitching down the vocals in Auto-Tune and changing the throat length and things like that.

“In addition, all these tracks have tons of sends, going to the Lexicon plate reverb, in some cases the Lexicon hall reverb as well, and the H-Delay medium delay and the Doubler for more width. The ‘Halsey Lead 1’ track also has a send to the ‘Tape Delay’ track, on which I have a delay from the Waves Kramer Master Tape plug-in, which is set to a 15ips slap with not a lot of feedback. That delay adds a nice tonality and space. I also have several delay throws on certain words she sings, like in her opening line, where it goes ‘you... you’ on the upbeat.

“By comparison, there are very few treatments on Halsey’s hook vocals, which only have Auto-Tune, the SSL Channel, and the Doubler. Similarly, Drew’s backing vocals also have these plug-ins, and some Lexicon plate reverb. I’m using the SSL Channel to get rid of some high end on some of the tracks, because they were a little too bright, and had different effects on each of them to make sure they were not too similar.

Used on "Closer", as stated by producer DJ Swivel in this February 2017 Sound on Sound interview.

“All Halsey’s vocals apart from her hook vocals further down have tons of plug-ins and sends! The insert chain on these tracks is Auto-Tune, Waves Renaissance De-essser, Waves SSL Channel, Waves RVox, Waves RDe-esser and SPL Vitalizer, and on two tracks I add the Waves RVerb, and on the ‘Delay Chop’, which happens just one moment towards the end, the Valhalla Vintage Verb. Each of Halsey’s vocals here is EQ’ed slightly differently, and also the same with the de-essers. The first in the chain usually works as a normal de-esser, and the second functions more as corrective EQ. They each have different frequencies that they act on, with different thresholds and amounts, and they tend to correct small issues in just one word or so. It may be a harsh upper-mid thing, which female vocals can have, and I just carve out those frequencies with the RDe-esser. I don’t want to take it out of the entire performance, because that frequency may add energy to the overall vocals.

“I also like using the RVox as a second compressor, to really tame the vocal. It just brings it right out in front and sticks the vocal in your face. I usually am pretty subtle with the RVox, but every once and a while I’ll slam it and you get this really cool sound. I learned that from Pensado’s Place. Finally, the SPL Vitalizer again adds some sheen to these vocals. The ‘Halsey Delay’ track adds four delays at the end of the song, with the second one pitched down with Auto-Tune. You can get some cool things by pitching down the vocals in Auto-Tune and changing the throat length and things like that.

“In addition, all these tracks have tons of sends, going to the Lexicon plate reverb, in some cases the Lexicon hall reverb as well, and the H-Delay medium delay and the Doubler for more width. The ‘Halsey Lead 1’ track also has a send to the ‘Tape Delay’ track, on which I have a delay from the Waves Kramer Master Tape plug-in, which is set to a 15ips slap with not a lot of feedback. That delay adds a nice tonality and space. I also have several delay throws on certain words she sings, like in her opening line, where it goes ‘you... you’ on the upbeat.

“By comparison, there are very few treatments on Halsey’s hook vocals, which only have Auto-Tune, the SSL Channel, and the Doubler. Similarly, Drew’s backing vocals also have these plug-ins, and some Lexicon plate reverb. I’m using the SSL Channel to get rid of some high end on some of the tracks, because they were a little too bright, and had different effects on each of them to make sure they were not too similar.

Used on "Closer", as stated by producer DJ Swivel in this February 2017 Sound on Sound interview.

“All Halsey’s vocals apart from her hook vocals further down have tons of plug-ins and sends! The insert chain on these tracks is Auto-Tune, Waves Renaissance De-essser, Waves SSL Channel, Waves RVox, Waves RDe-esser and SPL Vitalizer, and on two tracks I add the Waves RVerb, and on the ‘Delay Chop’, which happens just one moment towards the end, the Valhalla Vintage Verb. Each of Halsey’s vocals here is EQ’ed slightly differently, and also the same with the de-essers. The first in the chain usually works as a normal de-esser, and the second functions more as corrective EQ. They each have different frequencies that they act on, with different thresholds and amounts, and they tend to correct small issues in just one word or so. It may be a harsh upper-mid thing, which female vocals can have, and I just carve out those frequencies with the RDe-esser. I don’t want to take it out of the entire performance, because that frequency may add energy to the overall vocals.

“I also like using the RVox as a second compressor, to really tame the vocal. It just brings it right out in front and sticks the vocal in your face. I usually am pretty subtle with the RVox, but every once and a while I’ll slam it and you get this really cool sound. I learned that from Pensado’s Place. Finally, the SPL Vitalizer again adds some sheen to these vocals. The ‘Halsey Delay’ track adds four delays at the end of the song, with the second one pitched down with Auto-Tune. You can get some cool things by pitching down the vocals in Auto-Tune and changing the throat length and things like that.

“In addition, all these tracks have tons of sends, going to the Lexicon plate reverb, in some cases the Lexicon hall reverb as well, and the H-Delay medium delay and the Doubler for more width. The ‘Halsey Lead 1’ track also has a send to the ‘Tape Delay’ track, on which I have a delay from the Waves Kramer Master Tape plug-in, which is set to a 15ips slap with not a lot of feedback. That delay adds a nice tonality and space. I also have several delay throws on certain words she sings, like in her opening line, where it goes ‘you... you’ on the upbeat.

“By comparison, there are very few treatments on Halsey’s hook vocals, which only have Auto-Tune, the SSL Channel, and the Doubler. Similarly, Drew’s backing vocals also have these plug-ins, and some Lexicon plate reverb. I’m using the SSL Channel to get rid of some high end on some of the tracks, because they were a little too bright, and had different effects on each of them to make sure they were not too similar.

Used on "Closer", as stated by producer DJ Swivel in this February 2017 Sound on Sound interview.

“All Halsey’s vocals apart from her hook vocals further down have tons of plug-ins and sends! The insert chain on these tracks is Auto-Tune, Waves Renaissance De-essser, Waves SSL Channel, Waves RVox, Waves RDe-esser and SPL Vitalizer, and on two tracks I add the Waves RVerb, and on the ‘Delay Chop’, which happens just one moment towards the end, the Valhalla Vintage Verb. Each of Halsey’s vocals here is EQ’ed slightly differently, and also the same with the de-essers. The first in the chain usually works as a normal de-esser, and the second functions more as corrective EQ. They each have different frequencies that they act on, with different thresholds and amounts, and they tend to correct small issues in just one word or so. It may be a harsh upper-mid thing, which female vocals can have, and I just carve out those frequencies with the RDe-esser. I don’t want to take it out of the entire performance, because that frequency may add energy to the overall vocals.

“I also like using the RVox as a second compressor, to really tame the vocal. It just brings it right out in front and sticks the vocal in your face. I usually am pretty subtle with the RVox, but every once and a while I’ll slam it and you get this really cool sound. I learned that from Pensado’s Place. Finally, the SPL Vitalizer again adds some sheen to these vocals. The ‘Halsey Delay’ track adds four delays at the end of the song, with the second one pitched down with Auto-Tune. You can get some cool things by pitching down the vocals in Auto-Tune and changing the throat length and things like that.

“In addition, all these tracks have tons of sends, going to the Lexicon plate reverb, in some cases the Lexicon hall reverb as well, and the H-Delay medium delay and the Doubler for more width. The ‘Halsey Lead 1’ track also has a send to the ‘Tape Delay’ track, on which I have a delay from the Waves Kramer Master Tape plug-in, which is set to a 15ips slap with not a lot of feedback. That delay adds a nice tonality and space. I also have several delay throws on certain words she sings, like in her opening line, where it goes ‘you... you’ on the upbeat.

“By comparison, there are very few treatments on Halsey’s hook vocals, which only have Auto-Tune, the SSL Channel, and the Doubler. Similarly, Drew’s backing vocals also have these plug-ins, and some Lexicon plate reverb. I’m using the SSL Channel to get rid of some high end on some of the tracks, because they were a little too bright, and had different effects on each of them to make sure they were not too similar.

Used on "Closer", as stated by producer DJ Swivel in this February 2017 Sound on Sound interview.

“All Halsey’s vocals apart from her hook vocals further down have tons of plug-ins and sends! The insert chain on these tracks is Auto-Tune, Waves Renaissance De-essser, Waves SSL Channel, Waves RVox, Waves RDe-esser and SPL Vitalizer, and on two tracks I add the Waves RVerb, and on the ‘Delay Chop’, which happens just one moment towards the end, the Valhalla Vintage Verb. Each of Halsey’s vocals here is EQ’ed slightly differently, and also the same with the de-essers. The first in the chain usually works as a normal de-esser, and the second functions more as corrective EQ. They each have different frequencies that they act on, with different thresholds and amounts, and they tend to correct small issues in just one word or so. It may be a harsh upper-mid thing, which female vocals can have, and I just carve out those frequencies with the RDe-esser. I don’t want to take it out of the entire performance, because that frequency may add energy to the overall vocals.

“I also like using the RVox as a second compressor, to really tame the vocal. It just brings it right out in front and sticks the vocal in your face. I usually am pretty subtle with the RVox, but every once and a while I’ll slam it and you get this really cool sound. I learned that from Pensado’s Place. Finally, the SPL Vitalizer again adds some sheen to these vocals. The ‘Halsey Delay’ track adds four delays at the end of the song, with the second one pitched down with Auto-Tune. You can get some cool things by pitching down the vocals in Auto-Tune and changing the throat length and things like that.

“In addition, all these tracks have tons of sends, going to the Lexicon plate reverb, in some cases the Lexicon hall reverb as well, and the H-Delay medium delay and the Doubler for more width. The ‘Halsey Lead 1’ track also has a send to the ‘Tape Delay’ track, on which I have a delay from the Waves Kramer Master Tape plug-in, which is set to a 15ips slap with not a lot of feedback. That delay adds a nice tonality and space. I also have several delay throws on certain words she sings, like in her opening line, where it goes ‘you... you’ on the upbeat.

“By comparison, there are very few treatments on Halsey’s hook vocals, which only have Auto-Tune, the SSL Channel, and the Doubler. Similarly, Drew’s backing vocals also have these plug-ins, and some Lexicon plate reverb. I’m using the SSL Channel to get rid of some high end on some of the tracks, because they were a little too bright, and had different effects on each of them to make sure they were not too similar.

Used on "Closer", as stated by producer DJ Swivel in this February 2017 Sound on Sound interview.

“All Halsey’s vocals apart from her hook vocals further down have tons of plug-ins and sends! The insert chain on these tracks is Auto-Tune, Waves Renaissance De-essser, Waves SSL Channel, Waves RVox, Waves RDe-esser and SPL Vitalizer, and on two tracks I add the Waves RVerb, and on the ‘Delay Chop’, which happens just one moment towards the end, the Valhalla Vintage Verb. Each of Halsey’s vocals here is EQ’ed slightly differently, and also the same with the de-essers. The first in the chain usually works as a normal de-esser, and the second functions more as corrective EQ. They each have different frequencies that they act on, with different thresholds and amounts, and they tend to correct small issues in just one word or so. It may be a harsh upper-mid thing, which female vocals can have, and I just carve out those frequencies with the RDe-esser. I don’t want to take it out of the entire performance, because that frequency may add energy to the overall vocals.

“I also like using the RVox as a second compressor, to really tame the vocal. It just brings it right out in front and sticks the vocal in your face. I usually am pretty subtle with the RVox, but every once and a while I’ll slam it and you get this really cool sound. I learned that from Pensado’s Place. Finally, the SPL Vitalizer again adds some sheen to these vocals. The ‘Halsey Delay’ track adds four delays at the end of the song, with the second one pitched down with Auto-Tune. You can get some cool things by pitching down the vocals in Auto-Tune and changing the throat length and things like that.

“In addition, all these tracks have tons of sends, going to the Lexicon plate reverb, in some cases the Lexicon hall reverb as well, and the H-Delay medium delay and the Doubler for more width. The ‘Halsey Lead 1’ track also has a send to the ‘Tape Delay’ track, on which I have a delay from the Waves Kramer Master Tape plug-in, which is set to a 15ips slap with not a lot of feedback. That delay adds a nice tonality and space. I also have several delay throws on certain words she sings, like in her opening line, where it goes ‘you... you’ on the upbeat.

“By comparison, there are very few treatments on Halsey’s hook vocals, which only have Auto-Tune, the SSL Channel, and the Doubler. Similarly, Drew’s backing vocals also have these plug-ins, and some Lexicon plate reverb. I’m using the SSL Channel to get rid of some high end on some of the tracks, because they were a little too bright, and had different effects on each of them to make sure they were not too similar.

Used on "Closer", as stated by producer DJ Swivel in this February 2017 Sound on Sound interview.

“All Halsey’s vocals apart from her hook vocals further down have tons of plug-ins and sends! The insert chain on these tracks is Auto-Tune, Waves Renaissance De-essser, Waves SSL Channel, Waves RVox, Waves RDe-esser and SPL Vitalizer, and on two tracks I add the Waves RVerb, and on the ‘Delay Chop’, which happens just one moment towards the end, the Valhalla Vintage Verb. Each of Halsey’s vocals here is EQ’ed slightly differently, and also the same with the de-essers. The first in the chain usually works as a normal de-esser, and the second functions more as corrective EQ. They each have different frequencies that they act on, with different thresholds and amounts, and they tend to correct small issues in just one word or so. It may be a harsh upper-mid thing, which female vocals can have, and I just carve out those frequencies with the RDe-esser. I don’t want to take it out of the entire performance, because that frequency may add energy to the overall vocals.

“I also like using the RVox as a second compressor, to really tame the vocal. It just brings it right out in front and sticks the vocal in your face. I usually am pretty subtle with the RVox, but every once and a while I’ll slam it and you get this really cool sound. I learned that from Pensado’s Place. Finally, the SPL Vitalizer again adds some sheen to these vocals. The ‘Halsey Delay’ track adds four delays at the end of the song, with the second one pitched down with Auto-Tune. You can get some cool things by pitching down the vocals in Auto-Tune and changing the throat length and things like that.

“In addition, all these tracks have tons of sends, going to the Lexicon plate reverb, in some cases the Lexicon hall reverb as well, and the H-Delay medium delay and the Doubler for more width. The ‘Halsey Lead 1’ track also has a send to the ‘Tape Delay’ track, on which I have a delay from the Waves Kramer Master Tape plug-in, which is set to a 15ips slap with not a lot of feedback. That delay adds a nice tonality and space. I also have several delay throws on certain words she sings, like in her opening line, where it goes ‘you... you’ on the upbeat.

“By comparison, there are very few treatments on Halsey’s hook vocals, which only have Auto-Tune, the SSL Channel, and the Doubler. Similarly, Drew’s backing vocals also have these plug-ins, and some Lexicon plate reverb. I’m using the SSL Channel to get rid of some high end on some of the tracks, because they were a little too bright, and had different effects on each of them to make sure they were not too similar.

Used on "Closer", as stated by producer DJ Swivel in this February 2017 Sound on Sound interview.

“All Halsey’s vocals apart from her hook vocals further down have tons of plug-ins and sends! The insert chain on these tracks is Auto-Tune, Waves Renaissance De-essser, Waves SSL Channel, Waves RVox, Waves RDe-esser and SPL Vitalizer, and on two tracks I add the Waves RVerb, and on the ‘Delay Chop’, which happens just one moment towards the end, the Valhalla Vintage Verb. Each of Halsey’s vocals here is EQ’ed slightly differently, and also the same with the de-essers. The first in the chain usually works as a normal de-esser, and the second functions more as corrective EQ. They each have different frequencies that they act on, with different thresholds and amounts, and they tend to correct small issues in just one word or so. It may be a harsh upper-mid thing, which female vocals can have, and I just carve out those frequencies with the RDe-esser. I don’t want to take it out of the entire performance, because that frequency may add energy to the overall vocals.

“I also like using the RVox as a second compressor, to really tame the vocal. It just brings it right out in front and sticks the vocal in your face. I usually am pretty subtle with the RVox, but every once and a while I’ll slam it and you get this really cool sound. I learned that from Pensado’s Place. Finally, the SPL Vitalizer again adds some sheen to these vocals. The ‘Halsey Delay’ track adds four delays at the end of the song, with the second one pitched down with Auto-Tune. You can get some cool things by pitching down the vocals in Auto-Tune and changing the throat length and things like that.

“In addition, all these tracks have tons of sends, going to the Lexicon plate reverb, in some cases the Lexicon hall reverb as well, and the H-Delay medium delay and the Doubler for more width. The ‘Halsey Lead 1’ track also has a send to the ‘Tape Delay’ track, on which I have a delay from the Waves Kramer Master Tape plug-in, which is set to a 15ips slap with not a lot of feedback. That delay adds a nice tonality and space. I also have several delay throws on certain words she sings, like in her opening line, where it goes ‘you... you’ on the upbeat.

“By comparison, there are very few treatments on Halsey’s hook vocals, which only have Auto-Tune, the SSL Channel, and the Doubler. Similarly, Drew’s backing vocals also have these plug-ins, and some Lexicon plate reverb. I’m using the SSL Channel to get rid of some high end on some of the tracks, because they were a little too bright, and had different effects on each of them to make sure they were not too similar.

Used on "Closer", as stated by producer DJ Swivel in this February 2017 Sound on Sound interview.

I recorded Halsey’s vocals at Westlake Studios, in Production Suite 1, using a Telefunken ELA M251E, going into a Neve 1073 mic pre and a Tube Tech CL1-B compressor, which is a classic female vocal chain.

In the video, you can see Halsey playing the Taylor 214ce K DLX. At first I thought it might be just a normal 214ce but, by the colours, it looks more like a Taylor 214ce K DLX.

Halsey can be seen playing the Telecaster throughout the whole video

In Halsey's "Eye's Closed (Stripped)", you can see her playing Epiphones' Ltd. Ed. ES-339 P90 PRO in "Wine Red (WR)". It is most easily seen at 1:08 in the video. You can tell its an ES-339 P90 PRO by the characteristic E on the cream pickgaurd, as well as the 4 knobs with black "tophats" with metal insert. Additionally, the semi hollow body, where you can see the two carvings.