Lil Tecca

Used for vocals on Virgo World, as mentioned by mix engineer Joseph Colmenero in this November 2019 Sound on Sound interview.

Colmenero: "I happen to know Tecca's manager, Giuseppe Zappala, and he sent me some artists he was developing, and Tecca was one of them. I did a few tracks with Tecca, recording his vocals and mixing them, one of them being 'Love No Thot', and he put that straight onto SoundCloud. His fans really liked it, and that's where we realised that we got along. Tecca only uses a Neumann U87 for his vocals, and I have used a couple of different preamps, the Neve 1073 and an Avalon 737. Though just last night I used an SSL VHD Pre on him, and we really liked how that sounded.

Used for vocals on Virgo World, as mentioned by mix engineer Joseph Colmenero in this November 2019 Sound on Sound interview.

Colmenero: "I happen to know Tecca's manager, Giuseppe Zappala, and he sent me some artists he was developing, and Tecca was one of them. I did a few tracks with Tecca, recording his vocals and mixing them, one of them being 'Love No Thot', and he put that straight onto SoundCloud. His fans really liked it, and that's where we realised that we got along. Tecca only uses a Neumann U87 for his vocals, and I have used a couple of different preamps, the Neve 1073 and an Avalon 737. Though just last night I used an SSL VHD Pre on him, and we really liked how that sounded.

Used for vocals on Virgo World, as mentioned by mix engineer Joseph Colmenero in this November 2019 Sound on Sound interview.

Colmenero: "I happen to know Tecca's manager, Giuseppe Zappala, and he sent me some artists he was developing, and Tecca was one of them. I did a few tracks with Tecca, recording his vocals and mixing them, one of them being 'Love No Thot', and he put that straight onto SoundCloud. His fans really liked it, and that's where we realised that we got along. Tecca only uses a Neumann U87 for his vocals, and I have used a couple of different preamps, the Neve 1073 and an Avalon 737. Though just last night I used an SSL VHD Pre on him, and we really liked how that sounded.

In this Instagram post by Lil Tecca, he is pictured with Yamaha HS7 Powered Studio Monitors, indicating their use in his studio setup.

Used on vocals for "Ransom", as mentioned by mix engineer Joseph Colmenero in this November 2019 Sound on Sound interview.

"Many of the plug-ins on the vocal tracks came with the session. The vocal audio tracks all have Antares Auto-Tune Pro because the session came with Auto-Tune Live, and I didn't have my licence with me, so I put Auto-Tune Pro on. Without seeing the Live plug-in I had to use my ears to make sure that the settings were exactly right. They had recorded Tecca's vocals with Auto-Tune on, playing Auto-Tune like an instrument.

"All audio tracks go to the LeadVox bus, on which there is a stack of plug-ins. Again many of them came with the session. The chain starts with the Waves Q6 EQ, the FabFilter Pro-C2 compressor, then a Waves SSL Channel, two Waves De-Essers, a Waves RVox used as a noise gate, the SoundToys Decapitator for vibe, and a Waves C4 to bang down some peak frequencies. There's a track with distant ad-libs that goes to the Harmony Vox aux, which has some similar plug-ins, and adds a D-Verb for some extra reverb. There are sends on the vocal busses to the reverb aux, with the Waves RVerb, and delay quarter-note aux, with the Waves H-Delay. I also have the Avid EQ7 before the reverb, to take out the low end and high end. You don't want to have esses all over your reverb. The other two aux tracks that I did not use are part of the producer's template."

Used on vocals for "Ransom", as mentioned by mix engineer Joseph Colmenero in this November 2019 Sound on Sound interview.

"Many of the plug-ins on the vocal tracks came with the session. The vocal audio tracks all have Antares Auto-Tune Pro because the session came with Auto-Tune Live, and I didn't have my licence with me, so I put Auto-Tune Pro on. Without seeing the Live plug-in I had to use my ears to make sure that the settings were exactly right. They had recorded Tecca's vocals with Auto-Tune on, playing Auto-Tune like an instrument.

"All audio tracks go to the LeadVox bus, on which there is a stack of plug-ins. Again many of them came with the session. The chain starts with the Waves Q6 EQ, the FabFilter Pro-C2 compressor, then a Waves SSL Channel, two Waves De-Essers, a Waves RVox used as a noise gate, the SoundToys Decapitator for vibe, and a Waves C4 to bang down some peak frequencies. There's a track with distant ad-libs that goes to the Harmony Vox aux, which has some similar plug-ins, and adds a D-Verb for some extra reverb. There are sends on the vocal busses to the reverb aux, with the Waves RVerb, and delay quarter-note aux, with the Waves H-Delay. I also have the Avid EQ7 before the reverb, to take out the low end and high end. You don't want to have esses all over your reverb. The other two aux tracks that I did not use are part of the producer's template."

Q6 was used on vocals for "Ransom", as mentioned by mix engineer Joseph Colmenero in this November 2019 Sound on Sound interview.

"Many of the plug-ins on the vocal tracks came with the session. The vocal audio tracks all have Antares Auto-Tune Pro because the session came with Auto-Tune Live, and I didn't have my licence with me, so I put Auto-Tune Pro on. Without seeing the Live plug-in I had to use my ears to make sure that the settings were exactly right. They had recorded Tecca's vocals with Auto-Tune on, playing Auto-Tune like an instrument.

"All audio tracks go to the LeadVox bus, on which there is a stack of plug-ins. Again many of them came with the session. The chain starts with the Waves Q6 EQ, the FabFilter Pro-C2 compressor, then a Waves SSL Channel, two Waves De-Essers, a Waves RVox used as a noise gate, the SoundToys Decapitator for vibe, and a Waves C4 to bang down some peak frequencies. There's a track with distant ad-libs that goes to the Harmony Vox aux, which has some similar plug-ins, and adds a D-Verb for some extra reverb. There are sends on the vocal busses to the reverb aux, with the Waves RVerb, and delay quarter-note aux, with the Waves H-Delay. I also have the Avid EQ7 before the reverb, to take out the low end and high end. You don't want to have esses all over your reverb. The other two aux tracks that I did not use are part of the producer's template."

Used on vocals for "Ransom", as mentioned by mix engineer Joseph Colmenero in this November 2019 Sound on Sound interview.

"Many of the plug-ins on the vocal tracks came with the session. The vocal audio tracks all have Antares Auto-Tune Pro because the session came with Auto-Tune Live, and I didn't have my licence with me, so I put Auto-Tune Pro on. Without seeing the Live plug-in I had to use my ears to make sure that the settings were exactly right. They had recorded Tecca's vocals with Auto-Tune on, playing Auto-Tune like an instrument.

"All audio tracks go to the LeadVox bus, on which there is a stack of plug-ins. Again many of them came with the session. The chain starts with the Waves Q6 EQ, the FabFilter Pro-C2 compressor, then a Waves SSL Channel, two Waves De-Essers, a Waves RVox used as a noise gate, the SoundToys Decapitator for vibe, and a Waves C4 to bang down some peak frequencies. There's a track with distant ad-libs that goes to the Harmony Vox aux, which has some similar plug-ins, and adds a D-Verb for some extra reverb. There are sends on the vocal busses to the reverb aux, with the Waves RVerb, and delay quarter-note aux, with the Waves H-Delay. I also have the Avid EQ7 before the reverb, to take out the low end and high end. You don't want to have esses all over your reverb. The other two aux tracks that I did not use are part of the producer's template."

Used on vocals for "Ransom", as mentioned by mix engineer Joseph Colmenero in this November 2019 Sound on Sound interview.

"Many of the plug-ins on the vocal tracks came with the session. The vocal audio tracks all have Antares Auto-Tune Pro because the session came with Auto-Tune Live, and I didn't have my licence with me, so I put Auto-Tune Pro on. Without seeing the Live plug-in I had to use my ears to make sure that the settings were exactly right. They had recorded Tecca's vocals with Auto-Tune on, playing Auto-Tune like an instrument.

"All audio tracks go to the LeadVox bus, on which there is a stack of plug-ins. Again many of them came with the session. The chain starts with the Waves Q6 EQ, the FabFilter Pro-C2 compressor, then a Waves SSL Channel, two Waves De-Essers, a Waves RVox used as a noise gate, the SoundToys Decapitator for vibe, and a Waves C4 to bang down some peak frequencies. There's a track with distant ad-libs that goes to the Harmony Vox aux, which has some similar plug-ins, and adds a D-Verb for some extra reverb. There are sends on the vocal busses to the reverb aux, with the Waves RVerb, and delay quarter-note aux, with the Waves H-Delay. I also have the Avid EQ7 before the reverb, to take out the low end and high end. You don't want to have esses all over your reverb. The other two aux tracks that I did not use are part of the producer's template."

Used on vocals for "Ransom", as mentioned by mix engineer Joseph Colmenero in this November 2019 Sound on Sound interview.

"Many of the plug-ins on the vocal tracks came with the session. The vocal audio tracks all have Antares Auto-Tune Pro because the session came with Auto-Tune Live, and I didn't have my licence with me, so I put Auto-Tune Pro on. Without seeing the Live plug-in I had to use my ears to make sure that the settings were exactly right. They had recorded Tecca's vocals with Auto-Tune on, playing Auto-Tune like an instrument.

"All audio tracks go to the LeadVox bus, on which there is a stack of plug-ins. Again many of them came with the session. The chain starts with the Waves Q6 EQ, the FabFilter Pro-C2 compressor, then a Waves SSL Channel, two Waves De-Essers, a Waves RVox used as a noise gate, the SoundToys Decapitator for vibe, and a Waves C4 to bang down some peak frequencies. There's a track with distant ad-libs that goes to the Harmony Vox aux, which has some similar plug-ins, and adds a D-Verb for some extra reverb. There are sends on the vocal busses to the reverb aux, with the Waves RVerb, and delay quarter-note aux, with the Waves H-Delay. I also have the Avid EQ7 before the reverb, to take out the low end and high end. You don't want to have esses all over your reverb. The other two aux tracks that I did not use are part of the producer's template."

Used on vocals for "Ransom", as mentioned by mix engineer Joseph Colmenero in this November 2019 Sound on Sound interview.

"Many of the plug-ins on the vocal tracks came with the session. The vocal audio tracks all have Antares Auto-Tune Pro because the session came with Auto-Tune Live, and I didn't have my licence with me, so I put Auto-Tune Pro on. Without seeing the Live plug-in I had to use my ears to make sure that the settings were exactly right. They had recorded Tecca's vocals with Auto-Tune on, playing Auto-Tune like an instrument.

"All audio tracks go to the LeadVox bus, on which there is a stack of plug-ins. Again many of them came with the session. The chain starts with the Waves Q6 EQ, the FabFilter Pro-C2 compressor, then a Waves SSL Channel, two Waves De-Essers, a Waves RVox used as a noise gate, the SoundToys Decapitator for vibe, and a Waves C4 to bang down some peak frequencies. There's a track with distant ad-libs that goes to the Harmony Vox aux, which has some similar plug-ins, and adds a D-Verb for some extra reverb. There are sends on the vocal busses to the reverb aux, with the Waves RVerb, and delay quarter-note aux, with the Waves H-Delay. I also have the Avid EQ7 before the reverb, to take out the low end and high end. You don't want to have esses all over your reverb. The other two aux tracks that I did not use are part of the producer's template."

EQ7 was used on vocals for "Ransom", as mentioned by mix engineer Joseph Colmenero in this November 2019 Sound on Sound interview.

"Many of the plug-ins on the vocal tracks came with the session. The vocal audio tracks all have Antares Auto-Tune Pro because the session came with Auto-Tune Live, and I didn't have my licence with me, so I put Auto-Tune Pro on. Without seeing the Live plug-in I had to use my ears to make sure that the settings were exactly right. They had recorded Tecca's vocals with Auto-Tune on, playing Auto-Tune like an instrument.

"All audio tracks go to the LeadVox bus, on which there is a stack of plug-ins. Again many of them came with the session. The chain starts with the Waves Q6 EQ, the FabFilter Pro-C2 compressor, then a Waves SSL Channel, two Waves De-Essers, a Waves RVox used as a noise gate, the SoundToys Decapitator for vibe, and a Waves C4 to bang down some peak frequencies. There's a track with distant ad-libs that goes to the Harmony Vox aux, which has some similar plug-ins, and adds a D-Verb for some extra reverb. There are sends on the vocal busses to the reverb aux, with the Waves RVerb, and delay quarter-note aux, with the Waves H-Delay. I also have the Avid EQ7 before the reverb, to take out the low end and high end. You don't want to have esses all over your reverb. The other two aux tracks that I did not use are part of the producer's template."

Used on vocals for "Ransom", as mentioned by mix engineer Joseph Colmenero in this November 2019 Sound on Sound interview.

"Many of the plug-ins on the vocal tracks came with the session. The vocal audio tracks all have Antares Auto-Tune Pro because the session came with Auto-Tune Live, and I didn't have my licence with me, so I put Auto-Tune Pro on. Without seeing the Live plug-in I had to use my ears to make sure that the settings were exactly right. They had recorded Tecca's vocals with Auto-Tune on, playing Auto-Tune like an instrument.

"All audio tracks go to the LeadVox bus, on which there is a stack of plug-ins. Again many of them came with the session. The chain starts with the Waves Q6 EQ, the FabFilter Pro-C2 compressor, then a Waves SSL Channel, two Waves De-Essers, a Waves RVox used as a noise gate, the SoundToys Decapitator for vibe, and a Waves C4 to bang down some peak frequencies. There's a track with distant ad-libs that goes to the Harmony Vox aux, which has some similar plug-ins, and adds a D-Verb for some extra reverb. There are sends on the vocal busses to the reverb aux, with the Waves RVerb, and delay quarter-note aux, with the Waves H-Delay. I also have the Avid EQ7 before the reverb, to take out the low end and high end. You don't want to have esses all over your reverb. The other two aux tracks that I did not use are part of the producer's template."

Used at least once for vocals, as mentioned by mix engineer Joseph Colmenero in this November 2019 Sound on Sound interview.

Colmenero: "I happen to know Tecca's manager, Giuseppe Zappala, and he sent me some artists he was developing, and Tecca was one of them. I did a few tracks with Tecca, recording his vocals and mixing them, one of them being 'Love No Thot', and he put that straight onto SoundCloud. His fans really liked it, and that's where we realised that we got along. Tecca only uses a Neumann U87 for his vocals, and I have used a couple of different preamps, the Neve 1073 and an Avalon 737. Though just last night I used an SSL VHD Pre on him, and we really liked how that sounded.

Used on vocals for "Ransom", as mentioned by mix engineer Joseph Colmenero in this November 2019 Sound on Sound interview.

"Many of the plug-ins on the vocal tracks came with the session. The vocal audio tracks all have Antares Auto-Tune Pro because the session came with Auto-Tune Live, and I didn't have my licence with me, so I put Auto-Tune Pro on. Without seeing the Live plug-in I had to use my ears to make sure that the settings were exactly right. They had recorded Tecca's vocals with Auto-Tune on, playing Auto-Tune like an instrument.

"All audio tracks go to the LeadVox bus, on which there is a stack of plug-ins. Again many of them came with the session. The chain starts with the Waves Q6 EQ, the FabFilter Pro-C2 compressor, then a Waves SSL Channel, two Waves De-Essers, a Waves RVox used as a noise gate, the SoundToys Decapitator for vibe, and a Waves C4 to bang down some peak frequencies. There's a track with distant ad-libs that goes to the Harmony Vox aux, which has some similar plug-ins, and adds a D-Verb for some extra reverb. There are sends on the vocal busses to the reverb aux, with the Waves RVerb, and delay quarter-note aux, with the Waves H-Delay. I also have the Avid EQ7 before the reverb, to take out the low end and high end. You don't want to have esses all over your reverb. The other two aux tracks that I did not use are part of the producer's template."

Used on vocals for "Ransom", as mentioned by mix engineer Joseph Colmenero in this November 2019 Sound on Sound interview.

"Many of the plug-ins on the vocal tracks came with the session. The vocal audio tracks all have Antares Auto-Tune Pro because the session came with Auto-Tune Live, and I didn't have my licence with me, so I put Auto-Tune Pro on. Without seeing the Live plug-in I had to use my ears to make sure that the settings were exactly right. They had recorded Tecca's vocals with Auto-Tune on, playing Auto-Tune like an instrument.

"All audio tracks go to the LeadVox bus, on which there is a stack of plug-ins. Again many of them came with the session. The chain starts with the Waves Q6 EQ, the FabFilter Pro-C2 compressor, then a Waves SSL Channel, two Waves De-Essers, a Waves RVox used as a noise gate, the SoundToys Decapitator for vibe, and a Waves C4 to bang down some peak frequencies. There's a track with distant ad-libs that goes to the Harmony Vox aux, which has some similar plug-ins, and adds a D-Verb for some extra reverb. There are sends on the vocal busses to the reverb aux, with the Waves RVerb, and delay quarter-note aux, with the Waves H-Delay. I also have the Avid EQ7 before the reverb, to take out the low end and high end. You don't want to have esses all over your reverb. The other two aux tracks that I did not use are part of the producer's template."