Lil Uzi Vert

Used for some of Luv Is Rage 2, as stated by mix engineer Kesha Lee in this December 2017 Sound on Sound article.

The standard for Atlanta seems to be to use Yamaha NS10s or Augspurger monitors,” Lee explains, “and the recording signal chain consists of an Avalon VT-737sp mic pre and a Tube-Tech CL 1B compressor. The microphone is normally a Neumann U87 and the headphones are Sennheiser HD280s. We briefly used the U87 when we got back from LA, because that’s what’s in Means Street Studio A, but Uzi likes the Neumann TLM103, which is in Studio B, and which we use most of the time.”

Lil Uzi Vert can be seen talking into the WA-47jr in this picture, many people might believe this to be a U47, but this is actually a WA-47jr, the reason I say this is because the U47 has a rounded top, while the top of the microphone in this picture is flat. (also if you are wondering, there is a version that isn't black unlike the picture on equipboard)

Used for Luv Is Rage 2, as stated by mix engineer Kesha Lee in this December 2017 Sound on Sound article.

The standard for Atlanta seems to be to use Yamaha NS10s or Augspurger monitors,” Lee explains, “and the recording signal chain consists of an Avalon VT-737sp mic pre and a Tube-Tech CL 1B compressor. The microphone is normally a Neumann U87 and the headphones are Sennheiser HD280s. We briefly used the U87 when we got back from LA, because that’s what’s in Means Street Studio A, but Uzi likes the Neumann TLM103, which is in Studio B, and which we use most of the time.”

Used for Luv Is Rage 2, as stated by mix engineer Kesha Lee in this December 2017 Sound on Sound article. An image of the settings for "Hook 1" of "How to Talk" can be found here.

The essential effect for today’s rapper: Antares Auto-Tune is, says Kesha Lee, invariably the first plug-in on every vocal track with Lil Uzi Vert.

“The intro track was a voice note Uzi had recorded on his phone, and he played it in the booth on his phone, and we recorded it through the mic like that. It sounded really telephone-y, which we wanted, but I tried to take out some of the highs with the Waves OneKnob. All audio vocal tracks apart from the intro have Antares Auto-Tune as the first plug-in. Uzi hears his Auto-Tuned vocals in his headphones while singing. We used to just have it on default, with a Retune speed of 20, but lately he has been like: ‘Give me more Auto-Tune!’ so now we have the Retune Speed set to anywhere from 12 to 5. The ‘D’ after Auto-Tune is the Waves De-Esser, the ‘Q’ the Avid EQ3 seven-band, and the ‘1’ is the Waves C1 gate. All vocal audio tracks also have sends to the delay and the reverb aux tracks. The delay aux track has the Avid Mod Delay II set to half notes, with feedback at 43 percent, the Waves Renaissance Reverberator, set to ‘Hall 1’ reverb, with the highs cut on the reverb EQ, and the Waves S1 stereo imager. The reverb aux has the Renaissance Reverberator."

Used for "How to Talk", as stated by mix engineer Kesha Lee in this December 2017 Sound on Sound article.

“The intro track was a voice note Uzi had recorded on his phone, and he played it in the booth on his phone, and we recorded it through the mic like that. It sounded really telephone-y, which we wanted, but I tried to take out some of the highs with the Waves OneKnob. All audio vocal tracks apart from the intro have Antares Auto-Tune as the first plug-in. Uzi hears his Auto-Tuned vocals in his headphones while singing. We used to just have it on default, with a Retune speed of 20, but lately he has been like: ‘Give me more Auto-Tune!’ so now we have the Retune Speed set to anywhere from 12 to 5. The ‘D’ after Auto-Tune is the Waves De-Esser, the ‘Q’ the Avid EQ3 seven-band, and the ‘1’ is the Waves C1 gate. All vocal audio tracks also have sends to the delay and the reverb aux tracks. The delay aux track has the Avid Mod Delay II set to half notes, with feedback at 43 percent, the Waves Renaissance Reverberator, set to ‘Hall 1’ reverb, with the highs cut on the reverb EQ, and the Waves S1 stereo imager. The reverb aux has the Renaissance Reverberator.

“All audio vocal tracks go to the vocal aux track. I had two vocal aux tracks in this session, because I wanted to try something different, using plug-ins I don’t normally use. That’s why one of the aux tracks is muted. The vocal aux track that I did use has the Waves De-Esser acting around 4230Hz, then the EQ3 seven-band which has a high-pass at 96.4Hz, and I’m dipping out muddiness at 200 and 500 Hz. I’m also adding some high end at 6.52kHz. I don’t normally add EQ with the seven-band, but Seth would add some high end on Future’s voice and that worked well, so I tried it here. Next is the Waves Renaissance Compressor, to keep the dynamics in check, and then the Waves SSL E-channel, on which I am again dipping out various frequencies. The latter plug-in is more for colour and character. The Waves CLA-3A is more for the sound, and the RN Digital Detailer made Uzi’s vocals sound fuller and wider.

"The final plug-in in the chain is the Nomad Factory MCL-2269 limiter and compressor, again for the sound and for more volume. We always go for a warm, full, loud, in-your-face vocal sound, also because we like the vocals to be louder than the beat. I always turn the beat down 1-2 dB. There are no plug-ins on the master track, because I used to work for a producer who didn’t want that, as the mix would go to the mastering engineer. So I’m still used to doing it like that. I turn the master volume down anywhere between -7 to -9 dB before it goes to mastering, so they have room to work with.”

Used for Luv Is Rage 2, as stated by mix engineer Kesha Lee in this December 2017 Sound on Sound article.

The standard for Atlanta seems to be to use Yamaha NS10s or Augspurger monitors,” Lee explains, “and the recording signal chain consists of an Avalon VT-737sp mic pre and a Tube-Tech CL 1B compressor. The microphone is normally a Neumann U87 and the headphones are Sennheiser HD280s. We briefly used the U87 when we got back from LA, because that’s what’s in Means Street Studio A, but Uzi likes the Neumann TLM103, which is in Studio B, and which we use most of the time.”

Used for "How to Talk", as stated by mix engineer Kesha Lee in this December 2017 Sound on Sound article. An image of the settings can be found here.

“The intro track was a voice note Uzi had recorded on his phone, and he played it in the booth on his phone, and we recorded it through the mic like that. It sounded really telephone-y, which we wanted, but I tried to take out some of the highs with the Waves OneKnob. All audio vocal tracks apart from the intro have Antares Auto-Tune as the first plug-in. Uzi hears his Auto-Tuned vocals in his headphones while singing. We used to just have it on default, with a Retune speed of 20, but lately he has been like: ‘Give me more Auto-Tune!’ so now we have the Retune Speed set to anywhere from 12 to 5. The ‘D’ after Auto-Tune is the Waves De-Esser, the ‘Q’ the Avid EQ3 seven-band, and the ‘1’ is the Waves C1 gate. All vocal audio tracks also have sends to the delay and the reverb aux tracks. The delay aux track has the Avid Mod Delay II set to half notes, with feedback at 43 percent, the Waves Renaissance Reverberator, set to ‘Hall 1’ reverb, with the highs cut on the reverb EQ, and the Waves S1 stereo imager. The reverb aux has the Renaissance Reverberator.

“All audio vocal tracks go to the vocal aux track. I had two vocal aux tracks in this session, because I wanted to try something different, using plug-ins I don’t normally use. That’s why one of the aux tracks is muted. The vocal aux track that I did use has the Waves De-Esser acting around 4230Hz, then the EQ3 seven-band which has a high-pass at 96.4Hz, and I’m dipping out muddiness at 200 and 500 Hz. I’m also adding some high end at 6.52kHz. I don’t normally add EQ with the seven-band, but Seth would add some high end on Future’s voice and that worked well, so I tried it here. Next is the Waves Renaissance Compressor, to keep the dynamics in check, and then the Waves SSL E-channel, on which I am again dipping out various frequencies. The latter plug-in is more for colour and character. The Waves CLA-3A is more for the sound, and the RN Digital Detailer made Uzi’s vocals sound fuller and wider.

"The final plug-in in the chain is the Nomad Factory MCL-2269 limiter and compressor, again for the sound and for more volume. We always go for a warm, full, loud, in-your-face vocal sound, also because we like the vocals to be louder than the beat. I always turn the beat down 1-2 dB. There are no plug-ins on the master track, because I used to work for a producer who didn’t want that, as the mix would go to the mastering engineer. So I’m still used to doing it like that. I turn the master volume down anywhere between -7 to -9 dB before it goes to mastering, so they have room to work with.”

Used for "How to Talk", as stated by mix engineer Kesha Lee in this December 2017 Sound on Sound article. An image of the settings can be found here.

“The intro track was a voice note Uzi had recorded on his phone, and he played it in the booth on his phone, and we recorded it through the mic like that. It sounded really telephone-y, which we wanted, but I tried to take out some of the highs with the Waves OneKnob. All audio vocal tracks apart from the intro have Antares Auto-Tune as the first plug-in. Uzi hears his Auto-Tuned vocals in his headphones while singing. We used to just have it on default, with a Retune speed of 20, but lately he has been like: ‘Give me more Auto-Tune!’ so now we have the Retune Speed set to anywhere from 12 to 5. The ‘D’ after Auto-Tune is the Waves De-Esser, the ‘Q’ the Avid EQ3 seven-band, and the ‘1’ is the Waves C1 gate. All vocal audio tracks also have sends to the delay and the reverb aux tracks. The delay aux track has the Avid Mod Delay II set to half notes, with feedback at 43 percent, the Waves Renaissance Reverberator, set to ‘Hall 1’ reverb, with the highs cut on the reverb EQ, and the Waves S1 stereo imager. The reverb aux has the Renaissance Reverberator.

“All audio vocal tracks go to the vocal aux track. I had two vocal aux tracks in this session, because I wanted to try something different, using plug-ins I don’t normally use. That’s why one of the aux tracks is muted. The vocal aux track that I did use has the Waves De-Esser acting around 4230Hz, then the EQ3 seven-band which has a high-pass at 96.4Hz, and I’m dipping out muddiness at 200 and 500 Hz. I’m also adding some high end at 6.52kHz. I don’t normally add EQ with the seven-band, but Seth would add some high end on Future’s voice and that worked well, so I tried it here. Next is the Waves Renaissance Compressor, to keep the dynamics in check, and then the Waves SSL E-channel, on which I am again dipping out various frequencies. The latter plug-in is more for colour and character. The Waves CLA-3A is more for the sound, and the RN Digital Detailer made Uzi’s vocals sound fuller and wider.

"The final plug-in in the chain is the Nomad Factory MCL-2269 limiter and compressor, again for the sound and for more volume. We always go for a warm, full, loud, in-your-face vocal sound, also because we like the vocals to be louder than the beat. I always turn the beat down 1-2 dB. There are no plug-ins on the master track, because I used to work for a producer who didn’t want that, as the mix would go to the mastering engineer. So I’m still used to doing it like that. I turn the master volume down anywhere between -7 to -9 dB before it goes to mastering, so they have room to work with.”

Used for some of Luv Is Rage 2, as stated by mix engineer Kesha Lee in this December 2017 Sound on Sound article.

The standard for Atlanta seems to be to use Yamaha NS10s or Augspurger monitors,” Lee explains, “and the recording signal chain consists of an Avalon VT-737sp mic pre and a Tube-Tech CL 1B compressor. The microphone is normally a Neumann U87 and the headphones are Sennheiser HD280s. We briefly used the U87 when we got back from LA, because that’s what’s in Means Street Studio A, but Uzi likes the Neumann TLM103, which is in Studio B, and which we use most of the time.”

Used for "How to Talk", as stated by mix engineer Kesha Lee in this December 2017 Sound on Sound article.

“The intro track was a voice note Uzi had recorded on his phone, and he played it in the booth on his phone, and we recorded it through the mic like that. It sounded really telephone-y, which we wanted, but I tried to take out some of the highs with the Waves OneKnob. All audio vocal tracks apart from the intro have Antares Auto-Tune as the first plug-in. Uzi hears his Auto-Tuned vocals in his headphones while singing. We used to just have it on default, with a Retune speed of 20, but lately he has been like: ‘Give me more Auto-Tune!’ so now we have the Retune Speed set to anywhere from 12 to 5. The ‘D’ after Auto-Tune is the Waves De-Esser, the ‘Q’ the Avid EQ3 seven-band, and the ‘1’ is the Waves C1 gate. All vocal audio tracks also have sends to the delay and the reverb aux tracks. The delay aux track has the Avid Mod Delay II set to half notes, with feedback at 43 percent, the Waves Renaissance Reverberator, set to ‘Hall 1’ reverb, with the highs cut on the reverb EQ, and the Waves S1 stereo imager. The reverb aux has the Renaissance Reverberator.

“All audio vocal tracks go to the vocal aux track. I had two vocal aux tracks in this session, because I wanted to try something different, using plug-ins I don’t normally use. That’s why one of the aux tracks is muted. The vocal aux track that I did use has the Waves De-Esser acting around 4230Hz, then the EQ3 seven-band which has a high-pass at 96.4Hz, and I’m dipping out muddiness at 200 and 500 Hz. I’m also adding some high end at 6.52kHz. I don’t normally add EQ with the seven-band, but Seth would add some high end on Future’s voice and that worked well, so I tried it here. Next is the Waves Renaissance Compressor, to keep the dynamics in check, and then the Waves SSL E-channel, on which I am again dipping out various frequencies. The latter plug-in is more for colour and character. The Waves CLA-3A is more for the sound, and the RN Digital Detailer made Uzi’s vocals sound fuller and wider.

"The final plug-in in the chain is the Nomad Factory MCL-2269 limiter and compressor, again for the sound and for more volume. We always go for a warm, full, loud, in-your-face vocal sound, also because we like the vocals to be louder than the beat. I always turn the beat down 1-2 dB. There are no plug-ins on the master track, because I used to work for a producer who didn’t want that, as the mix would go to the mastering engineer. So I’m still used to doing it like that. I turn the master volume down anywhere between -7 to -9 dB before it goes to mastering, so they have room to work with.”

In the photo Lil Uzi Vert can be seen using the TLM 49

Used for "How to Talk", as stated by mix engineer Kesha Lee in this December 2017 Sound on Sound article.

“The intro track was a voice note Uzi had recorded on his phone, and he played it in the booth on his phone, and we recorded it through the mic like that. It sounded really telephone-y, which we wanted, but I tried to take out some of the highs with the Waves OneKnob. All audio vocal tracks apart from the intro have Antares Auto-Tune as the first plug-in. Uzi hears his Auto-Tuned vocals in his headphones while singing. We used to just have it on default, with a Retune speed of 20, but lately he has been like: ‘Give me more Auto-Tune!’ so now we have the Retune Speed set to anywhere from 12 to 5. The ‘D’ after Auto-Tune is the Waves De-Esser, the ‘Q’ the Avid EQ3 seven-band, and the ‘1’ is the Waves C1 gate. All vocal audio tracks also have sends to the delay and the reverb aux tracks. The delay aux track has the Avid Mod Delay II set to half notes, with feedback at 43 percent, the Waves Renaissance Reverberator, set to ‘Hall 1’ reverb, with the highs cut on the reverb EQ, and the Waves S1 stereo imager. The reverb aux has the Renaissance Reverberator.

“All audio vocal tracks go to the vocal aux track. I had two vocal aux tracks in this session, because I wanted to try something different, using plug-ins I don’t normally use. That’s why one of the aux tracks is muted. The vocal aux track that I did use has the Waves De-Esser acting around 4230Hz, then the EQ3 seven-band which has a high-pass at 96.4Hz, and I’m dipping out muddiness at 200 and 500 Hz. I’m also adding some high end at 6.52kHz. I don’t normally add EQ with the seven-band, but Seth would add some high end on Future’s voice and that worked well, so I tried it here. Next is the Waves Renaissance Compressor, to keep the dynamics in check, and then the Waves SSL E-channel, on which I am again dipping out various frequencies. The latter plug-in is more for colour and character. The Waves CLA-3A is more for the sound, and the RN Digital Detailer made Uzi’s vocals sound fuller and wider.

"The final plug-in in the chain is the Nomad Factory MCL-2269 limiter and compressor, again for the sound and for more volume. We always go for a warm, full, loud, in-your-face vocal sound, also because we like the vocals to be louder than the beat. I always turn the beat down 1-2 dB. There are no plug-ins on the master track, because I used to work for a producer who didn’t want that, as the mix would go to the mastering engineer. So I’m still used to doing it like that. I turn the master volume down anywhere between -7 to -9 dB before it goes to mastering, so they have room to work with.”

Used for "How to Talk", as stated by mix engineer Kesha Lee in this December 2017 Sound on Sound article.

“The intro track was a voice note Uzi had recorded on his phone, and he played it in the booth on his phone, and we recorded it through the mic like that. It sounded really telephone-y, which we wanted, but I tried to take out some of the highs with the Waves OneKnob. All audio vocal tracks apart from the intro have Antares Auto-Tune as the first plug-in. Uzi hears his Auto-Tuned vocals in his headphones while singing. We used to just have it on default, with a Retune speed of 20, but lately he has been like: ‘Give me more Auto-Tune!’ so now we have the Retune Speed set to anywhere from 12 to 5. The ‘D’ after Auto-Tune is the Waves De-Esser, the ‘Q’ the Avid EQ3 seven-band, and the ‘1’ is the Waves C1 gate. All vocal audio tracks also have sends to the delay and the reverb aux tracks. The delay aux track has the Avid Mod Delay II set to half notes, with feedback at 43 percent, the Waves Renaissance Reverberator, set to ‘Hall 1’ reverb, with the highs cut on the reverb EQ, and the Waves S1 stereo imager. The reverb aux has the Renaissance Reverberator.

“All audio vocal tracks go to the vocal aux track. I had two vocal aux tracks in this session, because I wanted to try something different, using plug-ins I don’t normally use. That’s why one of the aux tracks is muted. The vocal aux track that I did use has the Waves De-Esser acting around 4230Hz, then the EQ3 seven-band which has a high-pass at 96.4Hz, and I’m dipping out muddiness at 200 and 500 Hz. I’m also adding some high end at 6.52kHz. I don’t normally add EQ with the seven-band, but Seth would add some high end on Future’s voice and that worked well, so I tried it here. Next is the Waves Renaissance Compressor, to keep the dynamics in check, and then the Waves SSL E-channel, on which I am again dipping out various frequencies. The latter plug-in is more for colour and character. The Waves CLA-3A is more for the sound, and the RN Digital Detailer made Uzi’s vocals sound fuller and wider.

"The final plug-in in the chain is the Nomad Factory MCL-2269 limiter and compressor, again for the sound and for more volume. We always go for a warm, full, loud, in-your-face vocal sound, also because we like the vocals to be louder than the beat. I always turn the beat down 1-2 dB. There are no plug-ins on the master track, because I used to work for a producer who didn’t want that, as the mix would go to the mastering engineer. So I’m still used to doing it like that. I turn the master volume down anywhere between -7 to -9 dB before it goes to mastering, so they have room to work with.”

Used for "How to Talk", as stated by mix engineer Kesha Lee in this December 2017 Sound on Sound article.

“The intro track was a voice note Uzi had recorded on his phone, and he played it in the booth on his phone, and we recorded it through the mic like that. It sounded really telephone-y, which we wanted, but I tried to take out some of the highs with the Waves OneKnob. All audio vocal tracks apart from the intro have Antares Auto-Tune as the first plug-in. Uzi hears his Auto-Tuned vocals in his headphones while singing. We used to just have it on default, with a Retune speed of 20, but lately he has been like: ‘Give me more Auto-Tune!’ so now we have the Retune Speed set to anywhere from 12 to 5. The ‘D’ after Auto-Tune is the Waves De-Esser, the ‘Q’ the Avid EQ3 seven-band, and the ‘1’ is the Waves C1 gate. All vocal audio tracks also have sends to the delay and the reverb aux tracks. The delay aux track has the Avid Mod Delay II set to half notes, with feedback at 43 percent, the Waves Renaissance Reverberator, set to ‘Hall 1’ reverb, with the highs cut on the reverb EQ, and the Waves S1 stereo imager. The reverb aux has the Renaissance Reverberator.

“All audio vocal tracks go to the vocal aux track. I had two vocal aux tracks in this session, because I wanted to try something different, using plug-ins I don’t normally use. That’s why one of the aux tracks is muted. The vocal aux track that I did use has the Waves De-Esser acting around 4230Hz, then the EQ3 seven-band which has a high-pass at 96.4Hz, and I’m dipping out muddiness at 200 and 500 Hz. I’m also adding some high end at 6.52kHz. I don’t normally add EQ with the seven-band, but Seth would add some high end on Future’s voice and that worked well, so I tried it here. Next is the Waves Renaissance Compressor, to keep the dynamics in check, and then the Waves SSL E-channel, on which I am again dipping out various frequencies. The latter plug-in is more for colour and character. The Waves CLA-3A is more for the sound, and the RN Digital Detailer made Uzi’s vocals sound fuller and wider.

"The final plug-in in the chain is the Nomad Factory MCL-2269 limiter and compressor, again for the sound and for more volume. We always go for a warm, full, loud, in-your-face vocal sound, also because we like the vocals to be louder than the beat. I always turn the beat down 1-2 dB. There are no plug-ins on the master track, because I used to work for a producer who didn’t want that, as the mix would go to the mastering engineer. So I’m still used to doing it like that. I turn the master volume down anywhere between -7 to -9 dB before it goes to mastering, so they have room to work with.”

Used for "How to Talk", as stated by mix engineer Kesha Lee in this December 2017 Sound on Sound article.

“The intro track was a voice note Uzi had recorded on his phone, and he played it in the booth on his phone, and we recorded it through the mic like that. It sounded really telephone-y, which we wanted, but I tried to take out some of the highs with the Waves OneKnob. All audio vocal tracks apart from the intro have Antares Auto-Tune as the first plug-in. Uzi hears his Auto-Tuned vocals in his headphones while singing. We used to just have it on default, with a Retune speed of 20, but lately he has been like: ‘Give me more Auto-Tune!’ so now we have the Retune Speed set to anywhere from 12 to 5. The ‘D’ after Auto-Tune is the Waves De-Esser, the ‘Q’ the Avid EQ3 seven-band, and the ‘1’ is the Waves C1 gate. All vocal audio tracks also have sends to the delay and the reverb aux tracks. The delay aux track has the Avid Mod Delay II set to half notes, with feedback at 43 percent, the Waves Renaissance Reverberator, set to ‘Hall 1’ reverb, with the highs cut on the reverb EQ, and the Waves S1 stereo imager. The reverb aux has the Renaissance Reverberator.

“All audio vocal tracks go to the vocal aux track. I had two vocal aux tracks in this session, because I wanted to try something different, using plug-ins I don’t normally use. That’s why one of the aux tracks is muted. The vocal aux track that I did use has the Waves De-Esser acting around 4230Hz, then the EQ3 seven-band which has a high-pass at 96.4Hz, and I’m dipping out muddiness at 200 and 500 Hz. I’m also adding some high end at 6.52kHz. I don’t normally add EQ with the seven-band, but Seth would add some high end on Future’s voice and that worked well, so I tried it here. Next is the Waves Renaissance Compressor, to keep the dynamics in check, and then the Waves SSL E-channel, on which I am again dipping out various frequencies. The latter plug-in is more for colour and character. The Waves CLA-3A is more for the sound, and the RN Digital Detailer made Uzi’s vocals sound fuller and wider.

"The final plug-in in the chain is the Nomad Factory MCL-2269 limiter and compressor, again for the sound and for more volume. We always go for a warm, full, loud, in-your-face vocal sound, also because we like the vocals to be louder than the beat. I always turn the beat down 1-2 dB. There are no plug-ins on the master track, because I used to work for a producer who didn’t want that, as the mix would go to the mastering engineer. So I’m still used to doing it like that. I turn the master volume down anywhere between -7 to -9 dB before it goes to mastering, so they have room to work with.”

Used for "How to Talk", as stated by mix engineer Kesha Lee in this December 2017 Sound on Sound article.

“The intro track was a voice note Uzi had recorded on his phone, and he played it in the booth on his phone, and we recorded it through the mic like that. It sounded really telephone-y, which we wanted, but I tried to take out some of the highs with the Waves OneKnob. All audio vocal tracks apart from the intro have Antares Auto-Tune as the first plug-in. Uzi hears his Auto-Tuned vocals in his headphones while singing. We used to just have it on default, with a Retune speed of 20, but lately he has been like: ‘Give me more Auto-Tune!’ so now we have the Retune Speed set to anywhere from 12 to 5. The ‘D’ after Auto-Tune is the Waves De-Esser, the ‘Q’ the Avid EQ3 seven-band, and the ‘1’ is the Waves C1 gate. All vocal audio tracks also have sends to the delay and the reverb aux tracks. The delay aux track has the Avid Mod Delay II set to half notes, with feedback at 43 percent, the Waves Renaissance Reverberator, set to ‘Hall 1’ reverb, with the highs cut on the reverb EQ, and the Waves S1 stereo imager. The reverb aux has the Renaissance Reverberator.

“All audio vocal tracks go to the vocal aux track. I had two vocal aux tracks in this session, because I wanted to try something different, using plug-ins I don’t normally use. That’s why one of the aux tracks is muted. The vocal aux track that I did use has the Waves De-Esser acting around 4230Hz, then the EQ3 seven-band which has a high-pass at 96.4Hz, and I’m dipping out muddiness at 200 and 500 Hz. I’m also adding some high end at 6.52kHz. I don’t normally add EQ with the seven-band, but Seth would add some high end on Future’s voice and that worked well, so I tried it here. Next is the Waves Renaissance Compressor, to keep the dynamics in check, and then the Waves SSL E-channel, on which I am again dipping out various frequencies. The latter plug-in is more for colour and character. The Waves CLA-3A is more for the sound, and the RN Digital Detailer made Uzi’s vocals sound fuller and wider.

"The final plug-in in the chain is the Nomad Factory MCL-2269 limiter and compressor, again for the sound and for more volume. We always go for a warm, full, loud, in-your-face vocal sound, also because we like the vocals to be louder than the beat. I always turn the beat down 1-2 dB. There are no plug-ins on the master track, because I used to work for a producer who didn’t want that, as the mix would go to the mastering engineer. So I’m still used to doing it like that. I turn the master volume down anywhere between -7 to -9 dB before it goes to mastering, so they have room to work with.”

Used for "How to Talk", as stated by mix engineer Kesha Lee in this December 2017 Sound on Sound article.

“The intro track was a voice note Uzi had recorded on his phone, and he played it in the booth on his phone, and we recorded it through the mic like that. It sounded really telephone-y, which we wanted, but I tried to take out some of the highs with the Waves OneKnob. All audio vocal tracks apart from the intro have Antares Auto-Tune as the first plug-in. Uzi hears his Auto-Tuned vocals in his headphones while singing. We used to just have it on default, with a Retune speed of 20, but lately he has been like: ‘Give me more Auto-Tune!’ so now we have the Retune Speed set to anywhere from 12 to 5. The ‘D’ after Auto-Tune is the Waves De-Esser, the ‘Q’ the Avid EQ3 seven-band, and the ‘1’ is the Waves C1 gate. All vocal audio tracks also have sends to the delay and the reverb aux tracks. The delay aux track has the Avid Mod Delay II set to half notes, with feedback at 43 percent, the Waves Renaissance Reverberator, set to ‘Hall 1’ reverb, with the highs cut on the reverb EQ, and the Waves S1 stereo imager. The reverb aux has the Renaissance Reverberator.

“All audio vocal tracks go to the vocal aux track. I had two vocal aux tracks in this session, because I wanted to try something different, using plug-ins I don’t normally use. That’s why one of the aux tracks is muted. The vocal aux track that I did use has the Waves De-Esser acting around 4230Hz, then the EQ3 seven-band which has a high-pass at 96.4Hz, and I’m dipping out muddiness at 200 and 500 Hz. I’m also adding some high end at 6.52kHz. I don’t normally add EQ with the seven-band, but Seth would add some high end on Future’s voice and that worked well, so I tried it here. Next is the Waves Renaissance Compressor, to keep the dynamics in check, and then the Waves SSL E-channel, on which I am again dipping out various frequencies. The latter plug-in is more for colour and character. The Waves CLA-3A is more for the sound, and the RN Digital Detailer made Uzi’s vocals sound fuller and wider.

"The final plug-in in the chain is the Nomad Factory MCL-2269 limiter and compressor, again for the sound and for more volume. We always go for a warm, full, loud, in-your-face vocal sound, also because we like the vocals to be louder than the beat. I always turn the beat down 1-2 dB. There are no plug-ins on the master track, because I used to work for a producer who didn’t want that, as the mix would go to the mastering engineer. So I’m still used to doing it like that. I turn the master volume down anywhere between -7 to -9 dB before it goes to mastering, so they have room to work with.”

Used for "How to Talk", as stated by mix engineer Kesha Lee in this December 2017 Sound on Sound article.

“The intro track was a voice note Uzi had recorded on his phone, and he played it in the booth on his phone, and we recorded it through the mic like that. It sounded really telephone-y, which we wanted, but I tried to take out some of the highs with the Waves OneKnob. All audio vocal tracks apart from the intro have Antares Auto-Tune as the first plug-in. Uzi hears his Auto-Tuned vocals in his headphones while singing. We used to just have it on default, with a Retune speed of 20, but lately he has been like: ‘Give me more Auto-Tune!’ so now we have the Retune Speed set to anywhere from 12 to 5. The ‘D’ after Auto-Tune is the Waves De-Esser, the ‘Q’ the Avid EQ3 seven-band, and the ‘1’ is the Waves C1 gate. All vocal audio tracks also have sends to the delay and the reverb aux tracks. The delay aux track has the Avid Mod Delay II set to half notes, with feedback at 43 percent, the Waves Renaissance Reverberator, set to ‘Hall 1’ reverb, with the highs cut on the reverb EQ, and the Waves S1 stereo imager. The reverb aux has the Renaissance Reverberator.

“All audio vocal tracks go to the vocal aux track. I had two vocal aux tracks in this session, because I wanted to try something different, using plug-ins I don’t normally use. That’s why one of the aux tracks is muted. The vocal aux track that I did use has the Waves De-Esser acting around 4230Hz, then the EQ3 seven-band which has a high-pass at 96.4Hz, and I’m dipping out muddiness at 200 and 500 Hz. I’m also adding some high end at 6.52kHz. I don’t normally add EQ with the seven-band, but Seth would add some high end on Future’s voice and that worked well, so I tried it here. Next is the Waves Renaissance Compressor, to keep the dynamics in check, and then the Waves SSL E-channel, on which I am again dipping out various frequencies. The latter plug-in is more for colour and character. The Waves CLA-3A is more for the sound, and the RN Digital Detailer made Uzi’s vocals sound fuller and wider.

"The final plug-in in the chain is the Nomad Factory MCL-2269 limiter and compressor, again for the sound and for more volume. We always go for a warm, full, loud, in-your-face vocal sound, also because we like the vocals to be louder than the beat. I always turn the beat down 1-2 dB. There are no plug-ins on the master track, because I used to work for a producer who didn’t want that, as the mix would go to the mastering engineer. So I’m still used to doing it like that. I turn the master volume down anywhere between -7 to -9 dB before it goes to mastering, so they have room to work with.”

Used for "How to Talk", as stated by mix engineer Kesha Lee in this December 2017 Sound on Sound article.

“The intro track was a voice note Uzi had recorded on his phone, and he played it in the booth on his phone, and we recorded it through the mic like that. It sounded really telephone-y, which we wanted, but I tried to take out some of the highs with the Waves OneKnob. All audio vocal tracks apart from the intro have Antares Auto-Tune as the first plug-in. Uzi hears his Auto-Tuned vocals in his headphones while singing. We used to just have it on default, with a Retune speed of 20, but lately he has been like: ‘Give me more Auto-Tune!’ so now we have the Retune Speed set to anywhere from 12 to 5. The ‘D’ after Auto-Tune is the Waves De-Esser, the ‘Q’ the Avid EQ3 seven-band, and the ‘1’ is the Waves C1 gate. All vocal audio tracks also have sends to the delay and the reverb aux tracks. The delay aux track has the Avid Mod Delay II set to half notes, with feedback at 43 percent, the Waves Renaissance Reverberator, set to ‘Hall 1’ reverb, with the highs cut on the reverb EQ, and the Waves S1 stereo imager. The reverb aux has the Renaissance Reverberator.

“All audio vocal tracks go to the vocal aux track. I had two vocal aux tracks in this session, because I wanted to try something different, using plug-ins I don’t normally use. That’s why one of the aux tracks is muted. The vocal aux track that I did use has the Waves De-Esser acting around 4230Hz, then the EQ3 seven-band which has a high-pass at 96.4Hz, and I’m dipping out muddiness at 200 and 500 Hz. I’m also adding some high end at 6.52kHz. I don’t normally add EQ with the seven-band, but Seth would add some high end on Future’s voice and that worked well, so I tried it here. Next is the Waves Renaissance Compressor, to keep the dynamics in check, and then the Waves SSL E-channel, on which I am again dipping out various frequencies. The latter plug-in is more for colour and character. The Waves CLA-3A is more for the sound, and the RN Digital Detailer made Uzi’s vocals sound fuller and wider.

"The final plug-in in the chain is the Nomad Factory MCL-2269 limiter and compressor, again for the sound and for more volume. We always go for a warm, full, loud, in-your-face vocal sound, also because we like the vocals to be louder than the beat. I always turn the beat down 1-2 dB. There are no plug-ins on the master track, because I used to work for a producer who didn’t want that, as the mix would go to the mastering engineer. So I’m still used to doing it like that. I turn the master volume down anywhere between -7 to -9 dB before it goes to mastering, so they have room to work with.”

In late 2020, Lil Uzi Vert shared a snippet on Twitter featuring the Universal Audio Apollo Twin USB Duo audio interface. Although his Twitter account is now deactivated, the snippet can be found on YouTube, uploaded by user "uzi only" under the title "Lil Uzi Vert - Super Saiyan 2 (looped snippet)."