It’s a bit counterintuitive, because you’d think that boosting and cutting by the same amount wouldn’t have much net effect, but the result is a pretty close emulation of the proximity effect. To achieve this artificially, Needham sets the EQP-1A plug-in to boost and attenuate equally at 100Hz. Vocalists often take advantage of the proximity effect to make their voices sound more full. If you’re unfamiliar with the proximity effect, it’s a phenomenon that occurs with most mics (the most notable exception being omnidirectional models) where the low-frequency response is boosted when mic is positioned close to the source. Needham then inserts a UAD Pultec-Pro EQP-1A (Legacy) equalizer, which he’s using to add the sound of the proximity effect to the vocal. Here is the setting Needham uses on the UAD Pultec-Pro EQP-1A (Legacy) to create a faux proximity effect. When he plays it back, it’s definitely brighter. He boosts just under 3dB at three different frequencies: 8kHz, 4kHz and 2.5kHz. In his quest to make the vocal sound more aggressive, Needham next inserts a Waves SSL E-Channel channel strip, to use its EQ section. He sets the UAD de-esser in a “split-band” configuration, which means that only a user-selected frequency range in the track will get attenuated when the plug-in detects sibilance. Why two de-essers? He explains that since he’s using a fair bit of compression, and he’s going to be adding a little distortion, he needs to be careful about sibilance. Needham then adds a UAD Precision De-Esser. The hotter the input, the more compression. That is, the fastest settings are achieved by turning the knobs clockwise and the slowest counterclockwise.Įven with the Input and Ratio set relatively low, he’s getting a fairly significant amount of gain reduction because the vocal is coming into the compressor at a pretty hot level, and the amount of compression on an 1176 is governed not by a standard threshold control, but by the input level control. Note that the Attack and Release settings on an 1176 (or 1176 emulation) are opposite what you’d find on a standard compressor. Needham sets the ratio to 4:1, the Attack time to its mid point and the Release time to its fastest setting. Next, he adds compression with a Waves CLA-76, which is a Urei 1176 emulation that Waves developed in collaboration with mixer extraordinaire Chris Lord Alge. The green shaded areas in the waveform display indicate where de-essing has occurred.
#MARK NEEDHAM WAVES SSL E CHANNEL PRO#
The FabFilter Pro DS is one of two de-essers used by Needham on the vocal track. You can see the red gain-reduction display light up whenever the de-esser kicks in, attenuating about 4dB each time. He experiments with the Threshold setting until he gets the amount of de-essing he likes. That means that when it detects sibilance, it attenuates across the entire frequency range. In this case, Needham starts out with a FabFilter Pro DS de-esser plug-in, set to Wide Band mode. A de-esser is like a specialized compressor that clamps down only when it detects sibilant frequencies. Needham starts out with a de-esser, which, for those unfamiliar, reduces sibilance (“sh” sounds) that can plague vocal tracks in a mix. Mark Needham creates a fairly involved lead-vocal effects chain for the song “In the Middle,” in this excerpt from the video “Mark Needham Mixing Mona.” DE-ESSING SANDWICH
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