TOM ELMHIRST Vocal Chain for DREAMY VOCALS 2024 💎 | FULL GUIDE + DOWNLOAD

[@yeckxo]

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[@akeyzstudio6620]

you are a great teacher

[@yeckxo]

Thanks!

[@freebby]

thanks for sorting!

[@yeckxo]

You're welcome!

[@ramonfelizjr]

Hi the effects on the h9 is the canyon preset ? For h3000B ? I understand the mention he send the vocal to delay and then the delay to a reverb . So is the Canyon Preset to AMS 16 reverb . Not sure what preset on the AMS ? Thx

[@yeckxo]

I'll share a link to a screenshot of that preset soon.

[@QueMusiQ]

Why is there an audible click on the second “myself”?

[@yeckxo]

It's caused by Melodyne since I drastically changed the melody with it. (it's not a final version)

[@TheSlim1]

wowow i like the wider vocal such vibe i wanna know should i put the autotune first or last or in middle i don't know why but i didn't like cl1b I don't get that plugin i try it many time i rather to use the 1176 by UAD

[@kahus-b]

Would definitely put auto tune at the start of your chain

[@kahus-b]

But test it out and see what sounds good!

[@yeckxo]

It's generally best to place autotune early in your vocal chain, usually first or second. Ideally, you should apply a corrective EQ with a low-cut filter first to ensure no unwanted sounds interfere with the autotune. This allows autotune to correct the pitch before other effects are applied, ensuring a cleaner and more accurate result.

[@chara1977]

Hi, not compatible with Protools?

[@yeckxo]

Not yet, but soon.

[@ramonfelizjr]

Nice , how I download the template ?

[@ramonfelizjr]

I can’t find the download?

[@yeckxo]

It will be available soon.

[@Miltersen]

These settings are actually not universal. He changes it for every mix. You saw the same video I did on MixWithTheMasters. He says he doesn’t believe in templates.

[@yeckxo]

I agree that each project requires a unique approach. However, certain vocal effects can be universally applied depending on the track's needs. For example, I noticed he uses the "Canyon" preset both in Adele's "Rolling in the Deep" and in Travis Scott's vocal effects. While not all effects are universally applicable, they can provide valuable inspiration. Additionally, templates can be highly effective, saving time and energy by reducing repetitive tasks and boosting productivity.

[@Miltersen]

@@yeckxo When you recycle others teachings 1:1 - it’s just important to get their points across they’re making. He is literally talking about how to recreate every effect from scratch to be unique.

[@Vossflying]

Pitching correction is never during mixing but always during the editing

[@yeckxo]

There's no "always" in the music production process. Depending on the situation, things might need to be reordered.

[@yungblade7]

If you duplicate the track for reverb wont you juat gave one vocal with reveb & one vocal thats dry?? I don't get that part.

[@yeckxo]

Exactly. You'll have 1 track fully dry and another one fully wet. just like AUX.

[@heliotherapyy55]

I thought bussing is more for computer power efficiency

[@Dbwj-so6mu]

@@heliotherapyy55it is, this many soothe 2 instances will not work for most people

[@rome8180]

Nice video, but what's up with the AI narration? There are a bunch of really strange pronunciation and linguistic errors no human would make -- not even a non-native English speaker.

[@yeckxo]

Thank you for your feedback! I understand your concerns about the AI narration. Currently, I'm using AI narration because it significantly reduces the time required to produce videos. This allows me to release content more frequently. I appreciate your understanding and am always looking for ways to improve, so your input is valuable to me.

[@GrisibagageSnnaa-qz6zw]

​@@yeckxomakes total sense and doesn't take any informational value out of the video. If anything I think it might add some as humans can make habits of talking too fast etc!

[@georgecain123]

Seems like a ridiculous amount of effects!

[@yeckxo]

That’s what distinguishes different engineers from one another.

[@robshrock-shirakbari1862]

Duplicating a track multiple times--and all of its effects--is an awful waste of resources just to avoid a little bussing and automation.

[@yeckxo]

While it's true that duplicating a track multiple times can consume more resources, modern computers are generally powerful enough to handle this without significant issues. Even on older systems like a 2013 iMac, I've successfully tested this method without running into major performance problems. Additionally, bouncing tracks can mitigate any potential CPU strain, ensuring smooth operation. This approach also simplifies exporting, as all effects are preserved directly on the duplicated tracks, offering a more streamlined workflow.

[@robshrock-shirakbari1862]

@@yeckxo Mate, I'm running an M1 Studio Max with 64GB RAM and everything on SSDs, plus 12 UAD DSP chips. I regularly have film cues and record mixes with 80+ tracks on a good day in both Pro Tools and Logic. I've yet to have a computer system that let me just duplicate tracks with deep plug-in chains with no regard to the added CPU usage. There is always a trade-off. My point is, don't be afraid to design a proper, detailed bussing system in well thought out template, and don't be afraid to automate a little muting and level riding. You decide to change something in that vocal chain and you have to worry about the tonal and possible phase shift it causes in those other tracks because they are no longer exact copies. It can get messy.

[@yeckxo]

@@robshrock-shirakbari1862 I totally get where you're coming from, especially with the setup you're running. Even with a powerful system like yours, there's always some trade-off when you're dealing with complex sessions in Pro Tools or Logic. However, when it comes to using parallel processing, especially in sessions with 100+ tracks, phase shifting is indeed something to watch out for. That said, when applying 100% wet effects on vocals, phase issues are typically less of a concern. This is because, with a fully wet signal, you're not blending it with the dry signal, which is where most phase issues arise. As long as you're dealing with time-based effects like reverb or delay, and they're fully wet, the phase relationship with the original signal isn’t as critical.

[@yeckxo]

@@robshrock-shirakbari1862 Without a well-organized template, managing automation can become cumbersome. The default naming like "Bus 1, Bus 2, Bus 3" isn’t intuitive, and when you're automating different vocal effects across various sections, it can be time-consuming to remember which bus corresponds to which effect. By using a method where the effect is directly applied to a duplicate of the vocal track, you gain the advantage of seeing the waveform while automating. This visual reference allows for more precise edits, like cutting, fading, or even pitch adjustments, without having to toggle back and forth between busses.