The final EQ3 has a notch at 3.2kHz to take out some harshness. It enables me to get a fatter vocal sound that again makes the vocal sit in the mix. The SSL E-Channel adds a bit more compression, and the Phoenix II Tape Emulation is really cool because while it doesn’t actually sound like tape, it smoothes out transients in a signal just like much analogue equipment does. I love the RComp, mainly because it doesn’t sound like compression to me. I get the energy from the RComp compression, and the EQs, including from the SSL E-Channel, are there to make her sit in the track, rather than making it sound filtered. My cut at 244Hz is because she is singing in this husky, low voice, so there’s not a lot of energy in that.
> “After that there’s some pretty heavy EQ from the EQ3, with a high-pass at 142Hz, a 9dB cut at 244Hz and a 2dB cut at 3kHz.
The FabFilter Pro-DS is doing a little more gentle look-ahead de-essing. I am rolling off until 6144Hz into what it is detecting it’s like a side-chain filter. I use the Waves de-esser the most, but in this particular track, because I wanted to compress her voice really hard, I felt that the 555 would work the best. On the former I have the McDSP DS 555 de-esser. “All lead vocals are sent to the ‘B Aux’ track and the ‘B Parra Aux’ tracks. All White’s processing is done on the three aux tracks. The audio tracks only have the EQ3 on the inserts and a few of them have a send to the Church Reverb. I do quite a lot of filtering on some of the EchoBoy delays, for example with the Waves REQ, and I am adding colour with the SoundToys Devil-Loc, which is great if you want to colour the delay so it is separate from the main vocal, and compress it with the UAD LA3A and mix that in to taste.” > (.) Beyoncé’s lead vocal tracks consist of three aux tracks, four ‘dirty’ and eight ‘clean’ audio tracks. It thickens up vocals, and is kind of like a doubler. It’s a good way to get your vocals wider without them being out of phase. > White: “I use the Little Microshift in pretty much every mix, with the left-right micro pitch-shift effect that’s similar to the classic effect in the Eventide H3000 shift where you pitch one side down six cents and one side up six cents to create width. Next are a Hall Reverb aux and a Church Reverb aux, both using Waves’ RVerb, an EMT plate from Audio Ease’s Altiverb, four aux tracks with the Waves H-Delay and various other plug-ins on them as well, and four more reverb auxes with the Avid Revibe II, two Avid D-Verbs and another RVerb. > The first four aux tracks feature SoundToys effects, namely Little Microshift, two EchoBoy delays, and a delay from the Little PrimalTap. Used on 'Apeshit', as stated by producer Stuart White in this September 2018 *Sound on Sound* interview. Soundtoys audio effects bring color, character, and creativity to your digital music studio with plug-ins that merge the sound and vibe of classic analog gear with modern and musical twists. Next are a Hall Reverb aux and a Church Reverb aux. The first four aux tracks feature SoundToys effects, namely Little Microshift, two EchoBoy delays, and a delay from the Little PrimalTap. Used on 'Apeshit', as stated by producer Stuart White in this September 2018.Sound on Sound.
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