Efectos vocales 1975

Ignacio Lueiza
#1 por Ignacio Lueiza hace 3 semanas
Busco como hacer el efecto de voz que tiene este tema https://www.youtube.com/watch?v=Iyy3YOpxL2k agradesco cualquier información
OptiMuff Prime
#2 por OptiMuff Prime hace 3 semanas
Tiene una reverb enorme, con una cola larguísima y está bastante comprimida.

En algunas partes muy concretas tiene una reverb inversa.
#3 por Alligator hace 2 semanas
Hola Ignacio,
Es voz no lleva solamente una reverb, sinó que lleva dos, una corta y una larga, a parte de llevar un pequeño chorus y un delay con reverb. Además seguramente esté automatizada.
Osea, primero ecualiza la voz y comprime bastante, crea 5 envios:
1. Una reverb corta (la ecualizas cortando graves y agudos).
2. Una reverb larga (la ecualizas cortando graves y agudos).
3. Un delay muy muy corto para situar la voz en su espacio (más corto que un slapback).
4. Un delay tampoco muy largo combinado con una reverb media en el mismo envío.
5. Un chorus.
Sobre medidas, ms, niveles de envío, deberás ver tú los resultados combinando faders de los envíos o incluso descartando alguno de ellos.
Ya nos comentas,
#4 por Logan hace 2 semanas
Este artículo creo que responde a tu duda:


Vocals: Waves SSL Channel, CLA-76, Kramer Master Tape, V-EQ, De-esser, H-Delay & Renaissance Reverb, Cartec EQP1A, AMS DMX1580, Lexicon 480L, Sound Toys Echo Boy.

"On the lead vocal [track 53] I used again a Waves SSL Channel EQ, boosting at 10kHz and filtering everything below 48Hz, and the Waves CLA-76, set to a slow attack and fast release, just to gently catch some peaks. Outboard would have been the Cartec EQ, which has a beautiful tone to it, and a fair bit of AMS and 480L. The classic panned ±5 cent trick from the AMS gave Matty's vocal some presence and wideness and vibe. It really gave his vocals a sense of importance when I added that. You also hear a lot of that effect on his vocals in 'The City'. I probably adjusted the pre-delay on the 480 to move it slightly more to the back, so it didn't sound too reverb-y. Many of the backing vocals were combined in aux tracks below them, in this case aux 6 and aux 7. Aux 6 had the Kramer Master Tape plug-in with some slap-back echo, and the Waves V-EQ, taking out everything below 150Hz and a Waves De-esser, which is not used for de-essing but instead for taking out harshness around 2kHz. The backing vocals on tracks 61 and 62 were recorded with the Manley mic 'sizzler' chain, with that sizzly R&B tone, and that gave the choruses that extra bit of energy and lift. These tracks have the Waves CLA-76 on them, as do some other backing vocals tracks lower down. Aux 7 has the Echo Boy and the Waves SSL EQ. Track 59 has the H-Delay on it and that was going into the RVerb set to the 'Chatterverb' setting. Tracks 75 and 76 were recorded with the Copperphones. For safety I put up some other mics, but I did not use all of them. As I mentioned, Mike Spink and I will continuously try things out, and sometimes it works, and sometimes it doesn't. One of the beautiful things of this profession is that you never stop learning. You are constantly evolving and growing that box of tricks.”
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