RecordingMag
Building a studio pedal effects rack
Creating an efficient studio pedal effects rack can significantly enhance your workflow and creative potential. By adapting the pedal board concept for studio use, you can connect all your pedals to a patch bay, allowing for any combination of effects without constant reconfiguration. Start by selecting suitable rack shelves and arranging your pedals with Velcro for easy access and stability. A dedicated multi-pedal power supply, like the Strymon Zuma, is essential for clean power distribution and expandability. Using unbalanced TS-connectors for the audio cabling ensures compatibility with both unbalanced and balanced patchbays. When connected to a balanced patchbay, the TS cable grounds the negative side of the balanced connection, effectively converting the balanced signal from your studio interface or converter into an unbalanced one for seamless signal transfer to your pedals. If the signal is already unbalanced by a reamp box, it will feed through the balanced patchbay without any issues. Proper cable management and labeling are crucial for maintaining order and ease of use. With this setup, you can effortlessly incorporate pedal effects into your mixes, adding unique textures and character to your tracks.
Output
Setting up guitar pedals for studio use
Vance Powell demonstrates his use of guitar pedals in a studio setting by employing the Radial EXTC-SA to convert line-level signals to instrument-level and back. His setup allows for seamless integration of effects pedals during recording or mixing, offering flexibility in creative sound design. Powell highlights his collection of Earthquaker pedals, particularly the Organizer, which he frequently uses to create expansive, textured effects on vocals. He also mentions the MXR Flanger/Doubler, which is easily accessible in his setup and regularly used for adding depth and modulation.
Soundtoys
Creative vocal recording with Varispeed
Jamie Lidell demonstrates using Varispeed in Avid Pro Tools to creatively manipulate the recording of backing vocals. By slowing down the track, he records vocals at a reduced speed, then returns to the original tempo to achieve unique vocal effects. This technique allows for more flexibility and interesting phrasing, as it provides additional time to experiment with vocal delivery. Jamie uses Soundtoys Little AlterBoy to adjust the formants after the recording, restoring a natural timbre to the vocals. Jamie also explores the opposite approach by speeding up the track, showcasing how different artifacts and effects can be achieved. He emphasizes the creative potential of Varispeed for crafting distinctive backing vocals, with a personal preference for slowing down the track to enhance vocal phrasing.
Mix with the Masters
Using two compressors in series on the vocal
Tom Elmhirst demonstrates using two compressors in series on rock vocals, employing a UREI 1176LN for fast, aggressive compression and a Tube-Tech CL 1B for slower, more controlled dynamics. This combination allows for maximum flexibility and control over the vocal's presence in the mix. The signal path includes a Neve 1081, which provides subtractive EQ and occasional high-end boosts, with low-end filtering at 47 Hz. The UREI 1176LN compresses quickly, achieving about 3 dB of gain reduction, while the Tube-Tech CL 1B offers a slower release, akin to a Fairchild 670 on a slower 3 release setting.