Chris Lord Alge Pack
Chris Lord-Alge on CLA Vocals: 'The most important part of any song is the vocals. The CLA Vocals plugin makes this part of mixing an absolute joy. I have taken the very best settings which I use in my everyday mixes and crafted them into this chain. It works great on all styles of singers and, best of all, they will want that sound every time!' No reviews or videos yet for Waves Chris Lord-Alge Signature Series. With an Equipboard account you can rate this item, add it to your collection, submit a review to discuss what you like and dislike about it, and associate Waves Chris Lord-Alge Signature Series to artists that use it.
'Let's see what we're going to do with the main characters in this story,' says Chris Lord-Alge at the beginning of this excerpt from his video, 'Mixing Vifolly with CLA.' By the 'main characters,' he's referring to the vocal tracks, of which there are quite a few.CLA and his assistant engineer are going through those tracks, trying to sort out what's on each one. This is a situation where he was given a session to mix that was recorded elsewhere by another engineer, so he needs to get the tracks correctly identified and configured in a way that he's comfortable with before continuing on with the mix. PROCESS THAT BUSAs you'll see in the excerpt, he will eventually route the vocal tracks through one of several sets of vocal busses (aka 'subgroups'), configured on aux tracks in Pro Tools, each with the same processing.
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The advantage to such a configuration is that you can route multiple vocal tracks through a bus and process them as a group. It's also a lot more CPU efficient than inserting all the processors on each channel individually.This screen capture from the video shows the way CLA has configured the vocal tracks in this session. You'll see the active vocal bus channels on the left and some of the myriad vocal tracks to the right.He sets up the first vocal bus up with the Waves SSL E Channel plug-in, which he'll use for its EQ section, in the first insert slot. In the next slot, he puts a Waves CLA-76 plug-in, which is an 1176 emulation that he collaborated on the development of.
After that, he inserts another of his Waves collaborations, the CLA Vocals plug-in, which features a range of vocal processing including EQ, compression, reverb, pitch effects and delay. In the final slot, he inserts a Waves L1 limiter.CLA EQs and filters the vocal busses using a Waves SSL E-Channel plug-in.He then plays verse one with the lead vocals going through the vocal bus he just created and starts tweaking the effects.
He begins by opening the SSL E Channel and boosting 9dB at 8 kHz, which is a pretty significant amount. He also sets the HPF to about 70 Hz, rolling off the unused frequency information below that point. (Note that virtually any vocal track can be treated this way with a high-pass filter, and it can help clean up your mix.)Next, he moves to the CLA-76. He sets the Input at 30, Output at 18, and the Ratio to 4:1. The Attack is at 3 and the Release at 7. Note that on an 1176 (or an 1176 emulation like this), the knobs for attack and release are backward from what's standard. Turning them counterclockwise slows down the attack and clockwise speeds it up.
In this instance, he sets a relatively slow attack and the fastest possible release. Those settings are consistent with getting an aggressive sound from the compressor, which is what CLA wants to do in this case.This shows the setting CLA likes to use on an 1176 (in this case, the Waves CLA-76 plug-in) for aggressive-sounding vocals.
DOWN AND DIRTYHe says that he suspects the vocal was recorded in a bedroom or somewhere else without any real vibe to it—and without any compression or overdrive. 'Plain Jane as can be,' is how he describes it. He wants to give it some analog characteristics to liven it up, so he chooses SoundToys Devil-Loc Deluxe, which is a distortion/saturation plug-in.He warns that it's very aggressive, so he'll only use it lightly. He draws the analogy between the Devil-Loc Deluxe and hot sauce, you just want a little, or it will burn your tongue.He then plays the same verse section with Devil-Loc Deluxe inserted on the individual vocal channel (not the bus in this case). He sets it for a subtle amount of distortion.Next, he starts experimenting with settings in the CLA Vocals plug-in, which he uses primarily to dial in a quarter-note delay.CLA uses very subtle settings on SoundToys Devi-Loc Deluxe, which he inserts on a bunch of the individual vocal tracks.He adds the Devil-Loc Deluxe to many of the other vocal tracks. He says the vocals need to have 'the most attitude possible,' and he's giving them a treatment that’s “almost like a guitar amp,” with the aggressive compressor.He sets up a second vocal bus with the same plug-in arrangement.
Then he plays the song from the top again. The lead vocals from the verse are going into the first bus 17 SSL and chorus vocals through the 18 SSL bus (the 17 and 18 correspond to the channels on CLA's hardware SSL console where those Pro Tools channels are routed to in his studio.)During playback, he adjusts the Devil-Loc Deluxe settings on various channels, tweaking levels here and there, and he briefly solos the verse vocals.
DOUBLE OR NOTHINGThere are a lot of vocal tracks. He asks his assistant to move the vocal bus channels so that they're to the left of the vocal tracks to make it easier to see what's going on. He now has four vocal busses created and highlighted. He pulls down faders here and there to listen to what's on different channels. He's trying to get a sense for what's on the tracks.CLA and his assistant suspect that one of the tracks is a duplicate, rather than a double, because when it's turned on in the mix, it makes that part get louder (which happens when you duplicate a track and add it to a mix).
To find out for sure, he asks his assistant to flip the phase on one of the suspected tracks, because if it's a duplicate, the tracks will cancel each other out when 90-degrees out of phase. Sure enough, there is silence when playback is engaged. When the phase is returned to normal, the audio returns. Any duplicates that he finds he will remove from the session.To determine if two of the vocal tracks (circled) were duplicates or doubles, CLA flips the phase on one of them while they play back, to hear if they cancel out.
In this case, they do, so he knows they’re duplicates.He's working on assigning the lead vocals to one bus and the harmonies to another. He also decides to put the harmony processing on the lead track. He explains that sometimes you have to reconfigure the routing and processing when going through the vocal tracks of a session you're given to mix.Finally, he changes the order of the plug-ins on one of the busses to match the others, with the SSL channel before the CL-76. He says he’s reordering it mostly for the 'voodoo of it,' rather than any specific benefit.
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DRIVE YOUR REVERBAs CLA showed with his use of the Devil-Loc Deluxe plug-in, adding distortion to a vocal is a good way to bring some additional vibe to it. While he inserted the distortion plug-in directly on the vocal channels, there’s also another cool way to do it—add the distortion to the reverb.The examples here feature a reverb return channel with SoundToys Decapitator inserted after the reverb.With this method, the distortion is only being applied to the reverberated portion of the signal, rather than directly to the track. It can thicken the sound of the vocal pleasingly and, if you set it subtly, it won't sound like a distorted vocal, just a fat one.Here's a good way to configure it:. Create a new auxiliary track (aka 'effects return') track, and configure a bus send to feed it. Insert the reverb you want on the aux track, and in the next insert slot, add a distortion or overdrive plug-in.
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(You can also try putting the distortion before the reverb if you prefer how that sounds instead.) Leave the distortion plug-in bypassed initially. Loop a section of the vocal, and turn up the reverb send on its track until you hear the reverb at the level you like. Activate the distortion plug-in, and starting with the drive turned all the way down, experiment with how high to bring it up to get the effect you want. Also, try adjusting the EQ settings you have on the plug-in.
You'll probably find you get better results with the low end of the distortion cut somewhat. It depends what you're going for sonically.The following audio examples demonstrate what this effect sounds like.Example 1: First you'll hear an 8-measure vocal line with just reverb (Logic's Chromaverb on a hall setting).
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It will repeat a second time with Soundtoys Decapitator inserted on the reverb return after Chromaverb, with the Drive control set to about 3 and the Mix all the way up. Notice the difference in texture when the distortion is on.
Watch CLA Recreate His SSL Workflow In The BoxChris Lord Alge is one of the most renowned mixing engineers in the world. His style can be heard on records from legendary artists such as U2, Aerosmith, Prince, Bruce Springsteen, James Brown, The Who, Green Day and dozens more.Those who study his work, know that Chris Lord-Alge is a champion of the famous SSL 4K console. 00:00:00 Welcome! I'm Chris Lord-Algeand you have entered The Twilight Zone,so the only way out of this zoneis with a final mix,and it's going to be created by me,here today at my studio, MIX L.A.,so, welcome aboard!So I'm here with PureMixand we're going to show you what we doinside of Pro Tools, Inside The Box.00:00:27 I'm in front of my console but that'sjust so I have something to lean on,and I have my monitors,and I'll be looking at my screenand working on this track.00:00:35 The track is called 'Indestructible.' It's by a duo from Dayton, Ohio,named ViFolly.00:00:42 So I've heard this song maybe.00:00:45.for 20 seconds,and I like to go into the unknownand make it happen from there.00:00:49 So here we are with 'Indestructible.' 00:00:00 So that's kind of the head spaceon those plug-ins and what they're doing.00:00:04 Now, at this point,we're trying to untangle itand trying to make senseof these faders,so that's where we're at,and now we're going to continue playing.00:00:11 Play it from the top.00:00:36 Copy that setting off to the second one.00:00:38 Now that I see what it's doing, I might bedoing too much with the delay here.00:00:54 Okay.
Ditch the EchoBoy.00:00:56 So, why do I say, 'Ditch the EchoBoy'?Because.00:01:00.since through this chainI'm already having a 1/4 note delay,why add more? Chris Lord-Alge is an American mixing engineer based in LA where he owns the studio Mix LA.His extensive use of compression earned him the name of the 'Lord of Compression'. His impressive collection of compressors were modelled by plug-in companies such as Waves Plug-ins with whom he collaborated to create his own line of plug-ins.Chris is one of the most renowned mixing engineers in the world and his style can be heard on records from legendary artists such as U2, Aerosmith, Prince, Bruce Springsteen, James Brown, The Who, Green Day and dozens more.Chris mainly mixes analog on his SSL console. Chris uses Pro Tools as a playback engine in the back of the room then focuses on what he hears, sitting at the console, patching vintage pieces of gear, making SSL EQ and compressor moves and pushes his levels through the console for great sounding results.On pureMix, you can see how Chris mixes Daughtry on his SSL, explaining every move he makes.