Damn you make me work for a living, I had to open the tracks up in PT to go and look.
the 1 till 1:20 bit - yes its a double tracked vocal panned L & R
Every vocal part is done 'real' - no comping or doubling, she's just brilliant, combine that with a perfect voice, perfect pitch and perfect memory........
It took her well under an hour to do every vocal on the track, and the total # of vocal tracks is 16.
(I'll post a track soon which has 29 vocal tracks - as soon as I have figured out how to do the grouping for a rough mix)
The reverb and delays were those that come as standard with PT.
I don't remember the settings, they were different L to R - but I printed to free up DSP, as I was using just one card.
The final thing was put through the standard compressor / expander - but only very very mildly so.
The part of the signal path that makes the biggest difference is without any question the converter. We wanted an almost hard vocal sound, so I shelved the low end of the lead, as well as the different groups of backing vocals.
Shelving was done per group of vocals, each group routed through a stereo bus, with different levels of shelving applied to each group.
This in effect took away one of the primary advantages of using a high end tube mic and pre combo .... a full extended low end.
Without the converter I would not have had the level of dynamics, seperation and clarity. In other words, I could have used an SM57 and made it sound good - because of the converter.
I think Shai is experimenting with the same one I used at the moment.
