We’ve talked recording, comping, editing… and now we’re wrapping up our vocal series with the good stuff—parallel compression, slap delays, long reverbs, throw delays, saturation, and all the FX that give your vocals that final polish.
In this episode, we break down how we set up our vocal FX chains—what plugins and routing we use, how we layer effects without cluttering the mix, and why sometimes less is more. Whether it’s slap mono or ping pong stereo, background vocal throws or a subtle vocal plate—this is the sauce that brings the whole thing to life.
We also dig into how we treat doubles, how we automate delay times, and the FX we put on a bus that nobody talks about… but should.
🎧 Plus, we answer a great listener question about how to stay objective when you’re mixing your own music—especially when the project drags on.
You’ll Learn:
How we use parallel compression and saturation without overcooking it
Our go-to delay chain: slap, long, ping-pong, and throws
Reverb choices that don’t get in the way (plate vs room vs ambient)
Where background vocals live in our mix—and why they get their own world
Smart delay automation tricks that bring life to a vocal phrase
Why we route vocals and instruments separately before the final mix bus
The “parallel wine” joke Chris couldn’t resist
Steve’s go-to EchoBoy presets (and how he automates delay time)
The magic of combining plate and ambient reverb
Using lesser takes as doubles—and why it works
How we process background vocals with width, air, and even chorus
The mystery of the smiley-face EQ on the final vocal bus
Huge thanks to S. Conway for the thoughtful question on mixing your own music. We share our personal struggles with staying objective—and what finally helped us get over the mental roadblocks of “over-listening.”
Vocal FX are about feel. Use templates, sure—but know when to break the rules. Let the vocal lead, and let the FX serve the story.
📩 Submit your question here: Form Link
We’ll answer as many as we can in upcoming shows.
