SOUND
ADVICE
WHY I’VE EMBRACED PLUG-INS
By Jay Lefebvre
Lately, I’ve been using
plug-ins… a lot.
I’m a 41-year-old composer-producer and I
started working in recording studios right at the
end of the 1990s, slightly before the “switch” to
the new digital technologies. I’ve recorded with a
24-track Studer A827 alongside the Voyetra Gold
sequencer, linked to Roland S-760 samplers with
external SCSI drives and that was the bomb! That
lasted for a while and then DAWs allowed for digi-
tal recording. Really, it wasn’t all that great in the
beginning, but that’s a whole other story.
So, I’ve been using plug-ins the last few years
on almost everything. I mostly do analog record-
ing on mono sources (vocals, acoustic guitar, bass,
shaker, tambourine, etc.) but then after that, my
chain is plug-ins pretty much all the way.
You sometimes hear things like, “Plug-ins are
cool but nothing like the real thing.” That’s okay –
then keep using what sounds good to you; we are
all masters of our own destiny. But for myself, I find
I’m quicker and more efficient when I’m creating
and use plug-ins for my synths, my loops, my “fake”
drums, and my FX on vocals, guitars, and others.
Even when I’m mixing, I find plug-ins help the flow
and creativity – the “mix instinct” – kick in when you
need to keep going for hours. Often, I even keep
most of the settings from the “creative” sessions
because today’s reality is we’re all kind of mixing
as we go on the productions we do.
I’ve been using Waves plug-ins since the early
2000s but I was still using mostly analog preamps
and compressors to record. But then I came across
the Universal Audio stuff and bought my first
Apollo Quad Silver interface. (I think it was mid-
2012.) The Unison technology (preamp, EQ, and
compressor emulations at recording) really took
the industry by storm and changed the game.
Recalling settings on different recording sessions
by saving the preset to match the vocal chain
instantly is amazing. So, it made perfect sense to
change, switch, combine, and start merging my
systems to a more hybrid plug-in setup. I even sold
some of my analog gear (not all) that was sitting
there collecting dust.
I don’t bash on any analog gear whatsoever.
I’ve tried and I own many preamps from several
companies and find most of them fantastic. Also,
if you want to record multiple sources (drums,
string section, choir, full bands), it would be hard
to consider doing that from a home studio setup.
To me, that’s where bigger, older analog studios
56 PROFESSIONAL SOUND
with lots of preamps, microphones, and cool toys
are really the go-to place.
So, find what works best for you in your work-
flow and maximize your productions and mixes. I
think I’ve finally found what I’m looking for. Here’s
what you will always find in my sessions:
Waves: Center, C4 multiband compressor &
F6 floating-band dynamic EQ
I usually use Center on the synth, clap, and/or
acoustic guitar aux to spread the stereo factor,
and mostly to get rid of the unnecessary middle
signal to keep room for the vocals, bass, kick, and
snare. I use C4 on bass to isolate compression on
low frequencies and on vocals to contain that
mid-range. The F6 is so I can smartly automate
EQ changes in verses and choruses when the
vocal gets higher and the voice gets thinner. I can
reinsert or dip less on those low frequencies that
I might not want for the verse.
Universal Audio: Neve 1073, LA-2A, Pultec
EQP-1A, Fender 55 Tweed Deluxe & EMT-140
UA’s Unison preamp technology is fantastic. Track-
ing through a Neve 1073, a Pultec EQP-1A, and an
LA-2A compressor is golden and it works every
time! When I get tracks from the outside, I can also
sort of “reamp” and get instant results by enabling
the 1073 preamp and activating the EQ section.
Tracking with the Fender amp on clean textures,
and even some slightly dirty country riffs and leads,
is all music to my ears! Oh man, that EMT-140 on
vocals… mmm.
Soundtoys: Echoboy, Decapitator & Little
Plate
I simply cannot mix without Echoboy on a lot
of sources. Aux 1 has the Radio VOX preset to
gently spread the vocals, aux 2 is 1/4-1/8D on
the “ClassicAnalogDelay” preset, and aux 3 has
the “EdgyVocalSlap” to get that more lo-fi quick
delay on some key parts throughout the song.
I use Decapitator for some distortion on bass
or vocals, side chain, on an aux, or even directly
with a low percent of affected signal on the
track. Little Plate sounds great and I use it on
secondary parts directly on the track to put per-
spective in the mix. To me, it’s the best light CPU
usage reverb ever.
FabFilter: Pro-L2 (Limiter)
I’ve seen a few guys using this plug-in at the end of
the mastering chain. It is comprehensive, flexible,
and gives instant results. That limiter is always on
my main vocals, backing vocals, and master bus
for sure. I can adjust the input for saturation, or
simply change the output without affecting the
treatment or original sound.
Jay Lefebvre is a Quebec-based composer, producer,
and engineer who has worked with Roch Voisine,
Bastian Baker, Simple Plan, Robby Johnson, Forever
Gentlemen, Eva Avila, Andee, and many more. He
also owns the audio-video production company
Melophonix. www.melophonix.com.