Auto-Tune is the sound of popular music, from hip-hop to country to Latin pop. And when you pair it with an Apollo audio interface, you’ll get the most versatile, latency-free Auto-Tune solution in the world. So you can sound like your favorite artists anywhere you go.

Record your Vocals in Realtime

When you're tracking a live vocal, 20-30 milliseconds of latency can be annoying, and at worst, a deal breaker. Only Apollo interfaces give you nearly imperceptible sub-2ms latency thanks to its onboard DSP. Reap the rewards of low-latency tracking by putting Auto-Tune Realtime in a channel slot in Console. Prepare to be inspired.

Quick Tips for Professional Auto-Tune Sound

Know What Key you're Singing In

Setting the Key and Range correctly is crucial to getting Auto-Tune to sound like you want. To find the key of the song, ask the producer/musicians on the track, or use a piano to find the tune's root note. You can also use an app like Mixed In Key.

Get Hit-Making Sounds with Retune Speed and Flex-Tune

If you want “The Auto-Tune” sound popular in modern hip-hop and rap (Future, Migos, T-Pain), you’ll want Retune and Flex-Tune at their lowest settings.

Going for a more natural, subtle sound like Justin Bieber or Post Malone? Slow your roll – aim for a slightly higher retune speed and add a touch of Flex-Tune to loosen Auto-Tune's grip on your pitch.

Add Subtle "Humanizing" for Organic Pitch Correction

While the sound of modern music relies on heavy usage of Auto-Tune, for more natural-sounding performances, adjust the Humanize control to leave more soul and slight imperfections in the tuning.

If you want vocals that sound like today’s hits, Auto-Tune is your ticket. And recording Auto-Tune in realtime with Apollo interfaces with near-zero latency, you’ll find inspiration quicker and be more creative than tweaking settings later in the mix.

– Darrin Fox

Designed by Brad Plunkett, inventor of the wah wah pedal and long-time associate of UA founder Bill Putnam Sr., the Teletronix^® LA-3A Audio Leveler combined vintage opto-style compression with quickness, clarity, and punch thanks to its solid-state design.

Here, we uncover the origins of this studio workhorse and reveal how it differs from its iconic predecessors — the Teletronix LA-2A and UA 1176 compressors.

The Birth of Optical Compression

The Teletronix® LA-2A Leveling Amplifier revolutionized audio recording upon its release in 1958. Widely considered the greatest vocal compressor ever made, it remains a go-to by pro engineers and producers, and can be found in recording studios around the world.

The LA-2A is often referred to as the "big brother" of the LA-3A — as both units use a T4 electro-optical cell to control gain reduction.

“The LA-3A is essentially a solid-state version of the tube-driven LA-2A,” explains Will Shanks, UA Product Designer. “It has the same basic controls — Gain, Peak Reduction, and a Comp/Limit switch. But most importantly, they both use a T4 ELOP, the component responsible for converting an audio signal into an optical signal. This offers a smooth, natural compression sound."

But the LA-3A’s controls and shared electro-optical element are where its similarities with the LA-2A end, says Shanks: “Even though they both use that T4 cell, the LA-3A has a much faster attack.”

Getting Faster Compression with FETs

As audio recording technology advanced into the late 1960’s, UA founder Bill Putnam Sr.’s desire to create a modern compressor with “exceptionally fast attack” was realized with the UA 1176 Limiting Amplifier.

The 1176 was a departure from the LA-2A and other optical tube designs that came before it. With its quickness and immense flexibility, it remains a ubiquitous tool in pro studios. And its distinct sonic fingerprint, owing to its solid-state design, can be found throughout the LA-3A.

Teletronix LA-3A: The Best of Both Worlds

Released in 1969, the LA-3A borrowed from design concepts used on the 1176. Sharing many of the same components, both compressors ultimately deliver the same quick attack and musical compression.

“The LA-3A is fast and bright,” says Shanks. “It opened up uses that vintage levelers like the LA-2A were not as well-suited for — cymbals and room mics, as well as close mic’d snares, kicks, and toms.”

Along with drums and percussion, many producers enjoy the LA-3A’s midrange character, making it useful on acoustic or electric guitars and bass.

The LA-3A features a simple control panel, making it easy to find a sound quickly. And the Teletronix^®LA‑3A UAD plug-in offers added versatility — with a HF sidechain filter for use with low-frequency sources, as well as a Dry/Wet Mix control for easy parallel compression.

A unique hybrid between its tube and solid-state predecessors, the LA-3A has stood the test of time for more than 50 years. This “secret weapon" audio compressor is sure to lend punch and presence to recordings for many years to come.

Want to try the Teletronix LA-3A UAD plug-in? You can demo it for free, along with dozens more at the links below!

— McCoy Tyler

1. Auto-Tune Realtime Advanced

A must-have for the modern producer’s toolkit, Auto–Tune Realtime Advanced was perfected for Apollo audio interfaces. This revolutionary effect allows you to pitch correct vocals and other solo instruments during mixdown, or in realtime if you record with an Apollo audio interface.

2. Neve 1073 Preamp & EQ

Available Versions: UAD Spark, Apollo Realtime

First introduced in 1970, the Neve 1073 Channel Amplifier is easily the most revered preamp and EQ circuit ever designed, epitomizing the Neve sound.

The Neve^® 1073 Preamp & EQ Collection packages the flagship 1073 Preamp & EQ plug-in, plus the Legacy 1073 and 1073SE EQs.

3. Empirical Labs EL8 Distressor

The EL8 Distressor can be found in studios around the globe, and for good reason. A departure from classic compressors such as the LA-2A and 1176, the Distressor is known for its modern versatility, fast-grabbing nature, and colorful tone.

The Empirical Labs^® EL8 Distressor is consistently one of the best-selling UAD plug-ins, and the only authentic Distressor emulation endorsed by Empirical Labs.

4. API Vision Channel Strip Collection

Available Versions: UAD Native, Apollo Realtime

From Stevie Wonder and Fleetwood Mac to Radiohead, Taylor Swift, and Pharrell, API desks have added unmistakable punch and presence to hit albums for over 50 years.

The API^® Vision Channel Strip plug‑in delivers classic API sound with all the features of the original consoles, including the famed 212L preamp and 225L compressor. Plus you get switchable EQ modules for even deeper audio tweakery, if that’s your thing.

5. Manley VOXBOX Channel Strip

Made famous by Beck, Rick Rubin, U2, and more, the Manley VOXBOX is a sophisticated system of tubes and analog circuitry designed specifically for vocal processing.

The Manley^® VOXBOX Channel Strip is an authentic emulation of this premium channel strip, and features UA’s exclusive Unison^™ technology, which captures the unique preamp characteristics of the original hardware.

6. Avalon VT-737 Tube Channel Strip

Commercial hip-hop, pop, and rock artists ranging from Jay-Z and Dr. Dre to Babyface, Beyonce, and Eric Clapton have relied on the Avalon VT-737 for its consistently polished sound.

Fully endorsed by Avalon Design, the Avalon^® VT-737 Tube Channel Strip plug-in captures the full essence of this modern, hit-making tube channel strip.

7. C-Suite C-Vox Noise & Ambience Reduction

Do you record in a bedroom, garage, or rehearsal space? Certain rooms simply weren’t made to capture a masterpiece. Enter C-Vox™ Noise & Ambience Reduction.

Beyond a noise gate, C‑Vox easily reduces static room sounds in your signal, leaving you with clear, focused vocal recordings that sound as if they were captured in a professional space.

8. Ampex ATR-102 Mastering Tape Recorder

Who doesn’t love the sound of tape? Quirky analog aesthetic, colorful sonics, and rich saturation — it’s all fully captured in the Ampex^® ATR–102 Mastering Tape Recorder plug–in and LUNA Extension.

A celebrated mastering tool, this popular tape plug-in shines equally on stereo buses and instrument tracks, and adds instant warmth and cohesion to drums, keyboards, synths, guitars, bass, and more.

9. Capitol Chambers

Capitol Chambers is an emulation of the actual reverb chambers beneath the Capitol Records building in Los Angeles. This celebrated reverb plug-in sounds like 1956 in all the best ways.

10. SSL 4000 E Channel Strip Collection

Introduced in 1979, the SSL 4000 E console brought modern sound to the world, powering more Grammy-winning rock, pop, and hip-hop records than any other.

Capturing all the boldness and dynamics of the original consoles, the SSL 4000 E Channel Strip Collection puts platinum SSL sound at your fingertips.

Try Before you Buy

Do you own an Apollo interface or UAD hardware? You can demo these plug-ins and many more for free at the link below.

– McCoy Tyler

From the soulful performance to the legendary Motown sonics, Smokey Robinson & The Miracles' “The Tracks of My Tears” is a banger through and through. Here, Fab Dupont (David Crosby, Gregory Porter, Shakira) tells the story of how he and the incomparable Louis Cato — bandleader of CBS's The Late Show — re-recorded this classic track, with the goal of nailing the soulful Motown vibe at Dupont's Flux Studios in NYC.

For this track, we wanted to do a live "all-Apollo interface" session with the UA Sphere Modeling Microphones, yet try to keep it as "vintage" as possible. We used two Apollo x8p interfaces and 12 channels total, ten of which were for five Sphere microphones using two channels each, letting me tweak mic type, polar pattern, and other microphone characteristics, even after tracking.

Guitar and bass were each recorded direct like in the Motown days. I used the built-in Apollo Hi-Z inputs for that. The organ was the UA Waterfall B3 Organ plug-in via MIDI controller. Louis sang and played guitar live with the band, while tucked in our vocal booth.

The only overdubs were one pass of tambourine by Louis, and one pass of horns doubling themselves tracked from 4' away.

Legendary producer and former Motown engineer Dave Isaac (Marvin Gaye, Luther Vandross) told me that he used that technique with small horn sections back in his Motown days. It really fattens them up and adds oomph. It took five minutes and it was worth it.

Learn more about the Motown sound ›

Recording with the UA Sphere Microphone Modeling System

We had two UA Sphere DLX modeling mics on the drums — one on the kick and one for the overhead. And then one UA Sphere mic per horn, and one for the lead vocal.

We tracked everything through the Sphere BP-67 model from the Bill Putnam Mic Collection plug-in, which is an emulation of a very nice Neumann U67. That's what the musicians heard in realtime in their headphones from LUNA Recording System.

I didn't commit to the mic sound, and instead used the UA Sphere plug-in to audition different mic types and polar patterns afterward at the mixing stage.

Mixing Using the UA Sphere Microphone Plug‑In

At mixtime I chose different mic models to get as close to the original '60s vibe as possible. First, I chose the RB-77DX — based on the classic RCA ribbon mic — for the kick drum because that was what legendary Motown engineer Bob Ohlson told me they used. It got just the right amount of thud but kept that "close yet far" sound.

For the drum overhead I used the BP-67 model in figure 8. The 67 was also an Ohlson recommendation for historic accuracy.

My mic pattern choice helped keep the horns out of the drums which allowed me to push the drums to the left of the stereo field without ruining the horn sound.

I also used a little bit of the axis and proximity controls on the Sphere plug-in to push back and 'blur' the drums for a more vintage tone.

On the horns I used the BP-44 model in omni. It's the perfect mic for horns and it kept the drums out almost completely, even in omni. Omni felt better than the mic accurate figure 8, an unexpected benefit of the UA Sphere plug‑in.

The separation is pretty wild, especially since the horns were a couple of feet away from the mics and a couple of feet away from the drums themselves. I also played with proximity and off axis effects to blur everything out.

For Louis' lead vocal, I auditioned many models during the mix, but went back to the BP‑67. I liked that the figure 8 kept much of the undesirable "vocal booth sound" in check.

Adding Vintage Ambience with Hitsville Reverb Chambers

I set up a single Hitsville Reverb Chambers plug‑in on a send for the entire track. Everything goes to it except the bass.

I used the plug‑in's default preset, but I pushed the virtual mics back and darkened it a bit with the built‑in controls. The Hitsville Chamber basically makes the track. It's fun to mute that single reverb return and hear the whole mix fall apart.

Polishing the Final Mix with UAD Plug-Ins

Everything was tracked and mixed using LUNA Recording System. I used almost no post-recording processing, except for the mic modeling plugs on the Sphere LX and DLX mics.

I did use the Ampex^® ATR-102 Mastering Tape Recorder plug-in on every track to get the tape tone. Without it, the tracks did not feel quite right.

I also used a Studer A800 Tape Recorder plug-in on the lead vocal instead of the Ampex ATR — it helped differentiate it from the instrumental track more.

The only tracks with EQ are the lead vocal, where I used the Hitsville EQ Collection plug-in to pull 1db @ 800Hz and the master bus where I pulled 1dB @ 50Hz and 320Hz. That's it.

For compression, I used a UAD Fairchild 660 on the guitar and also on the horn group to further mellow out and tame those two elements.

There is also a Fairchild^® 670 compressor on the vocal and on the master for actual leveling purposes and a little bit of period accurate tone.

After listening to some reference tracks from Motown sessions of that era, I realized our version was still a little on the clean side. So I added the UA 610-A Tube Preamp & EQ plug-in to the master bus to dirty things up with some transformer and tube grit.

The only true departure from the vintage spirit is the Precision Limiter plug-in because, you know, it's 2023 and I had to bring the level up a bit!

— Fab Dupont

Song Credits:

• Recorded and mixed by Fab Dupont
• Arrangement by Louis Cato
• Mastered by Paul Blakemore

The Band:

• Louis Cato: Vocals & Guitar
• Joe Saylor: Drums
• Fima Ephron: Bass
• James Casey: Tenor Sax
• Alphonso Horne: Trumpet
• Corey Bernhard: Organ

When you buy an audio interface to record vocals, it might take a day or two to get connected and familiarize yourself with the knobs, meters, and functions. But once you’ve finally plugged in your microphone and started to hear audio through your DAW, it’s time to record.

To give your vocals the best sound, you’ll want to use plug-ins. We spoke with Universal Audio product expert Drew Mazurek to discuss the best UAD plug-ins to buy when building your first vocal chain, and how to use them to get professional recordings.

Best Plug-Ins for Vocals

UAD plug-ins are authentic emulations of the same analog gear used on decades of legendary albums. Just like pro producers and engineers, you can add these effects to your vocals to get more professional sound instantly.

Using channel strip plug-ins from classic brands like Neve,® API,® and SSL® is a great starting point when building out your first vocal chain.

“The Neve 1073 Preamp & EQ is amazing,” says Drew Mazurek, UA Product Specialist. “It’s one of the most popular UAD plug-ins, and is used by pro engineers to add color and shape recordings with its EQ and filter.”

There are two basic approaches that you can take with a channel strip such as the 1073. You can either add this type of plug-in to your track while you record, or afterward while you mix.

“Pro engineers almost always track with some basic processing,” he says. “And why not? You’ve only got so many opportunities to ‘touch’ your signal, and this is an important stage in the recording process.”

Watch Quick Tips with Neve 1073

How to Use Channel Strips

Begin by loading the Neve 1073 plug-in onto a track in your DAW. With your mic plugged in, adjust the preamp gain using the red knob and try to find a sweet spot that’s not too saturated.

“With the 1073, you have options when dialing in your gain,” says Mazurek, “To get that iconic Neve color, you can drive up the gain knob for saturation. For a cleaner sound, you can start with a lower gain setting, but apply more output gain. To avoid clipping, always be aware of the setting on your Output knob.”

After dialing in your gain, you can now apply a high pass filter to eliminate low-end and rumble. Depending on your vocal range, try both the 80 Hz and 160 Hz settings. This shouldn’t affect the sound of your vocal, but you should notice more clarity and focus with this setting engaged.

The 1073 is a semi-parametric EQ, meaning it allows you to cut or boost at pre-selected frequency bands. Mazurek explains: “The frequency selections on the 1073 were chosen by Rupert Neve himself, so take advantage of his guidance! 700 Hz is that honky midrange for vocals, and I almost always cut a few dBs in this range.”

Next, you can experiment with adding ‘sheen’ with the high shelf or ‘heft’ with the low shelf. “These last two options are situational,” he says. “For example, many mics will brighten up when you apply a cut at 700 Hz, so you won’t need more top end, while some signals need a lift in the bottom after you’ve applied a high pass filter.”

How to Use Compression

Compressors help keep your vocal at the front of the mix, and not get lost behind other instruments. They can be placed anywhere in your vocal chain, but engineers often prefer to use them in a specific spot.

“For me, compression always comes after EQ,” says Mazurek. “I want the compressor to react to my tonal adjustments. For example: I may be filtering out bottom end, and if the compressor were before the EQ, it would apply gain reduction when I didn’t want it to.”

“The UA 1176 Classic Limiter has loads of character,” says Mazurek, “It’s perfect for that fast, aggressive compression that makes vocals pop out of a mix.”

To hear the full character of this classic compressor, start with the default settings. Then, try turning the Attack knob fully counterclockwise and the Release knob fully clockwise. “These settings make the compressor grab fairly quickly, but also let go quickly,” he says.

Ratio represents the ‘amount’ of compression applied to the signal, and is expressed in decibels. Leave the Ratio at 4:1, but experiment with other settings, including the infamous ‘all buttons in’ mode for gritty textures.

Watch Quick Tips with 1176

The 1176 is a fixed threshold compressor, meaning you cannot control the point at which the compressor starts working.

Mazurek explains: “With the 1176, you rely on the Input knob to ‘push’ your signal into compression. To get a more compressed sound, simply turn up the Input knob. This means that you will have to adjust the Output knob simultaneously to maintain proper gain staging.

“Always sing as you make these adjustments, so that you arrive at the proper record levels. About half to two thirds of the way up on the track meter is plenty. And now you’re finally ready to hit record! Whew…”

For further reading, be sure to check out these related articles: Top UAD Vocal Chains, How to Use Plug-Ins on Vocals, How to Record Vocals, How to Record with Apollo, Audio Compression Basics, Best Compressor Plug-Ins

Detroit’s Motown Museum gave Universal Audio exclusive access to the attic reverb chambers in the legendary recording studio at Hitsville U.S.A. Here, we discuss the origins of these hallowed spaces and reveal the story of how the chambers, unused for 50 years, came to life as a UAD plug-in with Hitsville Reverb Chambers.

Two converted houses at 2644 and 2648 W. Grand Blvd. in Detroit, Michigan once served as Hitsville U.S.A., the now legendary recording complex where Berry Gordy and Motown’s hit-making team of engineers and artists captured recordings that would shape the landscape of popular music.

Hitsville was both a recording studio and the headquarters of Motown Record Corporation, considered one of the most influential independent labels in America, producing hits for Marvin Gaye, Stevie Wonder, The Supremes, and many more.

While Hitsville’s Studio A eventually closed its doors in 1972 — in favor of more modern facilities in Detroit, eventually fully relocating to Los Angeles — its lasting influence on Soul and R&B music had much to credit to the reverb chambers located in the studio’s attics. The unique character of these spaces has become a touchstone of the Motown Sound.

Today, Hitsville U.S.A. operates as the Motown Museum, preserving all aspects of Motown's early history. Incredibly, the recording studio and its two legendary attic chambers are still intact. Universal Audio’s Hitsville Reverb Chambers plug-in brings the chambers to life once again, capturing four of the most popular configurations and mic setups heard on Motown’s first wave of legendary recordings.

The History of Reverb Chambers

Popularized in the 1940’s by UA founder Bill Putnam Sr., adding natural room reverb involves feeding an audio signal to speakers in a room specially designed to create reverberation. That sound is then re-captured with microphones and sent back to a mixer where it is blended with the original signal.

Hitsville’s earliest use of reverb involved the studio’s bathroom, an obvious inconvenience as Motown's business expanded. Eventually, both Hitsville attics would be converted into dedicated chambers.

Deep Dive & Research

To start, we had little information about how the chambers were originally used. The equipment was long gone, and there were no pictures of the setups for reference. On our first visit, we examined the chambers, took reference photographs, and recorded some balloon pops to begin understanding the decay time and the general character of the space.

After extensive research and interviews with original Hitsville audio engineers Bob Ohlsson, Ken Sands, and Russ Terrana, we were able to get a rough understanding of the mic and speaker configurations.

This research led us to Mike McLean, Hitsville’s chief technical engineer, who generously shared his recollections.

We learned that Mike’s technical engineer, John Windt, was responsible for setting up and maintaining the chambers — his work was essential to their sound and crucial to getting the sound right for the Hitsville Chambers plug‑in.

Assembling the Vintage Gear

Over the years, Motown’s engineers explored different microphone and speaker combinations, as well as different mic placements in the chamber. To capture the most important eras of Motown’s reverb, we landed on four configurations, and sourced the original gear they used to achieve the sounds.

From rare Bozak, Bose, and Altec speakers, to indestructible JBL “foghorn” drivers and Electro-Voice tweeters, not to mention dozens of vintage mics — it took us over a year to find everything. We verified the equipment as historically correct, then tested and serviced it before beginning our work.

Recreating Two Legendary Reverbs

Chamber 1 / 2648

Built by Berry Gordy’s father “Pop” Gordy, 2648 was the first chamber constructed at Hitsville. It was fashioned without technical knowledge, and the construction was guided largely by the limits of the attic space itself.

Deemed an “echo chamber” by Hitsville staff due to its parallel surfaces and flutter, the space is still rich and reverberant, with natural presence and a bright decay.

The unusual setup used in this room, with drivers and mics pointing directly at the corners, offers a sound that is unmistakably “Motown”. The chamber has no exterior isolation other than the attic itself, and so it was not uncommon to hear the 2648 chamber in the surrounding neighborhood.

Chamber 2 / 2644

Designed by Motown engineer Mike McLean, this chamber offers a near textbook-perfect reverb. “We built a much more sophisticated chamber with non-parallel surfaces,” says McLean. “It was thicker, with harder walls, and beautifully polished and varnished plaster.”

Initially, the chamber in 2644 was in a constant state of change, as the engineers tried to replicate the sound of the beloved 2648 chamber. For a time, it was equipped with multiple microphone and speaker options, but eventually the staff settled on a simple setup that emphasized the natural reverb of the chamber.

Nights At The Museum

We spent our first few hours setting up a control room and lab benches. We ran speaker cables and snakes to both chambers and staged the equipment carefully, guided by John's expertise. With an incredible memory of the setups, he knew exactly where to place each piece of gear.

During our test recordings, we discovered that the 2648 chamber offered little isolation from the outside world. We drywalled and sealed off the front attic windows and stuffed insulation in crevices. By sealing off the street-facing door with spray foam, we finally achieved acceptable isolation for our recordings, with the exception of the occasional car horn, alarm, or loud motorcycle.

The 2644 chamber had superior construction, and thus fewer issues with ambient noise. And we discovered that the bustling energy from the city began to fade around 10 PM, so this is when we made most of our final recordings.

After running gain sweeps, we loaded the multitrack of “Ain't No Mountain High Enough,” and started playback with Marvin and Tammi's solo vocals. The team was moved to tears when we heard the chamber come to life again for the first time in over 50 years, sounding just as it did on the record, with the same engineer who oversaw the original setup.

Preserving History for the Next Generation

Recreating the magic in the attic chambers above Hitsville U.S.A. was pure joy for the Universal Audio team. We leveraged all of our experience in capturing world-class plug-in emulations, guided by the expertise of the original Motown engineers who designed the spaces.

Along with these chambers, we have recreated even more of the custom gear used on Motown’s legendary recordings. Be sure to explore Hitsville EQ Collection, Fairchild Tube Limiter Collection, Pultec EQ Collection, and EMT 140 Plate Reverb, all of which are available to demo for free at the link below.

Explore UAD Plug-Ins

There are no rules when it comes to building a plug-in chain for lead vocals. But using certain combinations of effects can get you great sound quickly. We enlisted award-winning producers to share the vocal chains used by some of the world’s biggest artists.

Looking for the best vocal chain for any style? Scroll down where we reveal the two best UAD plug-ins to buy when building your first vocal chain.

What is a Plug‑In Chain?

A plug‑in chain is any combination of software effects added to a track in your DAW to achieve new sounds.

In a recording studio, producers typically add multiple plug-ins and analog processors to tracks, depending on the genre and desired sound. For example: adding a preamp, compressor, and EQ is a classic combination for lead vocals.

Why UAD Vocal Chains Give You Pro Sound

UAD plug‑ins are authentic emulations of the same gear used on the greatest albums ever made. Just like the pros, you can add these effects to your vocals to get recordings that sound more professional. Learn more ›

Plug-In Chains for Rap Vocals

Rap vocals can be dry or heavily affected. Whether you're going for old school, in-your-face vocals like Nas or Kendrick Lamar, or a more spacious and modern sound like Drake or Travis Scott, here’s what top producers use to get it done.

1176 Classic Limiter › API 500 Series EQ › Sonnox Oxford Inflator › Auto-Tune

“For vocals, the 1176 compressor is a go-to. It adds attack, roundness, and warmth that immediately makes my job easier. I also use the API 500 Series EQ and Sonnox Oxford Inflator to push vocals through the mix with brightness and volume.”

Read our entire interview with Louis Bell to learn how he produced chart-topping hits for Post Malone.

Read the Interview

Neve 1073 › Tube-Tech CL 1B MkII

“The UA Neve 1073 gives my vocals the same warmth as the vintage hardware, while the Tube-Tech compressor gives me that ‘in-your-face’ presence that we all know and love.”

Watch a Hip-Hop and R&B mixing masterclass with Anthony Cruz.

Watch Anthony Cruz Mix

Neve 1073 › Pultec Passive EQ › Fairchild Tube Limiter

“A typical vocal chain would look like this: Neve 1073, then a Pultec EQP-1A or FabFilter EQ. For compressors, a Bluestripe 1176 or Fairchild 660.

“I used the SPL Vitalizer MK2‑T on a lot of the pitched vocals on Igor, and it even found its way onto the grand piano sounds, which needed a little enhancement and richness. For saturation and harmonic distortion, I love the Thermionic Culture Vulture.”

Read our entire interview with Vic Wainstein to learn more about his mixing strategies.

Read the Interview

Plug-In Chains for Rock Vocals

Since they often have to compete with guitars, rock vocals tend to be heavily compressed, less bright, and feature fewer added effects like reverb and delay.

When deciding which plug-in order to use in your rock vocal chain, here are a few go-to combinations used by the pros.

Precision De-Esser › Neve 1084 › Fairchild Tube Limiter › Massenburg Parametric EQ

“I always start with a de-esser, even if the singer doesn’t need it. From there the Neve 1084 is my jam for EQ and grit. I crank the gain knob to get it barely clipping, then hi-pass around 50-80 Hz and add a little top end at 10-12 kHz.

“Then I use the Fairchild with a fast release time, and the Massenberg for a little extra EQ if needed.”

We sat down with Butch to discuss how he produced Green Day’s Father of All Motherfuckers.

1176 Classic Limiter › Neve 1073 › AMS RMX16 Digital Reverb

“The UA 1176 brings all of the qualities I want in a vocal to the front. Then I follow that with the Neve 1073, which is essential to my records.

“Finding the perfect reverb plug-in has always been key to getting a successful mix for the band. The AMS Digital Reverb really gives vocals that spacey, textured reverb sound.”

API 500 Series EQ › Precision De-Esser › Fairchild Tube Limiter › EMT 140 Reverb

“I use either the API 560 EQ or UA Harrison 32C for tonal shaping. Then a Fabfilter Pro-Q for additional fine tuning, a hardware insert of a Highland Dynamics BG2 compressor, and then the Precision De-Esser.

“Sometimes, I’ll add a Fairchild 660 on the end of the chain with a high threshold for a bit more control. Even with a lot of hardware at our disposal, I used the UA EMT 140 for a majority of the songs.”

Plug-In Chains for Pop Vocals

Lead pop vocals are bright and forward in the mix, often with heavier use of pitch correction, compression, and modulation.

To get the sound of female vocalists like Beyoncé and Ariana Grande or male pop-stars like Chris Martin, Justin Beiber, and Ed Sheeran, you’ll typically need a larger plug-in chain with multiple types of effects.

Here’s what the world’s biggest pop producers use to achieve that platinum sound.

Fairchild Tube Limiter › Ampex ATR-102 › Capitol Chambers

“For the song ‘Just Look Up’ I wanted Ariana’s vocal to sound very close, natural, and 3D. My recording chain looked like this: Telefunken 251 mic into a Neve 1073 and Tube-Tech CL 1B.

“On the mix, our vocal chain included a Fairchild 670 for compression and a multi-band compressor for control. The Ampex ATR-102 gave that extra bit of smoothness and body, and for effects I used the EMT 140, Capitol Chambers, Echoplex, or Eventide H910.”

Precision De-Esser › 1176 Classic Limiter › Teletronix LA-2A Collection › Korg SDD-3000 Delay

“I generally use two de-essers. It allows me to tailor the compression and tame harsh sounds without giving the artist a lisp. I also use two compressors, often with a fast release on the 1176 into an LA-2A. I love that combination. The Korg adds a gritty 1/4 note delay that sits in the background.”

UA 175B & 176 Compressor › Ampex ATR-102 Tape Recorder › Lexicon 224 Digital Reverb Delay

“When I mix vocals, my primary compressor is either a UA 175B & 176 or an 1176, sometimes both! The 175/176 gives vocals presence and fullness.

“For effects, I always run a bit of slap from the ATR-102, and then either the Lexicon 224, or the Pure Plate Reverb for more depth.”

Best Vocal Chain for Any Genre

Curious which UAD plug-ins to buy when building your first vocal chain? Here, Universal Audio product specialist Drew Mazurek breaks down two plug‑ins you can use to get great sound in any genre.

Neve 1073 › 1176 Classic Limiter

“The Neve 1073 is amazing. It’s one of the most popular UAD plug-ins and is used by many engineers to impart analog color and shape recordings with its EQ and filter.

“The 1176 is a ubiquitous solid-state compressor that has been used on thousands of hit recordings. It has tons of character, and when used correctly, can push your vocal to the front and center of the mix.”

For further reading, be sure to check out these related articles: How to Build a Vocal Chain, How to Use Plug-Ins on Vocals, How to Record Vocals

— McCoy Tyler, Ezra Meijer Barnett

When you buy an Apollo audio interface, you get an included UAD plug-in bundle that gives you authentic emulations of the greatest analog recording equipment ever made.

Here, award-winning producer/engineer Fab Dupont (Jennifer Lopez, Mark Ronson) breaks down the best plug-ins included with Apollo and gives you tips for using them to get professional sound.

Vintage Sound For Modern Workflows

Apollo’s onboard DSP offloads plug-in processing from your computer, meaning you can use your included UAD plug-ins with no discernable latency to get inspiring sound while you record, or apply them afterward while you mix.

This realtime UAD processing is what makes your Apollo’s included plug-in bundle so powerful. Plus, unlike the plug-ins included with your DAW, UAD plug-ins are authentic emulations of real analog hardware — the same gear used on some of the greatest recordings ever made.

What makes Apollo’s included plug‑ins different

Teletronix^® LA‑2A Legacy

One of the most revered audio compressors of all time, the LA-2A has been used by everyone from Frank Sinatra and Aretha Franklin to Kurt Cobain, Drake, and Jack Johnson. The Legacy UAD version is the best plug‑in included with Apollo for pushing vocals through the mix with vintage character, as demonstrated here by Fab Dupont.

Beyond vocals, the Teletronix LA-2A Legacy plug-in can add classic analog warmth to any other source. You can use it to balance an acoustic guitar, level out keyboards and synths, or punch up a horn section. And with just two knobs, it’s one of the simplest plug-ins included with Apollo.

“The LA-2A has two main controls,” explains Dupont, “When you apply it to a track, you can choose how much compression you want with the Peak Reduction knob, then compensate for any volume loss with the Gain knob.”

Learn More: Audio Compression Basics

UA 610B Tube Preamp & EQ

Introduced in the late 1950’s, the 610 was the first modular recording console, meaning it could be customized and modified to accommodate different preamps, EQs, and channel strips. The 610’s highly-coveted tube preamp has been used to record everyone from the Beach Boys and Neil Young to Coldplay and Arcade Fire.

The 610B plug-in utilizes Apollo’s Unison™ Technology, allowing you to harness all the unique tone and gain stage “sweet spots” of the original circuit — resulting in beautiful analog warmth and saturation as you drive up the gain knob.

Learn More: How to Set up Unison Technology

Pultec EQP‑1A Legacy

Used by the producers of John Mayer, Daft Punk, Mariah Carey, and many more, the Pultec EQP-1A is the choice in pro studios around the world for broadstroke EQ moves. It’s perfect on bass, synth, drums, or the mix bus, and is notorious for lending focused thump with just a few knobs.

Watch Fab Dupont break down one of his favorite uses for the UAD Pultec EQP-1A plug-in:

Here are a few more pro tips from Fab on getting the most from your Pultec EQ plug‑in:

Add vintage tube sound: “I use the UAD Pultec not just for EQ, but also for the sound of the transformers and tubes. They create a definite shine and soften the transients.”

Get fat bass: “It’s particularly useful on bass drum, acoustic or electronic, where I find the 20Hz band to be a killer fattener.”

Use it with other EQs: “Pultecs are not for getting rid of annoying frequencies. On a vocal, I’ll use a clean EQ to get rid of issues and then add a Pultec to sweeten the sound.”

Go Deeper with your Included Plug‑Ins

When used on their own, the three best plug-ins included with Apollo can make vocals and instruments sound more exciting and album-ready. But when you combine them, you can explore a multitude of new sounds.

“When you build a ‘chain’ you are effectively combining plug-ins in different orders and combinations to achieve new sounds,” says Dupont.

“For example, adding the UA 610B, LA-2A, and Pultec to a vocal is a classic combination. Engineers in our studio will often set up an Apollo and track with this very plug-in chain, even though we have the hardware equivalents in the rack next door.

“It’s easier, faster, and more consistent to work with UAD plug-ins over the original hardware during long sessions. It’s a one click preset recall and we’re making music instantly.”

For further reading, be sure to check out these related articles: How to Record with Apollo, How to Record Vocals, How to Set up Unison Technology.

Looking to add even more analog sound to your collection? Browse our entire library, featuring over 100 UAD plug‑ins and instruments.

- Fab Dupont, McCoy Tyler

Nailing your vocal production can mean the difference between your song becoming a hit or getting skipped. Here, we’ll show you how to mix vocals with UAD plug-ins and get playlist-worthy recordings that pop out of the speakers.

Looking for the best vocal plug-ins for any genre? Scroll all the way down where we reveal our five top-selling vocal plug-ins and the best UAD vocal chains under $500.

Prep for Pro Sound

Using proper equipment and techniques is the first step to getting vocals that sound professional. These are our three tips for capturing clean recordings that will get you the best results when applying plug-ins while you mix:

Use acoustic treatment. Before you set up to record, do a quick check of your room. Place area rugs and hang blankets over hard surfaces to reduce background sounds while tracking.

Choose the right mic. Large diaphragm condenser mics provide a wider frequency response than dynamic or ribbon mics. They are the preferred choice for recording vocals in an isolated environment.

Leave headroom. While recording, peaks as high as -6 dB are acceptable, but aim for signal peaks between -18 and -12 dB so you have plenty of headroom for gain staging.

Use Clean EQs & Filters First

Once you have the best performance and recording possible, you may find there is still needed clean up work.

The goal of subtractive EQ is to remove any muddy, boxy, or harsh frequencies that may be present in your recording. It’s best to address these problems first, as any additive EQ or tone shaping at this point can make these issues more pronounced.

Apply a graphic EQ such as the Massenburg^® MDWEQ5 Parametric EQ and add a low pass filter to cut out rumble. Then, experiment with notching out offending frequencies. Cut 200-300 Hz to reduce boom, 500 Hz to reduce boxiness, and 3-4k to eliminate harshness in a vocal.

If your vocal is suffering from unwanted room noise, specialty plug-ins like the C-Vox™ Noise & Ambience Reduction adaptively attenuate offending ambience, without the guesswork that comes with using an EQ.

Add Auto-Tune to Correct Pitch

Pitch correcting vocals has become standard practice in modern music production. Antares Auto-Tune Realtime Advanced will give you accurate, pitch-perfect vocals while mixing, or while you record live using an Apollo audio interface with built-in Realtime UAD Processing.

Watch: Recording Vocals with Auto-Tune

How to Use Auto-Tune

First set the key to match your song. Then adjust the retune speed until you achieve the desired effect. While some genres call for a fast retune speed, making the effect more obvious, a slower speed will guide your vocal into tune without sounding over-processed.

What’s the Deal with De-Essing?

De-esser plug-ins attenuate sibilance caused by sharp consonants. If your vocal recordings have distracting lisp sounds or general high-end issues, plug-ins such as the Precision De-Esser are the easy fix. They also allow you to add additional top-end to your vocal later in the mix, without sounding harsh.

Learn the Secrets of Compression

Compressors help keep your vocal at a constant level, ensuring that it sits front and center in your mix and doesn’t get lost behind other instruments. Some compressors also add harmonic content, giving your recordings added vibe and tone.

The 1176 Classic Limiter and Teletronix^® LA-2A are two of the most popular compressors for vocals, and they are often used in tandem.

With its fast attack and release, the 1176 is ideal for controlling peaks. The LA-2A can be added afterward to bring up the body of the vocal and inject classic tube warmth.

With any compressor, begin by experimenting with the threshold setting until you hear a noticeable reduction in gain. Different music styles call for different settings, but typically 3 to 6 dB of gain reduction is enough to hear a compressor working.

Output gain is used to make up for the attenuation achieved by the compressor. Once you’ve dialed in the right amount of compression, try to apply enough output gain so your vocal sits at the same level as the original recording.

Learn More: Audio Compression Basics

Boost & Enhance with Additive EQ

Additive EQ is used to boost frequencies and help your vocal shine through the mix. For this type of processing, you’ll commonly reach for an analog emulation, which lends vintage warmth even at extreme settings.

The Pultec Passive EQ plug-in is an emulation of a legendary tube equalizer, and is an excellent choice for bringing out the top-end in a vocal without adding harshness.

Watch: Mixing Vocals with the Pultec EQP-1A

Use Gain for Richness & Harmonics

Saturation plug-ins such as the Thermionic Culture Vulture add harmonics and texture. This is useful for vocals lacking tone and character.

With this type of plug-in, you typically dial in your gain and then utilize the mix knob to blend the saturated signal with the dry signal. For subtle harmonics, you may use just a touch of the wet signal. For more aggressive distortion, simply increase the mix knob.

Finish Off Your Track with Reverb & Delay

Reverb, delay, and modulation plug-ins add space and dimension. One of the most enjoyable steps in the mixing process, adding these types of effects can put the finishing touch on your recordings.

Unlike compression and EQ, which are commonly applied directly on a track insert, reverbs and delays are typically processed via a bus. This allows you to blend the effect in with your dry vocal.

Reverb can make your vocal sound larger than life. When using plug-ins like Pure Plate Reverb, try adjusting the decay and pre-delay time until your vocal sits naturally with other elements of your song.

Delays like the Galaxy Tape Echo add extra movement and rhythm. Adjust the rate and feedback controls to get your vocal to sit nicely with the rhythm of the song. For a more precise sound, experiment with quarter and eighth note settings to further align with the song’s tempo.

Modulation effects add texture and width. Add a plug-in like the Studio D Chorus to a bus for subtle movement, or apply it directly on a background vocal to push it back in the mix.

Watch: Mix Tips with Galaxy Tape Echo

Build a Vocal Plug-In Chain for any Genre

If you’ve made it this far, you may be curious about the best UAD plug-ins for building your vocal chain. While there are no hard and fast rules, using these effects is a great starting point for getting pro sound in any genre.

Five Top-Selling UAD Vocal Plug-Ins

1. Antares Auto-Tune Realtime Advanced
2. Teletronix LA-2A Leveler Collection
3. Manley VOXBOX Channel Strip
4. Neve 1073 Preamp & EQ
5. Lexicon 224 Digital Reverb

Best UAD Vocal Chains Under $500

Modern: SSL 4000E Channel Strip > C-Vox Noise & Ambience Reduction > Sonnox Oxford Suppressor

Vintage: Neve 1084 Preamp & EQ > 1176 Classic Limiter > Precision De-Esser

For further reading, be sure to check out these related articles: How to Record Hip-Hop Vocals, How to Record Vocals, How to Record with Apollo Interfaces

Compressors are one of the most essential tools for music producers and engineers. They reduce the dynamic range of audio signals — making quieter parts louder and louder parts quieter — while adding punch, fullness, and that “radio ready” quality to your mixes.

There are so many great plug‑ins available, but we just want the best compressor for our needs, right? This is our round up of the top three compressors for each mix element, with insight from award‑winning producers and engineers.

Vocals

Teletronix^® LA‑2A

The LA‑2A is a revered optical compressor, and a go‑to choice for vocals. Famous for its slow attack and gentle tube warmth, few compressors can set the mood of a vocal like the LA‑2A.

The Teletronix LA‑2A Classic Leveler Collection packs authentic emulations of three versions of the original hardware. Here's what producer/engineer Ariel Borujow (Mac Miller, Chromeo) has to say about it — “The UAD LA‑2A plug‑in has become my go-to compressor for lead vocals.”

Manley^® VOXBOX

You may notice a theme emerge as you research the best compressors for vocals. Optical (“opto”) tube designs combine slower attack and release characteristics suitable for vocals, with overall smoothness and warmth thanks to their tube makeup gain.

The Manley VOXBOX Channel Strip plug‑in is an authentic emulation of Manley's revered tube vocal processor. Technically a channel strip, the VOXBOX packs a highly‑qualified optical compressor circuit alongside its class‑A tube preamp, EQ, and de‑esser/limiter.

Teletronix^® LA‑3A

A later iteration of the LA-2A, the Teletronix LA-3A brings added quickness, clarity, and punch. It's faster, meaning it can latch on to and compress signals quickly, driving vocals through a mix with added presence and excitement.

Here's what engineer Joe Chiccarelli (The Strokes, Morrissey) has to say about UA's take on this classic solid‑state compressor: “The Teletronix LA‑3A Classic Audio Leveler gives you smooth optical compression, but with the aggression of a transistor circuit. It's perfect for shaping rock vocals.”

Drums & Percussion

What can you say about the 1176? It’s famous, it’s fast, and it works wonders on a variety of sources. The 1176 Classic Limiter Collection packs the three most coveted versions of this iconic FET compressor, delivering bold, in‑your‑face compression with tons of character. Use it to drive‑up snares and kick drums, or get creative with the “all‑buttons‑in” mode for smashed, gritty textures.

API^® 2500 Bus Compressor

Bus compressors aren’t just for the mix bus. They can be used on stereo instruments and subgroups as well, and can “glue” tracks together while adding energy and cohesiveness to multiple signals at the same time.

When used on drums, the API 2500 Bus Compressor plug‑in delivers signature punch and clarity. It’s that “big studio” drum sound that harkens classic records from Fleetwood Mac and Prince to the Foo Fighters, Radiohead, and Beck.

Empirical Labs^® EL8 Distressor Compressor

If you're looking for a compressor that does pretty much everything, look no further than the Distressor. It's one of the most popular modern compressors, and for good reason — it can be subtle if needed, but has loads of color and character on tap.

The Empirical Labs EL8 Distressor plug‑in packs all the gritty tone and texture of the original hardware. “It’s the perfect all around compressor,” says Vance Powell. “For kick drums, I like a slow attack. This allows the transient past, and then the compression happens in the body of the kick drum.”

Guitar & Bass

UA 175B & 176 Tube Compressor

The UA 175B and 176 were the first audio compressors purpose‑built for studio recording and mixing music. The UA 175B & 176 Tube Compressor Collection is the only authentic plug-in emulation of these rare hardware units.

Known for their rich transformer‑level saturation, the 175B and 176 compressors are perfect for adding classic tube warmth to guitar and bass tracks.

dbx^® 160 Compressor / Limiter

If you're looking for a compressor with classic quirk and character, you've arrived. Whether you need to energize an electric guitar, punch up a bass, or tame an unwieldy acoustic — with just a few knobs the dbx 160 Compressor / Limiter can add snappy vintage texture to your sources.

Neve^® Dynamics Collection

In a compressor round up, we would be remiss in leaving out one of the most inimitable figures in audio. Rupert Neve's 2254 and 33609 compressors are at the heart of some of the greatest recordings ever made.

The UAD Neve Dynamics Collection packages two quintessential flavors of classic Neve compression into a plug‑in. Use the 2254/E to bolster bass tracks with signature Neve fatness. Or try the 33609/C on a subgroup to bring energy and glue multiple guitar parts together.

“When you want to instantly add '70s-style color and size, use the UAD Neve 2254E,” says Dave Isaac (Bruno Mars, Whitney Houston). “It's the classic recipe for vibe, especially on vocals and bass!”

Watch: Neve Dynamics Sound Examples

Ready to Learn More?

Check out these links for further reading:

• Audio Compression Basics
• Tube Versus Solid–State Compression
• Tips & Tricks: UA 1176 Collection

Try Before you Buy

Own an Apollo interface or UAD hardware? You can demo these plug‑ins and more free for 14 days.