Re: Butch Vig Vocals Crack 16
Macabeo Eastman
Just looking for suggestions to maximize these resources. I have recorded vocals without these types of plugins, creating my own eq, compression etc etc but they really help for a DIYer such as myself.
With Vig renowned for his upfront production and edgy vocal sound, its not surprising that BVV incorporates saturation as one of its four core processes, the other three being filtering, EQ and dynamics. Notable by their absence are additive effects like reverb and delay, and any form of doubling - clearly, BVV's thrust is on tidying up, colouring and focussing vocals in order to sit them in the mix as easily as possible.
Studies indicate that individuals preferring masculinity/femininity in one domain also prefer it in other domains. Heterosexual men and women and gay men have reported consistent preferences for masculinity/femininity across the faces and voices of their preferred sex. This study explored the femininity preferences of 417 Chinese lesbian and bisexual women in terms of face, voice pitch, vocal tract length, and personality traits and explored the effect of sexual self-labels (femme, butch, and androgyne) on these preferences. We found that lesbian and bisexual women showed a stronger preference for feminized faces, voice pitch, vocal tract length, and personality traits than masculinized versions, and these preferences were highly consistent across the four domains. Moreover, femininity preference was moderated by sexual self-labels, with butches preferring more feminine voice pitch, vocal tract length, and personality traits than femmes and androgynes. However, no significant difference was found for facial femininity preferences among different sexual self-labels. These findings present evidence of consistent femininity preference across visual, auditory, and personality traits and suggest that, regardless of sexual orientation, multiple cues may be used together when determining the attractiveness of individuals. Furthermore, these results support the hypothesis that the partner preference of lesbian and bisexual women mirrors that of heterosexual men.
Back in the 90s Butch began to take these kind of questions. Butch said Gregg did his own overdub on Midnight Rider but Berry sang it live. So that should be Berry on the Duane Allman anthology vol. 2. Butch confirmed what Dickey once said about Revival. The backing vocals on that is Duane, Gregg, Dickey, Berry, Butch and Jaimoe. And the same on the first album for the chant on Black Hearted Woman with Berry Oakley laughing at the end of the chant. But a fan pushed back on Butch's memory and said her friend Joe Dan Petty always claimed that was him and the Roadies recorded that chant with the band. I asked Red Dog who said the Roadies we're recorded but they used the version with just band members so that would make Butch correct?? Butch also said that is him (Butch) laughing at the fade of Pony Boy on Brothers and Sisters. Gregg and Chuck sing backing on Ramblin' Man. Butch didn't know who is talking at the fade of Blue Sky but it sounded like Gregg who did backing vocals. Duane does all the talking on At Fillmore East except after Stormy Monday. That is Berry Oakley. Hope that clears up some of these musings.
Regarding backing vocals on Black Hearted Woman: years ago when Kirk West arranged for back stage passes for those subscribing to Hittin' the Note, I had a chance to go backstage at Pine Knob in Clarkston, Michigan. I nervously thought of a question I could ask that would show I was not your average fan, I was a deep down died in the wool fan from 1969. So I asked Greg: who was doing that Jungle Call at the end of Black Hearted Woman? His first response was " What?" Then he laughed and said " That was all of us!."
Yes Gregg confirmed what Butch wrote when answering my question back in the 90s on the fan website then. Butch had a space on the site and he was online there often answering questions. I met Dickey and Gregg at a little night club in 1986 and Dickey's band played first and after Gregg played, the two bands merged and played an Allman Brothers set. Dickey was friendly offered me an orange and a bud. He was not happy with the club owner who advertised the show as the Allman Brothers and announced at the beginning of his set that he and Gregg were on tour together and we're playing Allman Brothers songs together in the 3rd set but Butch Trucks and Jaimoe we're not on the tour so that don't promote it as the Allman Brothers so if you feel ripped off go talk to the club owner. I told Dickey I had been following him and Gregg since 1970. And then said after years of listening to the albums, never figured out who is on backing vocals on Revival. Dickey said " I know it doesn't sound like it but that is the entire band." I said you mean Butch is singing on that? And Dickey said " yeah man. It's Duane, Gregg, Oakley, Butch, Jaimoe..all of us. I remember us gathered around the mic doing that and laughing as we were trying to sing different notes in harmony." I guess he meant tenor, bass, baritone etc. He said Oakley kept cracking up on several passes.
Still, Cobain was hesitant to even get too many vocals down on the final tape. Although most of the songs were played to perfection, the frontman wanted to have as few takes as possible on his vocals, thinking that he would get something that sounded closer to the punk sounds he heard in his head.
The defining element of the "Butch Vig Sound" is undoubtedly Vig's vocal stamp. The celebrated producer ushered in the sound of distorted vocals in a beautifully musical way, and it is this sound that the Butch Vig Vocals plugin faithfully recreates. With instantly hyped vocals that cut through the mix with an in-your-face attitude, the Waves Signature Series Butch Vig Vocals plugin gives users the opportunity to work with the sound of rock royalty.
The Waves Butch Vig Vocals Plug-In is designed for those looking for a creative approach to shaping vocals. Widely considered one of the most influential rock producers of recent decades, Butch Vig helped spawn an entirely new rock genre. From Nirvana and Smashing Pumpkins to Foo Fighters, Green Day and his own band Garbage, Butch Vig has contributed his signature sound to some of the most legendary albums of the modern rock era.
With instantly hyped vocals that cut through the mix and a sound that is dripping with character, the Waves Butch Vig Vocals now gives everyone the opportunity to work with the sound of a true rock innovator.
After touring with Butch Trucks and the Freight Train, Melody Trucks immersed herself in the increasingly rich and diverse music scene in Jacksonville, Florida. The Melody Trucks Band came together in early 2017 as she encountered each member within this extended musical family. Their individual styles and influences run the entire span of every music genre: rock, blues, jazz, funk, classical, country, thrash metal, and even world music. This has culminated in fresh and unique interpretations of iconic songs from the genre of Melody's extended family. In addition to Melody Trucks on vocals and percussion, the group includes Westbrook (slide guitar), Brady Clampitt (guitar & vocals), Isaac Corbitt (harp), Willis Gore (guitar), Shane Platten (bass & vocals), and Shaun Taunton (drums).
"My CM67se is warm, full and three dimensional. It's a go-to every time when tracking a roomier electric guitar sound that still cuts through the mix. It's also served me well on vocals, especially for groups. It's a gorgeous sounding workhorse of a mic!"
Butch has used it on main vocals for the last few albums he has produced, including Harry Connick Jr's "That Would Be Me" and Gaslight Anthem's Brian Fallon's first solo album,"Painkillers." Butch also went for it on The Wind and the Wave, Dove and the Wolf, and Reignwolf's latest albums, keeping it up on main vocal.
Chuck Ainlay has also found the merits of the 67se. Chuck has been on to it for a time, but this year it really saw some use! Not only was it used on Lee Ann Womack's, Grammy-nominated album "The Way I'm Livin'" for the lead vocals, but also for Lady Antebellum on both Charles' and Hilary's lead vocals.
The presence of his uncles and Cuzzbros in Savannah lured him there in the mid-1970s, where he began playing and singing in River Street establishments, including O'Leary's, with his buddy, Tommy Dean. His band, Ansel, Strong & Reeves, a regular on the Molly McGuire's River Street stage, is remembered as one of the finest cover bands ever, packing out Molly's and the Lightship on Wilmington Island each time they played. His terrific vocals were complemented by the late Jay Jaybird" Hackney on bass, George Reeves on guitar, and David Gum on piano. Songwriting came naturally to Butch, and he penned some great songs.
He made friends easily and had many throughout life. He was the person old friends were glad to see and catch up with, and the musician with whom other artists wanted to play. When he cut his "Rachel" record in 1988, it appeared that he might break out of the Savannah scene and onto a larger national stage, but that didn't happen. However, it didn't stop him from continuing to play great music, deliver his songs with style and treat his fans to a rocking show. The annual Williams Family Reunion and the Thomaston- and Savannah-based CuzzFests were legendary times with Butch entertaining his family, often joined by Ansley on harmonica; Ansley's son, Patrick on guitar and vocals, Cleve on piano, and Butch's son, Keith (of Keith & Ross) on guitar and vocals. Dancing was always involved, with his two sisters as his greatest fans. Every gathering was a special blessing.
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