1. Microphone – Lauten Audio LS-208

I start my vocal chain with the Lauten Audio LS-208, which has quickly become my favorite microphone for just about everything — home recording, podcasting, traveling, and more.

What makes it stand out for me is how well it performs in untreated rooms. Despite not having acoustic treatment in my space, this mic still delivers a clean, professional sound. In my opinion, it outperforms the Shure SM7B, especially when considering the affordable price point, the sound quality, and the fact that it comes with a durable case and all the essential accessories.

One of my favorite features is that it offers nine different voicing modes, so I can easily tweak the sound to match the vibe of the session and what I hear in my head. That flexibility makes it incredibly versatile for different vocal styles and recording needs.

2. Preamp – ART Studio V3 – ART Studio V3

Next in my vocal chain is the ART Studio V3 preamp. This compact unit gives me a lot of flexibility with 16 different voicing presets, allowing me to shape the tone depending on the vibe I’m going for — whether it’s vocals, podcasting, or even guitar recordings.

What I love about it is how well it pairs with the LS-208, which tends to be a little quiet on gain. This preamp helps boost the signal just right, making it an ideal match. It also works great for recording guitar, so it’s a versatile tool to have in the studio.

The best part? It costs under $190, making it a solid choice for budget-conscious creators. If I had one wish, it would be for a stereo version, just to open up more possibilities. But overall, it’s a dope little unit that punches well above its weight.

 

3. Audio Interface – Focusrite Scarlett 2i2 (4th Gen)

After the preamp, I go straight into my Focusrite Scarlett 2i2 — one of the most reliable and user-friendly interfaces out there. I’m using the 4th generation, which features a real analog “Air” button. It’s not just a digital effect — it actually engages an analog circuit that adds clarity and sparkle to vocals and instruments.

One of the biggest reasons I love this interface is how plug-and-play it is. No annoying drivers, no complicated setup. I just plug it in, and I’m ready to record — which is perfect for travel and fast sessions.

It’s also super affordable, and it even comes with a bundle of useful software, which makes it great if you’re working with producers or engineers who need quick access to tools during a session.

 

4. DAW – Ableton Live

Next, I go straight into Ableton, my main DAW. I just really like the workflow — it’s fast, simple, and it just makes sense to me. I do use Pro Tools sometimes, but that’s pretty rare. I’m just way quicker with Ableton, and I love how the stock plugins sound. They actually sound amazing, and I don’t always need third-party stuff to get a clean vocal sound.

 

5. Compression – NEVE 88C + Freqport Audio 

When I record, I don’t commit compression through my analog NEVE 88C compressor — I like to have more control in post. Instead, I use one of my favorite tools, FreakInOut by Freqport Audio, which lets me turn my hardware compressor into a plugin.

Once I’ve recorded the vocals, I adjust the settings in the box. I really love the sound of the NEVE 88C — it gives me subtle saturation, which means I don’t need to use a bunch of extra saturation or EQ plugins. It also works as a limiter, so I can use it that way if needed.

What’s also amazing about FreakInOut is that it allows me to use any hardware unit in mid-side mode, which gives me a lot more flexibility during mixing. The combo of NEVE 88C + FreakInOut is one of my secret weapons.

But if you don’t have any analog compressors, no worries — you can just use your favorite plugin compressor, like an 1176 or anything else you feel comfortable with. As long as you know how to tweak the knobs and get the sound you’re after, that’s what matters. Just pick something that fits your style and workflow.

 

6. Tuning – AutoTune PRO 

Next, I go straight into Auto-Tune. I just really like how it sounds — it helps the vocals sit in the mix and adds that polished touch. Most of the time, I’m using Classic Mode, but I always adjust the settings depending on the vocalist or artist I’m working with.

It’s all about finding the sweet spot that fits the vibe and performance.

7. EQ – FabFilter Pro-Q4 or Ableton Stock EQ

Next, it’s pretty simple — I use either FabFilter Pro-Q4 or the stock EQ in Ableton Live. I usually just cut a little bit of low end, if there’s any extra rumble or build-up.

It’s mainly to make space for other instruments in the mix. Vocals don’t really need too much low-end energy, but I’m careful not to overdo it. I typically cut around 80–90 Hz, just enough to clean things up without making the vocal sound thin.

 

8. Dynamic Control – Soothe2 by Oeksound

After tuning, I usually add a touch of Soothe2 by Oeksound. I’m not going heavy with it — just a small touch to tame harsh peaks or clean up any harsh “S” sounds in the vocals.

I always make sure to blend it in using the dry/wet knob, so it doesn’t take away from the natural character of the voice. I also like to tweak the sharpness knob to fine-tune how it reacts. It’s a subtle move, but it really helps smooth out the vocal without overprocessing.

 

9. Final Touch – Waves R-Vox

As a final touch on the Lead, I throw on the classic Waves R-Vox. I mostly use it for tone shaping and to have a little extra control over the dynamics at the end of the chain.

I’m not going heavy here — just a small amount of compression, usually around 1 to 2 dB max. It helps glue everything together without squashing the vocal. Simple, clean, and effective.

 

10. Reverb/FX Send – Waves CLA Vocals

On a send track, I like to use CLA Vocals by Waves. Honestly, I was skeptical about this plugin at first, but now I use it all the time — especially because the Room setting just works.

I don’t waste time searching through reverb presets. I just throw it on the send, dial it in a bit, and it usually sounds great right away. If it works, it works — don’t overthink it, just keep it moving.

11. Stereo Width – Waves Center

On the same send after CLA Vocals, I add Center by Waves Audio. This is kind of a secret sauce — I’ve heard a bunch of engineers recommend it, and now I totally get why.

I use it to push the reverb to the sides, so the vocals feel wider, but the lead stays locked in the center. That’s exactly what I want — a wide, spacious feel without messing up the clarity of the main vocal.

Conclusion

This guide was made purely for educational purposes — I just wanted to show you a bit of my workflow. Feel free to take notes, try out anything that stands out to you, and adapt it to your own setup.

Of course, every vocal and every artist is different, so this isn’t a one-size-fits-all formula. It’s just the base chain I often use, especially for low male vocals, and it works really well for my environment and style.

If you want to check out all the gear I use in my studio, just click the link below.

https://sweetwater.sjv.io/POq1yQ

 

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One More Thing…

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