I need some clarifications about vocal fx chain. The right Fx chain is EQ-fxs( chorus/phaser/Delay)-Reverb-Compressor? Or must be places on different priority? Like EQ-Compressor-Fx-Reverb?
Definately there many different prespectives but there should be a theorem on the priority.

 

Well, never load FX before compressors/eqs and other tools which are supposed to clean/enhance that particular track. For creative FXs you'd better use your send channels. Now depends, you can also add a delay/reverb at the end of a particular track if that plugin features a "wet/mix" knob in case you don't want to create a custom send channel. The primary tools you should start your chain with are the EQ and Compressor, but it's not a must or a rock-solid rule. Everything depends upon on what you're hearing. You must figure out if your track really needs eq-ing/compression before even adding anything to your fx chain. Also the order of plugins in a chain can be figured out by thinking logical and also puting yourself in the shoes of that sound signal.
Basically, all you must know in a DAW mixer is which side of the track represents the start of the chain and which one represents the end of it. In standard daws, Up to Down means Start to End but there's daws like Ableton or Bitwig where the chain is calculated from left to right, the rest is based upon thinking logical.

 

As Evorax said: ausiliary channels (at least 3). On the fundamental channel nothing agressive, only make shure that everything is in balance.
If you are really confusing (nowadays have some many options) you should try Nectar 2 from Izotope, the presets are very rich and good for starters.
F
x is always personal but depends:
1 personal taste
2 the voice
3 the resources (experience, soft and hardware, daw etc)
4 the style
5 the goal

Keep in mind that you should follow the personality of the voice for better results, do not try to make the voice like other. Each voice has it value that a good mixer/producer must hide the deffects and shine the goodies, also true for all music related roles

 

The "rules" that helped me get a better handle on it are:

EQ first, just cutting any frequencies you want to get rid of or reduce. So this would be your high pass filter, removing any mud, boxiness, harshness, room sound etc.
Next, compression, and you are now not feeding the compressor any audio you don't want to keep since you removed it first. At this point you are just trying to even the vocal dynamics out a little bit, keep it so that it is compressing maybe between 3-6 db at the louder parts. If you have a few parts that are WAY louder or WAY quieter, you need to fix that with automation, don't try to use a compressor. An LA2A is a good one for this.
Then EQ again if needed, boosting any frequencies you want to accentuate, remember take it easy here, a little goes a long way.
Now you should have your basic vocal "sound". At this point you would add fx, double, parallel compression etc. Remember that most likely you will want to "send" your vocal tracks to your FX, rather than putting it directly on each track, it will make it much easier to control the depth and blend as you start mixing.
Finally you might want to send all vocal track to a bus and add more compression (could be quite aggressive depending on the genre) to give it a more "modern" sound.

 

Yeah someone asked the exact same question not too long ago and I gave an answer that they found helpful so I'll copy and paste it for you here.

Vocals are always tough to mix so don't worry you're not alone. So basically as usual there's never only one way to do things, but I'll go ahead and tell you how I approach mixing vocals.

1) EQ - so many times a big reason vocals don't fit a track is EQ. You need to be rolling off the low end. Use a 24 dB/octave low and cut until you hear all that rumble go away. Then you need to treat the low mids (that 200-600 Hz region) since there can also be a lot of "wooliness" in that area. A 2-3 dB cut should do the track with a Q of 2-4, cut more if you need to. Play the vocal with the rest of the mix to see if you need to cut more. Then, you need to take care of the top end. Try a shelf at around 10K Hz, again a 2-3 boost should bring up some nice breath in that vocal and help it peak up in the mix. Be careful not to boost too much, especially if your "s" "t" and "p" are too strong. If they are too strong then you need to use a de-esser before boosting the top end.

2) Peak compression - Use a compressor after the EQ to catch really quick peaks only. So, a fast attack (~5ms) fast release (~20-30ms), a ratio of about 5-7 (medium to high) . Then listen to where there are quick, loud sections in the vocals and target them with the threshold. So the compressor should only be compressing those and it should be pretty transparent, you should try as much as possible not to hear the compressor work here.

3) Additional compression. You can use another compressor then to smooth out the overall dynamics of the vocals, it's kind of like riding the volume fader on the vocals. Use a medium slow attack (15-30) , medium/slow release (70-100) , a soft knee (if the compressor has that option) and a ratio of about 3-4. Listen to the vocals and pull the threshold down until you can hear the vocal kind of get glued together. It becomes more cohesive and smooths out.

4) Multiband Compression - this is optional and not always applicable. But sometimes for example there's one or two words or phrases where the 300Hz region really overpowers everything else for example and you want to target that with a multi-band compressor.

4) Saturation - use your favorite tape saturation or warming plugin to give the vocal some extra warmth and a touch of distortion.

5) Limiting - this is the final touch and it's only supposed to catch very quick peaks that were missed by the previous compressors. So the limiter's gain reduction should only be lighting up occasionally and not completely crush the vocals.

6) Reverb and delay - this are completely up to personal taste. Experiment and play around with these. Use a combination of long hall reverbs and medium/short plate type reverbs so you the vocal a nice ambience. Same goes for delay. You need to really imagine how you want the vocal to fit in the song. You need to imagine the space you want the vocal to be in and apply the effects accordingly. Long lush reverbs don't always work, it all depends on the rest of the song and the arrangement.

I really hope that helps. That's how I usually approach mixing vocals and it works probably 90% of the time. Unless the recording is poor or needs some extra work.

 

Definately what Rasputin said up there. ALWAYS ask yourself why you want to use something before you use it. And of course the key to a good vocal is a good recording, because mixing can only cover and fix so much.

 

Dude you make some sick shit man, i checked your sc and just wow

 

@eksproducer

Thanks bro! Are we following each other on SC? If not then we should be

 

Thank you very much for the help, you made my life easier. I was really confused but you guys are pro!!!