Tom Lord-Alge: Crafting Angels & Airwaves’ Epic Vocal Reverbs

Ever crank an Angels & Airwaves track and get lost in that massive, atmospheric vocal sound? That epic space doesn't just happen by accident. It's the result of meticulous mixing and clever effect layering, and we got an inside look at how legendary mixer Tom Lord-Alge (TLA) approaches it, specifically for creating those signature vocal reverbs. If you're looking to elevate your own vocal production, these TLA-approved techniques are pure gold.

This isn't just about slapping on a preset; it's about understanding the why behind each move. Let's dive into some of the key reverb tricks TLA uses to give vocals that iconic Angels & Airwaves character, straight from a session on Nail The Mix.

Setting the Stage: Aggressive Vocals as a Canvas

Before even thinking about reverb, TLA focuses on getting the raw vocal to sit right and hit hard. For him, this often means aiming for a vocal that feels like it's "spitting and barking" at the listener, almost like it's pushing the limits of a mic preamp, but in a controlled, modern way.

He starts with subtle but effective tools. For initial shaping, he often reaches for something like the Focusrite D2 EQ, applying small, precise adjustments. This is usually followed by a touch of compression. While TLA admits he can be heavy-handed with processing if needed, the goal here is to establish an aggressive foundation that will interact well with the effects to come. It’s a crucial reminder that an un-EQ'd, uncompressed vocal isn't a realistic reference point in a dense mix. The processed vocal needs to hold its own against the power of the full track.

Want to get a better handle on taming dynamics? Check out these metal compression secrets. And for shaping your sounds, explore these EQ strategies for modern metal.

Why Settle for One? Section-Specific Reverbs

One of TLA's core philosophies for vocal reverbs is to avoid a one-size-fits-all approach. Instead of automating a single reverb send throughout a song, he advocates for creating distinct reverb setups for different sections like the verse, chorus, and bridge.

Even if the core reverb plugin and its initial settings are similar across sections, the way they're treated after the reverb can vary significantly. TLA often uses an SSL-style EQ (or a plugin equivalent) on the reverb return channel. This allows him to sculpt the tone of the reverb itself – making the verse verb darker, the chorus verb brighter, or carving out problematic frequencies – without affecting the dry vocal or other reverb instances. It’s about giving each song section the specific atmosphere it needs, rather than compromising with a single, generic space.

The Core Sound: Deconstructing TLA's Signature Pre-Delayed Reverb

For the Angels & Airwaves track in question, TLA took an initial idea from the band – a pre-delayed reverb – and truly made it his own. This became a cornerstone of the vocal sound.

The Foundation: Valhalla Vintage Verb

While the original mix might have used a plugin that sounded great in an older Pro Tools 5 system but didn't translate well to modern setups, for this re-mix, TLA opted for the Valhalla Vintage Verb. He found the "Concert Hall" algorithm particularly effective for this application. This plugin forms the heart of the main vocal ambiance.

The "Timed Reflection" Trick: Delay Before Reverb

Here’s where things get really interesting. The signature "suck up in the holes" character of the reverb – that blooming effect that fills the spaces between vocal phrases – isn't just from the reverb's built-in pre-delay. TLA takes it a step further by placing a separate delay plugin before the Valhalla Vintage Verb on the effects send.

He dials in some feedback (repeats) on this initial delay. This creates a series of distinct echoes that then feed into the reverb. This combination of a dedicated delay line followed by the main reverb unit is what generates those cool, timed reflections that rhythmically swell and add depth without washing out the vocal.

Taming the Sibilance: De-essing the Reverb Send

A lush reverb can be fantastic, but it can also exaggerate sibilance, making "s" and "t" sounds harsh and "sandy." To combat this, TLA employs another smart trick: he de-esses the signal being sent to the reverb chain. By placing a de-esser on the send, before the pre-delay and the Valhalla Vintage Verb, he ensures that only a smooth, controlled signal hits the reverb. This keeps the reverb tail clean and pleasant, without those distracting sibilant artifacts.

Adapting the Ambience: Chorus and Bridge Vocal Treatments

With the core verse reverb established, TLA then adapts his approach for other sections, ensuring each part of the song has its own distinct vocal character.

Widening the Chorus

For the chorus, which featured doubled vocals, TLA wanted a slightly wider image. He panned these doubles subtly (sending them to console channels 27 & 28 in his setup, reserving 25 & 26 for centered lead/double vocals). The chorus reverb used a similar chain to the verse – likely starting with the same Valhalla Vintage Verb patch – but was EQ'd differently on its return to remove any boxiness and help it sit with the wider vocal image. Interestingly, for the chorus reverb send, the de-esser wasn't always necessary.

Bridge Dynamics: ADT and Delay Automation

The bridge section introduced its own set of elements. The band had provided some "sweepy vocal delays" which TLA incorporated. To further enhance the bridge vocal, he introduced an Automatic Double Tracking (ADT) effect. Think of that classic, tight modulating slap or subtle flanger sound prominent on John Lennon tracks like "I Am The Walrus."

Crucially, TLA places this ADT effect before his main vocal EQ and compression chain. He finds this order essential for achieving that authentic, Beatles-esque ADT character. This also ties into his general preference for EQing into compression, especially for vocals. He feels it allows him to add top-end sparkle with the EQ, which the compressor then gently tames and integrates, leading to a polished sound.

For the bridge doubles, these were kept centered. To manage the interplay between the band's sweepy delays and his own reverb, TLA used automation. As the pre-existing sweepy delays naturally faded out, he automated his main vocal reverb send (Bus 32 in his session) to swell in, ensuring the vocal maintained a consistent sense of space and depth.

Bringing It All Together: TLA's Philosophy in Your Mixes

Tom Lord-Alge's approach to Angels & Airwaves' vocal reverbs is a masterclass in thoughtful effect usage. Key takeaways include:

• Section-Specific Ambiance: Don't be afraid to create unique reverb setups for different parts of your song.
• Stacked Delays: Experiment with placing a delay before your main reverb (with feedback!) to create rhythmic, blooming pre-delays.
• Clean Up the Send: De-ess the signal going to your reverb to prevent harshness and maintain a smooth tail.
• ADT Placement Matters: For classic ADT sounds, try placing the effect before your main EQ and compression.
• EQ into Compression: A powerful way to shape vocals before dynamic control.

These techniques are incredibly powerful and can add a professional sheen and captivating depth to your vocal productions.

Want to see exactly how pros like Tom Lord-Alge dial in these sounds, make critical EQ decisions, and balance effects in a real session? On Nail The Mix, you can watch the full Angels & Airwaves mixing session and many more. It’s your chance to learn directly from the engineers who crafted the albums you love. Dive deeper and unlock your sound by seeing these principles in action with the actual multitracks. Get access to the Angels & Airwaves session with Tom Lord-Alge and transform your mixes.