For an R&B vocal in Logic Pro, use this order on the lead channel: Channel EQ (high-pass and cleanup), Pitch Correction on a slow setting, DeEsser 2, then a gentle Compressor. Send the vocal to ChromaVerb and Tape Delay on aux channels instead of putting them on the channel. Add a final Channel EQ for a soft high-shelf lift if the vocal needs air.
I'm Warren Young, and I mix vocals in Logic every week. This page covers only what changes for R&B. For the full plugin order on any vocal, read my full vocal chain for Logic Pro. My rap vocal mixing guide covers the rap side, so I skip it here.
Every number below is a starting point, not a rule. Your voice, mic and song are different, so use the values to get close and then trust your ears.
R&B vocal chain order in Logic Pro
R&B asks for a vocal that sounds close, smooth and wide at the same time. That goal changes three choices from a hard rap chain: lighter compression, slower pitch correction, and more space on sends. Here is the order I start with:
- Channel EQ: high-pass and mud cut
- Pitch Correction: slow response
- DeEsser 2: catch the sharp "s" sounds
- Compressor: low ratio, slow-to-medium attack
- Channel EQ: gentle air shelf
- Aux sends: ChromaVerb and Tape Delay
The sections below go through each step with starting values for a sung lead.
Step 1: Channel EQ for a warm, clean base
Open Channel EQ first. Turn on the high-pass filter and set it around 70 to 90 Hz to remove room rumble and mic bumps. Sung R&B vocals carry a lot of low-mid weight, so check the 200 to 400 Hz area. A cut of 1 to 3 dB with a medium Q often clears the boxy sound without thinning the voice.
Do not add brightness here. A bright EQ before the compressor and de-esser pushes harsh sounds into both. Save the top end for the second EQ at the end of the chain.
Step 2: Pitch correction for R&B, with a slow response
R&B singers slide into notes, bend them and run through fast phrases. A tight, fast correction flattens that movement and gives the robotic sound that R&B does not want, unless you choose it as an effect.
Insert Logic's Pitch Correction plugin and set the key and scale of your song. Move the Response control toward the slow side, so notes drift to pitch instead of snapping. Start slow, listen to a held note and a fast run, and speed it up only if the held note still sounds off. If a few notes still sound wrong, fix those by hand in Flex Pitch rather than speeding up the whole track.
Keep the effect natural and let the singer's slides survive. If you want the hard-tuned sound as a creative choice, that is a different job: use a fast setting on a copy of the track.
Step 3: DeEsser 2 before compression
Smooth, close-mic R&B vocals show sibilance quickly, because the voice sits near the front of the mix and the top end is often lifted. Place DeEsser 2 after pitch correction and before the compressor.
Start the Frequency around 6 kHz for a lower voice or around 8 kHz for a higher voice. Lower the Threshold until the gain reduction meter moves only on "s" and "t" sounds. Keep Max Reduction around 3 to 6 dB. If the singer sounds lispy, back off. My DeEsser 2 settings guide for Logic Pro has the full walkthrough.
Step 4: Compressor settings for smooth R&B vocals
R&B needs the loud and quiet parts to sit together without losing breath and softness. That means a lighter touch than on a rap vocal. Use the Compressor plugin with the Studio VCA or Vintage Opto model, or any model you trust.
- Ratio: start near 2:1 to 3:1.
- Attack: around 15 to 30 ms, so the start of each note keeps its body.
- Release: around 80 to 150 ms, then adjust until the gain reduction meter recovers with the groove of the song.
- Threshold: set it so the meter shows about 2 to 4 dB of reduction on the loudest phrases.
The Vintage Opto model has fewer controls and its own feel, so set it by ear and watch the meter. If one compressor does not hold the quiet verses against the loud chorus, add a second one with a low ratio and a smaller amount of reduction, rather than pushing one hard. My vocal compression settings for Logic Pro post goes deeper on this.
Step 5: Add air with a second Channel EQ
After compression, add a second Channel EQ. Use the high shelf to lift 1 to 2 dB from around 10 to 12 kHz. This gives the airy top that R&B often has. If the lift brings back harsh "s" sounds, reduce it or go back to the DeEsser 2 threshold.
You can also add a small boost of 1 to 2 dB near 3 to 5 kHz for presence. Make that change in small steps and compare with the EQ bypassed.
Reverb and delay for an airy R&B vocal
Put reverb and delay on aux sends, not on the vocal channel. This keeps the dry vocal clear and lets you shape the space separately.
ChromaVerb on a send
Create an aux with ChromaVerb and set the channel's send level to taste. Start with a Decay of 1.5 to 2.5 seconds and a Pre-Delay of 20 to 40 ms, so the vocal stays in front of the tail. Cut the low end and the top end of the reverb in its own filters so the tail does not get muddy or hissy.
Tape Delay on a second send
Create a second aux with Tape Delay. Sync it to the song tempo, with a quarter or eighth note, and keep Feedback low, around 20 to 30 percent. Use the Low Cut and High Cut to make the echoes darker than the vocal. A dark, quiet delay fills gaps between phrases without crowding the words.
Automate the send level if you want. Many mixes push the delay up at the end of a line and pull it back during the words.
Harmonies, ad-libs and doubles in an R&B vocal
R&B often stacks many voices. Treat the lead and the stacks as different jobs.
- Lead: the chain above, centered, most forward.
- Doubles: use the same chain with less compression send and pan them slightly left and right. A short Sample Delay of a few milliseconds on one side can add width, but check the result in mono.
- Harmonies: group them on one bus. Cut the highs a little with Channel EQ and send them to the same ChromaVerb with a bit more level, so they sit behind the lead.
- Ad-libs: pan them wider and add more Tape Delay. Keep them lower than the lead so they feel like a response, not a competitor.
Put the harmonies and doubles on their own bus and add one Compressor with a low ratio. This glues the stack into one block that you can raise or lower with a single fader.
A ready-made R&B chain for Logic Pro
You can build everything above by hand with Logic's stock plugins. If you want a starting point already set up, my Dynamic R&B Vocal Preset ($10.00) is a channel strip for Logic Pro X made for this style. You can also try the free Toronto Warmth Vocal Chain Preset ($0.00) to see how a full preset behaves on your own recording. Browse the full range in the Logic Pro vocal presets collection.
A preset is a starting point. Move the Threshold and the sends for your own voice and mic.
R&B vocal chain FAQ
What compressor settings work for R&B vocals in Logic Pro?
Start with a ratio of 2:1 to 3:1, an attack of 15 to 30 ms and a release of 80 to 150 ms. Aim for 2 to 4 dB of gain reduction on the loudest phrases. These are starting points, so adjust by ear.
Should reverb go before or after compression on an R&B vocal?
Put reverb on an aux send, after the vocal channel's own compression. The send takes the already compressed signal, so the reverb tail does not pump the compressor, and you can control the wet level separately.
How much pitch correction should an R&B vocal get in Logic Pro?
Less than most people expect. Use a slow Response so slides and bends stay natural, then fix single notes by hand in Flex Pitch. Use a fast setting only when you want the hard-tuned effect.
Is there a free R&B vocal chain for Logic Pro?
You can build one with the stock plugins in this guide at no cost. For a ready-made channel strip, the Toronto Warmth Vocal Chain Preset is free.
What is the difference between a rap vocal chain and an R&B vocal chain?
Rap chains usually push harder compression and keep the voice dry and upfront. R&B chains use lighter compression, slower pitch correction, a lifted top end and more reverb and delay on sends.
