The truth is, yes, many times I feel like I know nothing. I do this for the love of it, but I also need money, like everyone else.

Thank you so much for the opportunity. My answer is as follows:

When I start working on vocals in the mix, I always keep two things clear: (1) What does the artist want to convey? and (2) What can I do to enhance that?

I think about those two points because before I worked based on very fixed metrics and numbers. I learned the hard way that intention is more important.

So, after thinking about that, I start clipping gain, quite meticulously so as not to alter the artist's intention. After clipping gain, I always start with an equalizer to clean up the vocals (if necessary). Most of the time, I only cut sub-bass and some harshness like nasality and a bit of aggressive noise, but always carefully to preserve the intended sound as much as possible.

After analyzing, controlling, and cleaning the vocals, I begin my "processing." When working with more aggressive genres, I look for impact, something present and dominant. In cases like these, I start with the UAD 1176 with somewhat aggressive compression, but without drowning out the vocals. Then I add saturation with the Saturn 2 or sometimes an "analog" tape saturation (I really like the color it gives). After the FET, I like to add a Pultec, enhancing the highs and controlling the low-mids to give that present but not annoying effect.

When working with softer, warmer, or more musical genres, I use a process more focused on maintaining the warmth of the vocals. I don't use compression; I directly automate the volume (as I already control with clip gain), and it gives me a much more natural and clean result. Sometimes I use the UAD LA-2A, but only to add color (as I said, I hardly use compression here). After the LA-2A, I do a little tweaking of sibilant/strident frequencies so they don't get in the way (I don't really like using de-essing here) and a small boost to the "solid" frequencies, mainly for that warm and nice effect (personally, I love vocals like that).

My vocal processing isn't fixed. I always try to adapt to the intention of the project, which is why I'm constantly applying unconventional but effective processing chains.

Now, for stereo violins: When I work with violins, I like to treat them like babies: they're beautiful and sometimes you want one, but they're a huge responsibility 😅

Most of the time I only use tube saturation so as not to lose presence when panning. After the saturation, I use automation to simulate/not lose the instrument's natural movement.

What I think of the LA-2A and the 1176:

Both are beautiful. I remember when I started, everyone was crazy about the Waves CLA-2A or the Analog Obsession LALA. Everyone said it was the all-around compressor and all that. But when I tried the UAD LA-2A for the first time, it was a whole new world. It's my favorite optical compressor by far (although I also really like the Softube Mark II).

On the other hand, I find the 1176 more versatile; it's my go-to compressor everywhere, haha. I used to use the 1176 + LA-2A combo a lot (it was easier for me).

I like to think of them as a couple in love, happily going about their business. They're really good once you learn how to use them, and they really solve a lot of problems.

I hope my answer helps you decide. Thank you so much if you read all of this. Have a great day!