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Digital Subscriptions > MusicTech > Aug-18 > Recording, Editing, and Mixing Vocals in ableton live

Recording, Editing, and Mixing Vocals in ableton live

Doing it in the studio is one thing, but it’s a different story migrating your produced voices to a live situation, Martin Delaney clears his throat…


In the first part of our Live vocal tutorial, we discussed different ways to process and organise vocals in our studio productions. Now we’re talking about how to do it live – translating our vocals to the stage while keeping everything as interactive as possible. Our example Live set is called ‘live vocals example’, and contains a vocal track which is basically me going ‘oooh’ and ‘aaah’ (aren’t you lucky?). I’ve laid it out in Session View, because that’s where you’re more likely to be working for live performances. Although some steps in our walk-through requires Live 10 and Nectar 2, both of these are available as demo versions for macOS and Windows, so we’re trying not to be too exclusive. In the walk-through I’ve used iZotope’s Nectar 2 as an example of an all-in-one vocal processor, and, truthfully, I don’t think there’s anything else as fully-featured out there. Beyond the harmony solutions, you can use any audio effect that you think is cool, naturally, and there are other handy vocal-related plug-ins around, such as Waves Vocal Rider (one of my favourite plug-ins), Waves Tune, and, of course, the classic Antares AutoTune. Nectar’s controls aren’t automatically recognised by Push, but you can use cmd-g to rack Nectar, then assign macros to your most-used controls. If Push is located in a workable position, it’s possible to sing and engage the audience while tweaking presets at the same time!

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About MusicTech

In response to the ever-growing world of sound design, we highlight many of the best tools of the trade to equip you to experiment yourself, step-by-step guides to various processes, plus interviews with those whose careers have been built in the world of professional sound design. Elsewhere, we speak to former Stereophonics drummer Javier Weyler, whose company Breaking Waves facilitate the sonic needs of filmmakers in innovative, creative ways. We also talk to mix engineer Giles Barrett about his boat-based studio and head inside Nottingham's newly-opened Mount Street Studios. Along with our usual range of in-depth reviews we see our tutorial section expand once more as we welcome a brand new Reason series. We hope you enjoy the issue!