SonicScoop readers, say HI to Erin Barra and the first edition of her series, “Insert Scene”. Geared towards those who seek a higher sonic standard without a high price tag, Erin’s blogs cater towards producers, engineers and artists at the novice/ intermediate level. Always a strong supporter of the idea that EVERYONE and ANYONE should be able to capture the intangible, here you will be met with no pre-conceived notion of prior knowledge or experience (or judged for a lack thereof).
Who is she? Well, put it this way: If Alicia Keys and Nelly Furtado collided with Daft Punk and Esthero in the vast circuitry of an Akai APC 40, you’d probably end up with an experience as rich and soulful as Erin Barra. Joining the likes of MNDR and Tokimonsta, Erin is part of a brave new digital audio live performance armada of female artists riding a tech savvy wave of musical and electronic innovation. Currently on the ‘Dn’A’ Tour (Digital n’ Analog), her new power trio is crossing the US in support of her sophomore album, Illusions which is distributed by Meryl Music Distribution, Blackheart Records Group’s third party marketing and distribution company. Erin also runs Ableton Live User Groups and Workshops across the country. So without further ado, let’s kick in.
Creating a good vocal chain is not the easiest thing to do, especially as a beginner and with limited tools, but it’s also not rocket science.
Most blogs and articles you find online will be from big-time engineers who have been working FOH or studio settings for a decade or more and have access to fancy outboard gear and tools that perhaps you and I don’t. So I’m going to take you through my own vocal chain and also the general components of how to generate a more-than-decent sound using only digital plugins via Ableton Live and a $100 mic.
Not to say that anything we’re potentially working with here is subpar, but this process of taking something like a dry vocal and turning it into gold records is often referred to as Turd Polishing… WARNING: this may require gloves, but I promise to hold your gloved hand the entire way : )
FIRST THINGS FIRST
For those of you who learn visually, please refer to the accompanying video where I take you through the ‘point and click’ step by step of creating this particular vocal chain.
There are general rules as to what order a vocal chain should be created in, but as they say, rules were meant to be broken and I highly suggest and promote experimentation. If you wanna try throwing three different types of reverbs onto one vocal chain, more power to you my friend — just please, use your ears. Playing it safe never got anyone a GRAMMY, but for the sake of clarity, I’m going to show you how I would go about creating a very straightforward and universal vocal chain in Ableton Live 8.
Usually when you’re capturing audio in a studio setting you go through the recording process first and then into postproduction, but with the use of Ableton we will be using digital plugins to create a LIVE vocal chain, which will be somewhere in between creating an optimal situation for the studio and the stage.
These tips will also be useful in a studio setting, but since you cannot undo compression or other audio effects when you record through them, most engineers would prefer to capture a dry vocal and then tweak everything afterwards (or put the effect on a monitor bus that the vocalist can hear but isn’t being recorded). This really depends on your knowledge of the tools and the tools themselves. I will be using all the universal options for each Ableton audio effect, meaning I’m dragging the entire folder onto the audio track rather than choosing from the drop down menu under each digital audio effect.
MEET YOUR MIC
Let’s start with the mic itself, since this is an important variable to consider. A typical live vocal mic is an SM58, but the more resources you have, you may want to experiment with some different options. If the vocalist (perhaps this person is you) maintains a generally consistent distance from the mic while performing you can choose something with a tighter pattern to it which won’t pick up as much stage noise.
Conversely, if you’re got someone who likes to move around a lot you need a mic with a wider pattern. This obviously will pick up more leakage, but it’s somewhat of a tradeoff at a certain point — I personally have major issues trying to compete level wise with my drummer. He is invariably louder than I am, at which point I turn up my volume and then it just picks up more of the drums… it’s somewhat of a vicious cycle and one that you should try to avoid. Additionally, each mic has it’s own gain needs and keep in mind that if you’re using a condenser mic you’re going to need an interface with phantom power.
SET THE COMPRESSION
After you’ve got your mic all set up, the next obstacle is getting a good level and proper compression. When you initialize a new ALS (Ableton Live Session) you will automatically be given an empty Audio and MIDI track. Either choose to run your vocal through this Audio track or create a new one (“Apple T”).
When you’re running your live vocal through an audio track in Ableton, this means that it’s also going through your interface and most likely a DAW or two. All of these “middle men” have meters, which will give you a general sense of how much or how little signal you are sending/receiving.
However, these meters are not always an accurate indication as to whether or not you’re peaking. This could be because you’re metering after the plugins or because certain instruments — like keyboards — distort inside themselves if their output level is more than ¾ of the way up. For instance, my Nord is notorious for distorting even though all of my meters tell me otherwise, and in that particular case it’s up to my ears to lead the way. Get as close as you can to a good amount of signal without distorting before you add any compression. The human voice is highly dynamic and in order to get the vocals to compete in a live band or electronic setting, tasteful and intelligent compression is key.