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Entries in vocal (8)
Owners of some of the bundles from Avid may not realize that some of the software included (in particular cut-down versions) are made for Avid and then the responsibilty to update them is Avid’s. VocALign LE was one such product, made for DV Toolkit users, but a vital part of a lot of user workflows.
Avid have made no indication of plans to make or commission an AAX update, which would have left many users moving to Pro Tools 11 high and dry. Revoice Pro is currently AAX ready and all other versions will be ported in the near future. Any user buying a version will get a FREE upgrade to the AAX version when it ships.
Synchro Arts, have decided to make sure users of their products are not left without a version so are offering the following deal.
VocALign LE Upgrades
Synchro Arts are offering owners of the AVID/Digidesign VocALign LE licenses $100 (£65 or €78) off the prices of VocALign Project 3, VocALign PRO 4 or Revoice Pro.
- This offer is valid until the end of August 2013.
- The new Synchro Arts product iLok license will be delivered into the user’s iLok.com account which holds the VocALign LE license being upgraded.
- This upgrade can be purchases here
Good for Synchro Arts for helping users if migrating to Pro Tools 11.
SynchroArts have a reputation across the industry for creating the best vocal alignment tools - many people have depended on VocAlign for years and more recently Revoice Pro 2 is like VocAlign on steroids. At Messe it featured as part of the Alicia Keys remix session on the Pro Tools 11 demo.
Now Synchroarts have given us a copy of the software for one lucky winner.
Simply complete the form below - you will need to visit their new community site to find the answer to the question ‘When Did Billy Jay Stein First Use VocAlign?’.
It is available in all plug-in formats including AAX and we understand they are currently working on a PC version.
Often a bad vocal gets blamed on the performer and yet some of the best vocal performances have been ruined by bad technical issues with recording engineers getting a great performance down badly. Here are our 5 common mistakes made when recording vocals.
- Wrong microphone
It is said that a bad workman blames his tools, that may be true sometimes, but using the wrong microphone on a vocal can make life very hard. If you have little money for your home studio then you need to make sure you buy a microphones with vocals as one of the primary applications for the mic. If you have the good fortune to own a lot of microphones then make sure you put a selection up in front of the artist and listen to them before making your final selection. The right mic can often mean that the need for eq and compression is then left to a minimum.
- Level headed
Make sure you understand gain structures in recording, it’s fundamental stuff, but essential if you want to make great recordings. Too low and you’ll have more hiss than bacon frying, too high and you’ll have more clipping to deal with than a poodle parlour. In the ‘wonderful’ days of analogue pre-amps and tape were more forgiving when clipping occurred - not so with digital, get that wrong and it will sound like Indiana Jones is cracking his whip in the background. Which leads me to my next point…
- Coach The Singer
I’ve lost count at the amount of times I’ve seen engineers increase gain instead of asking the singer to move from across the room towards the mic. Your singer needs to be comfortable, yet at the same time be singing in the right place to capture the best possible performance. Forget trying the whole ‘testing 1,2,3’ rubbish with them, that will just remind them they are about to do something technical. Simply ask them to sing through the song a few times to get relaxed, and whilst they do this then you can sort out your gain and other settings… oh yes and record perhaps their best take.
- Treatment Hell
We are big proponents at Pro Tools Expert of getting stuff down to ‘tape’, rather than fixing in the mix. However, if you overcook the compression, EQ or yes, heaven forbid track with autotune on, then there’s no way to recover it later. If you want to get a certain sound when tracking then use splits on the mic and get a clean safety version of the vocal down too, just in case. It does no harm and can save a song later.
- Monitors, Monitors, Monitors
Even before a singer arrives you have work to do and that is make sure you have decent monitoring for them. A good pair of headphones (enclosed) should also be high on your shopping list. If you’ve ever wondered why seemingly great singers suddenly start going out of tune in a studio, it’s normally because they can’t hear either themselves, the track or both. Make sure your singer is comfortable and has what they need in their monitors, for some it takes two or three passes of the track until they have what they need.
Recording vocals can be scary even for the most seasoned professional, so make sure you are ready to get down their best takes. Any more tips?
In this video Russ shows some of the tricks used by producers to create the sound heard on a lot of pop and R&B vocals commonly found in the charts.
The problem is that this gives excessive bleed of the rest of the instruments though the vocal track - this video shows you a trick that helps to remove a lot of that bleed.
A very cool video showing how top dance producers get those cool vocal effects heard on many dance and R&B tracks.
Russ takes time to show you how to take some basic vocals and clean them and process them within your track. As usual the video is full of lots of cool tips and tricks for users.
Russ shows some more tips and tricks (plus a few moments when things don't quite go to plan) in this latest cool video made famous by share and now being used on tracks by Rap artists like T Pain on vocal production and effects. Even better he shows Mac users how to get the tuned effect for FREE!