UAD VOCAL SAUCE
Garland Flugum
The best Ableton Vocal Chain to mix your lead vocals. Drop this Audio Effect Rack into your Ableton session to sauce up any style vocal. This pre-made blend features all the organic spices and processing needed to mix raw vocal recordings into a bold flavorful vocal production. This powerful Ableton vocal chain give you professional results with ease and versatility! This vocal chain sounds awesome on a trap, pop, dancehall, or rock vocal and experience the organic flavors for yourself! All functions have been consolidated into 8 macro controls on the faceplate of the rack, or you can open it up and tweak around under the hood for advanced customization! Compatible with all versions of Ableton 9, 10, 11, 12. Compatible with Ableton Lite, Intro Standard, or Suite
Complete your vocal chain collection with Lead Vocal Sauce, Speech Sauce, and Background Sauce made entirely of organic Stock Ableton Plugins. Ableton Sauce presets are compatible with all versions of Ableton 10 & 11
All of these parameters were mapped and optimized for editing vocals. The only thing that this effect rack does not have in it is some form of pitch correction. Unfortunately, Ableton does not have any pitch correction stock plug-ins. Hopefully, in the future that will change.
The Ultimate Game Changer for all Do-It-Yourself artists, producers, and engineers. Look no further for your vocal recording and mixing needs. Blow your friends away with Vocal Presets built by professionals that get the job done with ease.
This pre-mapped EQ targets problem frequencies that may contain mud, rumble, and hiss. You can also use the Low Cut and Hi Cut filters for quick access to blending adlibs and other background vocals into your mix.
The Distortion section adds character vocals. The Tube button added Tube distortion for warmth. The Radio button makes your vocal sound like it's coming from a Walkie Talkie. The Tape button adds body for warmth. These features allow for a variety of different vocal sounds.
This strip controls Reason's native vocal tuning device, Neptune. This is useful for getting a Future or Lil Baby effect on your vocals. All of the important knobs are accesible so you don't have to click through the racks to find them.
The compressor is strategically placed so you don't have to guess about signal flow. This compressor is place after the EQ so you aren't boosting problem frequencies, however you can go inside Vox Sauce and move things around freely.
The Delay section controls vocal echos. You can change the speed of the echos, the volume, and when they are triggered. The Duck feature allows the Delay to trigger in between vocal breaks when you have stopped rapping or singing.
The reverb section puts your vocal in a space for a natural performance vibe. There are 4 possibilities for the type of reverb: Hall, Room, Reverse, and Plate. These will change depending on which preset you've selected
Sometimes in life, there is nothing more simplistic and satisfying than a chicken nugget from McDonald's. It's one of those foods that I could eat at 9:00 in the morning or 9:00 in the evening. As long as my Sweet and Sour sauce is in the bag (bonus points if the fries are extra hot), when there's a McNugget in my hand, I'm McHappy.
It isn't the actual physical act of driving, or in my case, occasionally screaming at the ludicrousness that is Houston traffic, but the mental preparation it can take to endure a possible trigger of gender dysphoria via an unintentional misgendering by the restaurant worker. While most people tend to focus on their decision of what meal they would like to order, I am busy being cognizant of the tonality, verbiage, and inflection that I use with my voice. What is the "feminine" way to say McNugget? If I only raise my baseline speaking pitch, will that be enough?
Inevitably, it becomes time to pull up to the drive-thru speaker. As soon as I pull up, the crackling sound of the worker comes through, asking for my order. My breath hitches, I raise my larynx, and in the most feminine voice I can muster, I order my McNuggets and Sweet and Sour sauce. The pause as the worker enters my order into their POS system is palpable at best. Will I be correctly gendered? Did I do enough?
Sir. With that one "sir," my day is partially ruined, or at the very least is a little less bright. The worker was simply trying to be polite and cordial, so I can't be upset with them, but that doesn't stop the hurt. I follow instructions and pull around. When the worker sees me, their "sir" instantly changes to a "ma'am." But the damage is already done. I pay for my food, pick up my McNuggets at the next window, and drive away. I get home, my heart aching a little from the misgendering, and look into my bag of food. The Sweet and Sour sauce is missing. Of course it is.
We don't know what our transgender, non-binary, or gender expansive choir members are dealing with on a daily basis. There are times that some of their behaviors or external expressions of their gender can potentially affect their mindset, or at other times affect vocal pedagogy. It's essential for us as choir directors to understand how certain aspects of gender expression alteration can affect singing in a choir, so we can be more empathetic in our rehearsals.
As a reminder, gender expression is how one outwardly displays their gender. This can be done through the clothing or accessories that someone wears, their mannerisms, the way they speak, or maybe even how they walk. The vast majority of gender expression selections are choices that people make, whether consciously or subconsciously.
During my undergrad, I remember beginning to speak with a more feminine inflection and adjusting my speaking pitch to be higher in an effort for my voice to be more in line with my identity. I would get to my voice lessons, sing my repertoire for an hour, and when I got back to my car, I found my voice incredibly drained and exhausted. I had to spend some time in the privacy of my car doing some laryngeal relaxation exercises and using my lower speaking voice, which I was used to, in order to help give my vocal folds a break.
This is bound to happen in your rehearsals with a transgender person. Not all people will alter their voices, but many will. It is likely that they will have times when their voice is fatigued or tired more often than others. It can be frustrating to have a singer who does not have consistent and ready access to their instrument, but this is not uncommon. Be patient, and try to remember that it isn't a conscious decision but rather a part of their vocal process that they are adapting to as well.
Another common gender expression alteration is done via the selection of articles of clothing. Some transgender people, typically those who identify as transmasculine, or those wanting to appear more masculine, will wear binders. These are garments similar to a sports bra, but the primary function is to minimize the appearance of breast tissue. Transfeminine individuals, or those wanting to appear more feminine, may wear corsets or waist-trainers to create a more feminine shape.
It does not necessarily follow that all transgender people who wear binders will experience all of the aforementioned symptoms, but rather some transgender people who wear binders will experience some of them.
So what does this mean for your choral members who wear binders? It's important to note that unless there is some important reason for you to ask about what underwear they are wearing, you do not need to ask if a binder is being worn. If a member volunteers that they are wearing a binder and directly inform you that it affects their singing ability or participation in the ensemble, you can discuss how to help them.
While ultimately, a transperson should discuss any medical concerns with their healthcare provider, Dr. Peitzmeier recommends that in order to alleviate some of the aforementioned symptoms, the binder-wearer should find an extended period of time to go without their binder. Beyond that, as a director, you can show kindness and respect and perhaps expect some minor limitations. These limitations could include slightly affected posture, diminished breath capacity, or even getting tired faster than others. It's okay to check in on your singer, but trust that they know themselves and will inform you if you need to be aware of any pressing issues.
Melanie Stapleton (she/her) is a music educator, researcher, author, and choral director located in Chicago. She is currently a PhD student at Northwestern University in Evanston, Illinois, pursuing a PhD in Music Studies with a specialization in Music Education and an interdisciplinary certificate in Gender and Sexuality Studies. She is the founder of Blurring the Binary, and holds a Masters of Music Education from the University of North Texas as well as a Bachelors of Music Education from Louisiana State University. She is a strong believer that the choral ensemble should be a musical family and a safe place offering unconditional love for all. When not teaching, she can be found hanging with her Golden Retriever, Queso, playing video games, or jamming to the latest choral hits.
In some genres you may want to tighten the vocal up more than others. You can get away with more of a noticeable and aggressive tuning in Top 40 pop and EDM than you can in say folk or singer songwriter.
This goes with the last point. We typically think of vocal automation or using a vocal rider to automatically do it for us as being the last step. We can automate the vocal to emphasize certain lines or rise above certain points in the instrumental as the final step, but doing that on the in gives us a more consistent level like I just mentioned.
This typically means high passing around 100Hz to remove room/ambient/non-musical noise, boosting around 200-300Hz to bring out the fundamental body of the vocal, making a cut around 400-600Hz to remove boxiness, adjusting 1-2k as well as 3-5k accordingly (as shown above), and maybe adding a small high shelf to boost around 10k for some air.
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