# Using interface live / Vocal effects



## MrTheDownie (Feb 12, 2016)

Hey, 

So my band is currently using mono backtrack by just splitting the signal which is working fine but we have a saffire pro 40 which we use for recording.
Lately I've been thinking about trying to use it for live purposes since you could do stereo backtracks and also add automated effects to the vocals live. It would also be easy to integrate in ear systems if needed.

Does anyone have experience with processing vocals live through an interface like this? Can it cause any problems?

I once read somewhere that backtracks are better in mono live since the audience are spread around the venue in different places. What pros and cons are there with stereo backtracks?

How do you guys to it live?
Thanks !!


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## BenSolace (Feb 12, 2016)

I think a lot of the detractors of stereo backing tracks in a live scenario assume that you'll be doing stuff specifically through the left or right outputs (like glitch stuff for instance). My band uses stereo backing tracks for orchestral and synth stuff, but nothing is specifically panned left or right. However, if you smashed it all down to a mono file (I have tried) it would sound congested and, well, terrible. Mono is fine for the odd synth/string line, but try crushing layers of choirs, orchestras etc. into mono and you'll lose a lot of clarity - it'll just sound like a wall of noise. The only con I can think of is needing more than just an iPod, and needing 2 x inputs on the mixer as opposed to just one. I have never run into a problem where a sound guy has refused to run our backing tracks in stereo.

The automated FX thing works fine, but I'd recommend not running the whole vocal signal through processing as it'll introduce latency. I split a dry signal out for the main vocals and combine it with 100% wet FX in my DAW to produce reverb/delay live. My laptop has plenty of grunt to run using a small buffer, and I choose plugs that are not CPU intensive for performance.


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## MrTheDownie (Feb 12, 2016)

BenHughesDS said:


> I think a lot of the detractors of stereo backing tracks in a live scenario assume that you'll be doing stuff specifically through the left or right outputs (like glitch stuff for instance). My band uses stereo backing tracks for orchestral and synth stuff, but nothing is specifically panned left or right. However, if you smashed it all down to a mono file (I have tried) it would sound congested and, well, terrible. Mono is fine for the odd synth/string line, but try crushing layers of choirs, orchestras etc. into mono and you'll lose a lot of clarity - it'll just sound like a wall of noise. The only con I can think of is needing more than just an iPod, and needing 2 x inputs on the mixer as opposed to just one. I have never run into a problem where a sound guy has refused to run our backing tracks in stereo.
> 
> The automated FX thing works fine, but I'd recommend not running the whole vocal signal through processing as it'll introduce latency. I split a dry signal out for the main vocals and combine it with 100% wet FX in my DAW to produce reverb/delay live. My laptop has plenty of grunt to run using a small buffer, and I choose plugs that are not CPU intensive for performance.




That actually very true, I haven't really thought about it that way but I've always felt like the backing tracks are kind of dense and hard to distinguish when there's a lot going on.

Splitting the signal wet/dry is great tip, I will definitely do that.

How do you manage the actual mic cord? Our drummer always operates the computer so I guess It's either a long cord or wireless?


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## BenSolace (Feb 12, 2016)

Well my audio interface that I use live (MOTU Mk3 828) has it's own software mixer. I don't do this anymore, but to get both dry and wet signals coming out from the same cable I run the mic into the 1st mic input and route that out (let's just say through the unit's left XLR output). In the DAW I run the FX 100% wet and route *that* signal (via my DAW's mixer) through the same output. Then it's just a case of mixing the levels so the FX volume isn't too subtle/loud.

You can always give the FOH engineer the wet and dry separately, but that's just another cable to bring/go wrong etc. and will probably be ignored by the sound guy unless you get an in-depth soundcheck - who gets them in the amateur circuit anyway?

I have developed a very weird setup where the snake from my pedalboard carries my mic signal, guitar signal (via a pedal wireless) and MIDI cable to our IEM/backing track rig.


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