TEST: Vocalist Live 5

 Let's not kid ourselves, even if guitarists, keyboardists or other instrumentalists don't want to admit it, as soon as you leave the path of instrumental music, it is almost exclusively the singer who is noticed by the audience and who ( r) decides whether a show wins or loses. Apart from lousy announcements, unpleasant appearance or unprofessional preparation, it is the pure craftsmanship in the form of intonation and charisma that can be the vocalist's downfall on stage. If you now want to entice the listener to nod their heads in appreciation with the supreme discipline of live performance, polyphonic singing, the problems mentioned above multiply.

If you now have an official men's singing club like the Eagles, Doobie Brothers, or even the Champions League a la Manhattan Transfer in mind, you can be prepared for several years of vocal training, which not only takes a lot of time, but also a lot of commitment and effort means. It is not for nothing that many musical styles have finally said goodbye to vocal singing due to the complexity, or even, as is common in some metal styles, the “singers” can no longer even manage a single vocal line and give in to noise-filled grunts.

Anyone who is now able to sing can get electronic support when it comes to singing sentences, especially since you can freely choose the number and direction of your singing colleagues. The American company Digitech has been successfully involved in this segment for a long time with its Vocalist series and, in addition to desktop and 19 inch products, also has floor pedals in its catalog, which are primarily designed for the singing guitarist or for singers who have a guitarist in the band lead. The latest addition is called Vocalist Live 5 and, who would have thought, is the successor to the successful version 4.



construction

The Digitech Vocalist Live 5 is a floor effects device that is intended to be used both in the studio and especially in the live area. Especially in the second segment, the device must have the necessary resistance to be able to cope with the sometimes slightly trampy guitarist. This is not a problem with the Digitech Vocalist Live 5, the metal/plastic combination will be able to cope with one or two missteps.

With dimensions of 358 mm x 65 mm x 211 mm (WxHxD) and a weight of 1.5 kilograms, the pedal can easily be transported in a medium-sized bag. The scope of delivery includes the appropriate power supply, but be careful, the classic proprietary Digitech solution is once again used here. The power supply delivers 1.3 amps (!) alternating current (!!!), a value that is probably not supplied by any other company. Forgetting the power supply at home doesn't mean you can't sing a sentence! Unfortunately, the enclosed manual is only in English and is primarily aimed at the experienced user who already has some knowledge of harmony and parameter editing.

When it comes to handling, you can operate the pedal in two ways. Either you program your preferred scales and keys into a corresponding preset, or you hand over the responsibility to the patented musIQ tone analysis, which gets its information from a connected guitar. It doesn't matter whether you're using an acoustic guitar with an integrated pickup or an electric guitar, as long as you've optimized the input level. You can choose in advance whether you loop the guitar through in this first processing stage and then send it to an amp or mixing console, or from then on you mix the guitar as a third sound source with your own singing and the choir songs produced. There are three controls on the front for quick editing.

The Digitech Vocalist Live 5 has a total of 100 memory slots, 50 overwritable user presets and 50 permanent factory presets, which should be more than enough for a normal show. The product provides a wide range of editing functions, which relate to the microphone setting, the choirs and the guitar signal. Fortunately, when it comes to the guitar signal, they only concentrated on processing an acoustic guitar signal and didn't make the mistake of offering pedestrian electric guitar management via amp and speaker simulations.


When it comes to microphone and choir editing, however, Digitech brings out the big guns. Starting with various preamp settings, dynamic processing (compressor / gate), various filters and room effects (reverb / delay), the device comes with an elaborate channel strip. If necessary, a bit of Punch and Judy show with robot voices or similar is also used. Oh yes, users who are unsure of their intonation can also get some help with Pitch Correct. In the choir area, however, up to 4 additional, harmonized voices can be generated; the side job with the local gospel choir can be considered secure.

Management is done via 5 endless controllers, which take on multiple functions depending on the submenu. Below there are 5 pressure switches, which have the effect area, the harmony function, the presets and now, an A/B function per preset. This means that you can, for example, switch between different harmony settings within a song, for example verse and chorus. On the back, the Digitech Vocalist Live 5 has an extensive repertoire of inputs and outputs, such as a lockable Neutrik XLR / TSR combination socket, guitar in/out, balanced XLR stereo outs with ground lift, stereo jack out, a headphone jack, an expression pedal jack and the power supply socket.


Practice

Connecting the required signal transmitters proves to be uncomplicated. Connect the microphone, control it, done. Then the guitar, control, also good. The instrument can also be tuned using an internal tuner. Alternatively, a keyboard can also be used, but you should keep an eye on the input level. If you step through the individual programs, you will immediately notice how easy the display is to read. However, you should read the abbreviations in the manual beforehand so as not to despair because of the sometimes cryptic characters.

In terms of sound, however, the product impresses across the board. The naturalness of the voices produced are of very high quality and can also be made very human in terms of their “uncleanliness”. The chord recognition is also very fast and, even with power chords, is comparatively very good in terms of guessing the thirds within the tonal genders, unless you want to add a Beatles style singing to wild chromatic root notes/fifth scrubbing in Slayer style. In general, however, cutting out the chord you play has great advantages in terms of harmony, so you should try to work in triads, unless you just want to double or octave your singing.

When using an acoustic guitar with a pickup, you can also mix the signal very nicely via the outputs used, thereby saving you the need for an acoustic guitar amplifier. You can achieve the same thing with an electric guitar, but only with clean sounds. If you want to add an amp modeler, you should make sure to keep the level of distortion as low as possible and avoid using modulation effects if possible.


Conclusion

With the Digitech Vocalist Live 5, the American manufacturer is once again setting a bold mark when it comes to harmony singing. The floor pedal shines with a first-class sound, large editing options and excellent chord recognition, which allows even inexperienced musicians to open the door to singing in terms of harmony.

If Digitech now included a multilingual, somewhat more lovingly designed manual with the product, the overall impression would be perfect.

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Additional Informations:

Polyphonic vocal harmony, the art of blending multiple melodic lines to create rich, textured harmonies, has been a hallmark of musical expression since ancient times. In the context of bands, the development of polyphonic vocal arrangements has evolved over centuries, shaped by cultural, technological, and artistic influences. In this comprehensive exploration, we trace the fascinating history of polyphonic singing in bands, from its early origins to its modern-day manifestations.

I. Early Origins:
The roots of polyphonic vocal harmony can be traced back to ancient civilizations, where communal singing played a central role in religious ceremonies, communal rituals, and cultural celebrations. Early forms of polyphony emerged in various cultures, including medieval Europe, where Gregorian chant and early sacred music featured simple vocal harmonies created by overlapping melodic lines.

II. Renaissance Polyphony:
The Renaissance period witnessed a flourishing of polyphonic vocal music, characterized by intricate contrapuntal techniques and lush harmonic textures. Composers such as Josquin des Prez, Giovanni Pierluigi da Palestrina, and Thomas Tallis explored the possibilities of polyphony in choral settings, creating elaborate motets, madrigals, and choral compositions that showcased the beauty and complexity of multiple vocal lines interweaving harmoniously.

III. Baroque and Classical Periods:
During the Baroque and Classical eras, polyphonic vocal harmony continued to evolve, with composers like Johann Sebastian Bach, George Frideric Handel, and Wolfgang Amadeus Mozart incorporating rich vocal textures into their compositions. The emergence of opera and oratorio provided new opportunities for polyphonic singing, with soloists, choruses, and instrumental ensembles coming together to create grandiose vocal works of unparalleled beauty and complexity.

IV. Folk and Traditional Music:
In parallel to the classical tradition, folk and traditional music cultures around the world developed their own forms of polyphonic vocal harmony. From the close-harmony singing of Appalachian folk music to the intricate vocal layering of African choral traditions, polyphony became a vital element of cultural expression, passed down through generations via oral tradition and communal singing.

V. The Rise of Vocal Groups:
The 20th century witnessed the rise of vocal groups and ensembles dedicated to exploring the possibilities of polyphonic singing in popular music. Groups like The Mills Brothers, The Andrews Sisters, and The Ink Spots popularized close-harmony singing styles, blending intricate vocal arrangements with catchy melodies and rhythmic accompaniment. These vocal groups laid the groundwork for the emergence of modern-day a cappella and vocal harmony groups.

VI. The Beatles and the British Invasion:
The Beatles, with their innovative use of vocal harmony and multi-part arrangements, played a pivotal role in popularizing polyphonic singing in the context of bands. Songs like "Nowhere Man," "Because," and "This Boy" showcased the band's mastery of vocal harmony, with tight, intricate arrangements that added depth and richness to their sound. The Beatles' influence inspired countless bands to experiment with vocal harmony, shaping the sound of popular music for decades to come.

VII. Progressive Rock and Art Rock:
The progressive rock movement of the 1970s saw bands like Yes, Genesis, and Pink Floyd pushing the boundaries of polyphonic vocal harmony in rock music. Complex vocal arrangements, intricate harmonies, and elaborate vocal overdubs became defining features of the genre, as bands explored new sonic territory and sought to expand the possibilities of vocal expression in a band context.

VIII. A Cappella Renaissance:
In recent decades, there has been a resurgence of interest in a cappella music, fueled by popular television shows like "The Sing-Off" and "Pitch Perfect." A cappella groups like Pentatonix, Voctave, and Straight No Chaser have gained widespread acclaim for their innovative arrangements, virtuosic vocal performances, and creative use of polyphonic vocal harmony. These groups continue to push the boundaries of vocal expression, blending traditional choral techniques with modern pop sensibilities to create a fresh and dynamic sound.

IX. Modern Trends and Innovations:
In the digital age, advancements in recording technology and music production have opened up new possibilities for polyphonic vocal harmony in bands. With the advent of multi-track recording, bands can layer multiple vocal tracks to create intricate harmonies and lush vocal textures that were previously unattainable in a live setting. Vocal processing tools and pitch correction software have further expanded the creative possibilities, allowing artists to manipulate and enhance vocal performances with precision and control.

X. Conclusion:
From its humble origins in ancient rituals to its modern-day manifestations in popular music, polyphonic vocal harmony has remained a timeless and universal expression of human creativity and emotion. As bands continue to evolve and innovate, the tradition of polyphonic singing will undoubtedly endure, enriching our lives with its beauty, complexity, and profound capacity for emotional resonance. Whether performed by a small vocal ensemble or a stadium-filling rock band, polyphonic vocal harmony serves as a testament to the power of music to unite, inspire, and uplift the human spirit.