Like others said, iZotope RX is fantastic for this. Doing this in Live is hard, because it is an 'online' audio editor- meaning you can't just run a process on the audio. The audio effects work in 'real-time' while the audio plays back. Using any sort of 'offline' waveform editor will be better for this task.

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Overview

CATCH EVERY BREATH. Nectar 3 is bundled with iZotope RX 7 Breath Control, which is designed to intelligently detect breaths in dialogue or vocal recordings and automatically suppress them, saving invaluable time in the comping and prep stage of vocal editing. Discover 20+ world-class professional VST/AU music plugins like Serum, Arturia’s V Collection, iZotope’s Ozone, & Presonus’ Studio One DAW. IZotope RX 7 Advanced Audio Editor v7.00 MacOSX. And Techno House Ben House Claps House Elements House Loops House Music House Percussion House Production House Starter House Vocals House Vox Household HouseMaster How. MJUC MJUC jr Mk MK 2 Mk2 MK3 mkI MKII MKIII MKS7 MKS7 Editor MKV ML MM-Bass MMLP2 MNML Mob MOBi Mobile Mobile Studio. Apr 07, 2019  iZotope RX 7. IZotope RX 7 is a powerful and versatile audio repair and restoration tool around and efficient to get rid of most anomalies in recorded audio. IZotope RX 7 used by studio owners and industry professionals as well as bedroom hobbyists. Also, set an unbeatable mark for solving audio problems that other software solutions couldn’t. Mixing wtih Izotope. 1: INTRODUCTION INTENDED AUDIENCE FOR THIS GUIDE If you don’t know anything about mixing or mixing software, this Guide is a great place to start.

Voice De-noise is an intuitive, zero latency de-noiser that offers high quality results on a variety of material.
Voice De-noise can intelligently analyze speech signals and determine the best noise threshold for your signal. In a DAW, this feature can be used to write automation in case you need to override the automatic settings and correct the noise threshold by hand.

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How does Voice De-noise processing work?

• Under the hood is a series of 64 psychoacoustically spaced bandpass filters which act as a multiband gate to pass or stop a signal based on user-defined threshold values.
  
• If a signal component is above the threshold for the filter, it will be passed (not processed).
  
• If a signal component is below the threshold for the filter, it will be attenuated (processed).
  

Controls

• ADAPTIVE MODE: Analyzes the incoming signal and adjust the noise threshold automatically to compensate for changes in the noise floor. This can be useful for removing noise from recordings with variable noise floor and continual noisy sections, and works well for almost any recording of dialogue and spoken word.
  

  Adaptive mode considerations

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  • The noise threshold settings in Adaptive Mode may be different from the settings achieved by running Learn to set the noise threshold manually.
    
  • Because the adaptive noise threshold is continually being adjusted, it is set lower to prevent artifacts from occurring.
    

• LEARN: When using Manual mode, you can use the Learn button to set the noise threshold to a noise reference.
  

  Tips for Learning a noise profile

  • Find a passage of pure noise in your audio and use Learn to analyze it.
    
  • Longer selections of noise will set the Threshold Nodes to more ideal locations.
    
  • We recommend finding at least one second of pure noise to Learn your noise profile from.
    

• OPTIMIZE FOR DIALOGUE OR MUSIC: Because dialogue tends to be in short bursts and vocals tend to have sustained notes, we’ve added modes to provide better results when applying Voice De-noise processing.

  • Optimize for DIALOGUE reacts to noise changes faster and isn’t meant to handle the noise found in sung vocals.
    
  • Optimize for MUSIC does not attenuate sustained notes and is more transparent when applied to sung vocals.
    

• THRESHOLD NODES: The Threshold Node controls on the frequency spectrum display allow you to modify the noise threshold curve, which can be thought of as the “noise profile.” These six points can be adjusted manually to suit the noise currently in your signal. These controls can be automated to compensate for shifts in the audio’s noise floor.

  • In ADAPTIVE Mode, the Threshold Nodes are adjusted automatically in real-time.
    
  • In MANUAL mode, more than one Threshold Node can be selected at a time for manual adjustment by clicking and dragging anywhere on the interface.
    

• THRESHOLD: The master Threshold control allows you to offset all Threshold Node values by the same amount. If you find that processing is too aggressive or processing is affecting audio you want to leave unprocessed, try adjusting this control.

• REDUCTION: Provides control over the maximal depth of noise reduction (in dB) that will occur per frequency band while a signal component is below its threshold. If you have your thresholds set properly and don’t like the results you’re getting, try adjusting this control.

• METERING

  • The Input Spectrum meter shows the level of the signal at the input of the denoiser filters.
    
  • The Output Spectrum meter shows the level of the signal at the output of the denoiser filters.
    
  • The Gain Reduction Region is the area between the Input and Output Spectra. This shows the amount of noise reduction processing being applied to your signal.
    

Voice De-noise Plug-in

Voice De-noise has been specifically designed to provide high efficiency, zero latency adaptive noise removal when inserted on a track in your DAW or NLE. The Spectral De-noise plug-in is far more resource intensive and uses higher latency.

Clean edits, tonal balance, a brilliant EQ, perfect dynamics, and tasteful ambience—this article is about none of that! Instead we’re going to examine how Nectar 3, RX Elements, VocalSynth 2, and a few bonus goodies, can help you achieve interesting, esoteric, exciting new vocal effects.

1. Harmony vocals with Nectar 3

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If you need quick harmony vocals, Nectar 3 provides the ability to add them. You can pan them however you like, change their level, raise or lower their interval, and even, in MIDI mode, select the very notes they’ll be singing.

Some light processing on the harmonies can be accomplished within Nectar 3 as well, including two-band tonal shaping and time delay. As with the previous iteration, you can solo the harmony vocals only, which opens up a new world of possibilities, as you can now use the Nectar track as a vocal-harmony effects generator in parallel with the original vocal.

You could, for instance, go fully wide with harmonies, have them only kick in for the chorus, and then add reverb to those harmonies for more ambience. You could sidechain the harmonies with VocalSynth 2 for a gloom pop or future pop sound (more on that later).

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Conversely, you could go the unison route: doubled vocals can give you a classic widened effect employed on many pop choruses. Want to take it further? Combine two panned unison vocals with saturation, EQ, and some modulation from the Dimension module, and you can whip up an interesting sound that doubles your lead vocal, beefing it up during important sections.