CDM’s resident game composer W. Brent Latta continues pouring over the epic choral sampling library that is EWQL’s Symphonic Libraries. In case you weren’t already impressed with its 9 DVDs of sounds, in this episode, Brent constructs actual words out of samples — the holy grail of synthetic vocals. -Ed.

WordBuilder is arguably the most significant piece of technology in the Choirs package. Sure - in terms of raw samples, there has never been a choir library this substantial. But more important is the ability to actually get the choir to say exactly what you want them to, without resulting to bland “Oooohs” and “Aaaaahs” or resulting to bland, pre-recorded phrases such as “Hallelujah”.

Did I say ’start to finish’? After reading through the first few chapters of the manual, it was clear that setup for Choirs would not be a simple affair. It was also clear that reading through the entire manual wouldn’t necessarily give me any better grasp on using the app as a whole. So instead, I decided to take a stepped approach: read a few chapters, get the hang of those techniques, then read a few more.

As previously mentioned, the first thing I had to throw out was the concept of plug-and-play. Once the application is installed, the similarity to other sample libraries ends. In order to really take advantage of this app, a second application is used, namely WordBuilder. WordBuilder is the application that allows the user to specify what text is to be sung, as well as the duration and dynamics of the piece. For those who may not grab the concept, it is easiest to think of WordBuilder as an intermediary app - it sits between your input device (usually a MIDI keyboard controller, sequencing or scoring app) and the Choirs Kompakt player. As note information comes in, WordBuilder maps the appropriate sample to each note, taking into account what syllable you wish to play, the duration, the intended sampleset (is it a Bass or a Tenor singing “Aaaaah”), etc. In a way, it is like a MIDI processing unit, adding additional ‘control’ values to incoming notes, and sending out a more complex signal.

Vocoding is capable of a broad range of sounds, from the traditional “robot talking” effects to unique, organic-sounding synth and drum effects. Like many commonly-used techniques for synthesis and processing (and qualifying as both), vocoder effects can be cliched — but they can also be used to great effect.

The only real challenge in using vocoders in software is routing, since you need two signals — a carrier and a modulator. People are regularly asking how to do this on the Ableton Live forums, because there’s not an obvious way in Live to sidechain signal. Here’s one tutorial, and it’s friendly to people who have never used a vocoder before:

How To Use A Vocoder In Ableton Live [SonicTransfer]
More Orange Vocoder Tips [SonicTransfer]

Since some of the links are broken, here are the vocoders mentioned in the article. Both are Mac/Windows compatible, but only mda TalkBox is free:

Orange Vocoder Mac, Windows [Prosoniq]

mda Free Effects (Download the whole archive in VST Windows or VST/AU Mac format; TalkBox is in each version — and yes, the free mda stuff now runs Universal on Intel Macs)

East West Quantum Leap Symphonic Choirs is without question one of the most extensive and sophisticated choir sample libraries on the market. In order to put such a mammoth to the test, I felt that that it was important to be more critical of the software from a professional perspective, and that I must be able to demonstrate how accessible, thorough, and powerful this software could be for the end-user. To meet these goals and truly put EWQL Symphonic Choirs to the test, I intend to see if I can use it to rework an entire choral piece, performed entirely from the sampled voices from this library in place of a real choir. Due to the nature of the review, I intend to provide CDM readers with something different: an episodic review. With that, I give you Episode 1: The Arrival.

9 DVDs – are you serious!?

The Etch-a-Sound, shown at London’s recent Cybersonica sound art fair, lets visitors draw in 3D using their voice. It’s a bizarre idea, and the right-angle pipes recall a classic 3D animation as much as the original Etch-a-Sketch (awful model for intuitive illustration that the toy was), but it’s great fun. The creators also did a good job of documenting the process. It’s a great glimpse into a process that’s spreading rapidly: after a long drought, people are again making stuff with computers and electronics. It’s a new golden age for magical audiovisual toys.

Process of making Etch-a-Sound [flickr set]
Etch-a-Sound at Cybersonica [flickr set]
Etch-a-Sound on Pixelsumo (blog of the Cybersonica curator, Chris O’Shea)
Project Page, atoyfactory

And the video:

Brilliant work, Seulki Kang and Kenichi Okada!

Waves, the people behind some highly-respected, extremely high-end audio processing effects, have turned their attention to singers. The new Vocal Bundle includes some old favorites, plus relatively new automatic tuning and pitch correction and breath removal plugins. The bundle includes:

Tune Automatic pitch correction and “melody transformation.” (also available separately for US$600 list)

DeBreath Breath removal (a description that also applies to me attempting to play soccer); this one is designed to work as transparently as possible

Renaissance Channel Channel Strip

Renaissance DeEsser “Intelligent” Sibilance Control

Doubler Emulates Double-Track Effects

Grand total: US$1000. And those of you who already have a Waves bundle can expect to see Tune LT for free. Supports most Mac/PC hosts (Pro Tools and Native alike). Copy protection via iLok dongle, as with other Waves products.

Waves Vocal Bundle

The Tune effect is the most intriguing to me, as it includes MIDI export, formant correction, and other editing tools. Pitch correction just gets more and more sophisticated, making it possible to use it for ever-subtler effects and new far-out special effects, rather than the “let’s over-correct everything” approach that gained popularity in the studio for a while.

This also vindicates something else for me: there’s a market for more software products for singers. (Now if you’ll excuse me, I’m off to take advantage of the brilliant sound of my Shower Pro effects processor on the velvet fog that is my voice.)

From the old news department: It’s a near-ubiquitous claim. Any mention of Antares AutoTune, or related vocal pitch correction plug-ins, has to in the same breath include “you know, like in that Cher song.”

Supposedly, the “Believe” effect is the result of AutoTune with over-aggressive pitch correction, hence flipping notes up or down. Indeed, you can get that basic effect with AutoTune, and many songs that attempted to copy the Cher song (somewhat dubious goal as that is) in fact used AutoTune. (Incidentally, for proof that real rock stars are more fashion-adventurous than you or I, see below.)

There’s only one problem with this example: it’s wrong.

When you hear live computer effects, the emphasis is almost always on guitarists. What about vocalists? Line6 is building vocal-centered effects into their eminently-affordable TonePort USB line, which (via Harmony Central) is shipping as of now. Starting at under US$200, a singer with a laptop and a good mic doesn’t have to balk at going digital. The included interface promises good mic pres and, in addition to the usual guitar stuff, some effects that will be especially useful to vocalists. Check out their vocal line-up: models of vintage mic pres, EQ, and even tape, plus a compressor, noise gate, de-essers, and “lo-fi” distortion. Not to mention, a lot of those guitar effects (delays, reverbs, and even guitar distortion) can sound great on vocals. I’ve heard some great things about the low-latency performance of this new gear; I can’t wait to try it for myself.

While I wait for a TonePort for review, what would be important to you for computer-based vocals? Would you (or your local singer) croon into an onstage laptop?

No . . . not Wings, Wing,
one of the hotest vocal artists on the planet. If you haven't heard
this Hong Kong native yet (she was recently featured on South Park, a
TV show that has launched . . . or re-launched . . . many a pop
superstar), you're missing out on incredibly smooth, sultry tones.
Velvet fog, indeed. And now M-Audio (a part of Avid) has earned a major endorsement. Sure, M-Audio has scored endorsements from the likes of everyone from Grammy-Winning Black-Eyed Peas to Straight Male Apartment Conversion Theme Song wonders Widelife, but clearly the addition of Wing is proof positive that digital music-making is here. (Don't believe me? Check out Wing's site, have a listen, and be converted.)

Tired of the lead vocalist in your hardcore thrash death metal band? Why not replace him or her with a parrot?

Yes, it's Hatebeak,
the band with a parrot (literally) singing — make that "savaging you
with feathers of razored steel." (I've heard a few folk
singer-songwriters who also fit that description, but I digress.) Where
else could you find tunes like "Bird Bites, Dog Cries," "Beak of
Putrefaction," or "Bird Seeds of Vengeance." The sound is best
described as, um, just go listen to the MP3.

Reptilian Records is also lucky enough to have signed Caninus, which
features two pitbulls — Budgie and Basil — so if you're a dog lover,
you can get that on 7" vinyl, too. Thanks, Kamala, for the tip!