Marianne Martinez
Vocoders are a type of speech coding that analyzes and synthesizes the human voice, often to create a robotic effect. They are used to process vocals and run them through a number of bandpass filters, with each band of frequencies being analyzed and stored. The number of bands used can vary depending on the desired sound, with more bands resulting in a more realistic tone. Vocoders can be used to create a wide variety of effects and are commonly used for lead vocals, with the most famous example being Daft Punk's early songs like One More Time. When panning vocoder vocals, there is no right or wrong technique, but it is important to keep in mind the role of the lead vocal layers and the number of layers, which will define where each vocal take is placed in the stereo field. For instance, if there are three channels of the lead, one will remain in the center while the other two will be panned to the sides to make the voice sound wider.
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What You'll Learn
How to use a vocoder in Logic Pro
The vocoder in Logic Pro is a unique and fun effect for music producers. Logic Pro has its own vocoder plugin called the EVOC 20 Polysynth, which is definitely worth learning how to use. In essence, the vocoder is used with a vocal (or audio) track. The vocal track is passed through the vocoder, which turns the sound into a robotic sound. The vocoder sound can be edited by changing the synth parameters and by creating different midi notes and chords.
To use the vocoder in Logic Pro, you need to add two new tracks. The first track should be an audio track for your vocal. The next track is a software instrument track, which is where you will add the vocoder. In the inspector window, select the Vocoder Synth. The plugin name is “EVOC 20 PS”. This is added as an instrument plugin, so make sure it is not confused with adding an effect plugin in Logic Pro.
When you add the vocoder software instrument from the inspector window, it should appear automatically. If it doesn't, click on the blue software instrument plugin to open it. In the vocoder plugin, select the “Side Chain” menu in the top right corner. From this menu, go to “none” and then select your audio track. This links the software instrument track to the audio track, allowing the output of the audio file to control the vocoder.
Once you have recorded your midi, press play. You should now hear your vocal track with the added vocoder effect. If it doesn't sound great, try changing the tone within the vocoder synth itself. Make sure that it's on Poly if you're playing midi chords. Edit the ensemble, formant, attack, and release. If that still doesn't work, check your midi notes and chords.
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Panning lead vocals
If there are three channels of the lead, one will remain in the centre and the other two will be panned equally to the sides to make the voice sound big and wide. With four takes, one will be centred, the second will be used as a parallel track, and the remaining two will be spread out to give the vocal some width. This will also reduce clutter in the centre, allowing other sounds like kick, bass, and snare to become clearer.
It is recommended to record vocal harmonies using even numbers (2, 4, 6, etc.) as it is much easier to spread them in the stereo image. Harmonies are usually used to support the lead vocal and are panned to the sides so that the main voice can dominate the centre. They are spread throughout the stereo field to make the voice sound full and wide in the mix.
The best way to give your mix a solid core is to keep lower-frequency sounds in the centre, including kicks, basses, and anything else below the 120hz range. As a general rule, lead vocals should also be panned centre. However, there is no need to always follow accepted panning conventions, and you can elect to go for something less predictable.
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Panning harmonies
When panning harmony vocals, it is recommended to record using an even number of harmony tracks (2, 4, 6, etc.), as this makes it easier to spread them across the stereo image. The lead vocal is usually kept in the centre, with the harmony vocals panned to the sides to support it. This helps to create a full and wide sound for the lead vocal while preventing clutter in the centre that could make other sounds like the kick, bass, and snare less clear.
You can experiment with different panning positions for the harmony vocals to achieve the desired effect. For instance, you could try panning one harmony vocal hard left and another hard right, or you could pan multiple harmony vocals slightly left and right of centre. This can create a sense of balance in the harmony while still allowing the lead vocal to dominate.
To create a rich sound, you can try doubling the main vocal and the harmony parts and spreading them out in the stereo field. It is also important to EQ the harmony vocals so they have their own space and blend well with the lead vocal. Additionally, you can try using effects like compression, reverb, and delay to enhance the sound and create a sense of depth and warmth.
Ultimately, the best approach to panning harmonies is to trust your ears and do what sounds good to you. Listen to other recordings with vocal harmonies and take note of how they are panned, then experiment and make adjustments until you achieve the sound you are looking for.
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Formant shifting
When combined with pitch shifting, formant shifting ensures that vocals sit perfectly in the mix without losing their natural tonal qualities. Pitch shifting is a popular technique that alters the pitch of vocals or instruments, raising or lowering the notes without impacting the timbre or vocal formants. Formant shifting, on the other hand, changes the vocal timbre without affecting the pitch.
Additionally, formant shifting can be used to correct nasally tones in vocals. By shifting the vocal formants down, even by a small amount, you can make the vocal sound clearer and more present. Formant shifting provides flexibility in controlling the sound's character, making it a valuable tool in music production.
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Troubleshooting vocoder issues
- Fricatives are high-pitched noise-like sounds such as "s", "t", "k", "f", and "p", which are produced by the mouth rather than the vocal tract. These sounds often don't reproduce well on a vocoder. To address this, try adding noise to duplicate the sound or use a low pass filter to remove problem frequencies from the modulator.
- If you're having issues with the overall sound quality, try compressing the vocal before it enters the vocoder or compress the audio track itself.
- To create a wider stereo image, try panning the original and processed signals to opposite sides of the stereo field. For an even more creative effect, create several copies of the processed signal, delay each one, and place them at different pan positions to create a ghostly echo that pans around the stereo field.
- When using AI vocals with a vocoder, you may encounter buildup issues or harsh peaks. To smooth these out, try automating a dynamic EQ on your AI vocals. For example, use a plugin like FabFilter Pro-Q 4 to set a dynamic bell cut and a low-mid cut, which will help keep your vocal samples clean and uncluttered against other instruments.
- For more texture and a stereo, layered effect, you can try blending AI vocals with live vocals. Set your AI voice in the center and pan the live vocal slightly to the left or right. You can also blend formants by shifting one up and the other down to create distinction while maintaining harmonic locking.
Remember, there is no one-size-fits-all solution to vocoder issues. Each musical project is unique, so trust your ears and make adjustments that work best for your specific needs.
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Frequently asked questions
A vocoder, short for
Vocoders work with two main components: the modulator signal and the carrier signal. The modulator signal is typically a vocal, but can be any type of audio signal. The carrier signal is a synth that recreates the sound based on the audio input.
Setting up a vocoder involves picking the right software and ensuring that everything is connected without any issues. You can use Logic Pro, which has its own vocoder plugin called the EVOC 20 Polysynth.
There is no right or wrong way to pan vocoder vocals as it is more of an art than a science. However, it is recommended to record vocal harmonies using even numbers (2, 4, 6, etc.) as it is much easier to spread them in the stereo image. The goal is to find the perfect sweet spot in the stereo field that is not dominated by other instruments.
Some famous songs that use vocoders include Kraftwerk's "The Robots", Daft Punk's "One More Time", Imogen Heap's "Hide and Seek", and Kavinsky's "Nightcall".
