>Step by step
Manipulating vocal samples with tuning and processing
1 To start with a guide track, I’ve recorded in a pad instrument in the key of G, and added hat loops at 174bpm. Next, I’ve imported several variations of a vocal sample, and adjusted timings by chopping, repositioning and crossfading phrases at certain points. 2 Before we go any further, it’s time to tune the vocal. For a deeper aesthetic, I select each sample and Transpose them all down by -8 semitones. Rendering to audio helps me commit to my decisions: I now bounce down the vocals into one file and import the new loop on a new audio channel in the project. 3 I’ll now use Cubase’s VariAudio pitch correction feature to precisely adjust the pitch of my rendered vocal loop. Once I’m happy with the tuning of individual words, I’ll use the Quantize and Straighten Pitch parameters to subtly level out any vibrato, using my backing track’s pad as a reference point. 4 Formant shifting is a great way to transform vocal timbre without affecting pitch, and lifting up my pitcheddown vocal’s formants will add unique character. I insert Soundtoys’ Little AlterBoy and slightly raise its Formant amount to 1.3. Increasing Drive a little applies subtle warmth. 5 Next, I double the vox by duplicating the audio track, then route both to a new Group Channel for control over the entire signal. Within the duplicate vocal layer, I call up Little AlterBoy and push up its Formant amount by +2, then fade this new layer underneath the main vocal. 6 Now’s a good time to adjust the vocal’s frequencies in the mix. Using the Group Channel’s built-in EQ, I high-passfilter the low end from 100Hz to eradicate boom and hum. A boost to the top and high-mids creates space and helps the vocal pop through.
7 Now my doubled vocal sounds great in its dry form, I’ll begin to process for personality. I’ll start with reverse reverb: in Cubase’s MixConsole, I send the vocal Group Channel’s signal (in parallel) to a new auxiliary FX Channel containing Lexicon’s PCM Native Room Reverb plugin, with the Reverse Room preset loaded and 100% Mix dialled in. 8 Next, ValhallaRoom’s Medium Chorus preset – once again applied to the group via a parallel FX Channel – gives my vocal extra movement and a shimmering, ‘warping’ characteristic that sits nicely alongside the reverse reverb effect. 9 For dynamic control, I call up Slate Digital’s Virtual Mix Rack, starting with the FG-116 Compressor: for tighter transient punch, I apply a 4:0 Ratio, medium Attack of 4 and slow Release of 7. Next in the chain is the FG-N EQ, with a
50Hz low-cut and slight boost in the mids and tops. Lastly, Revival highlights treble and thickens low-mid frequencies. 10 Placed at the end of the vocal group’s processing chain is heavy saturation. FabFilter Saturn, with the Warm Tape mode’s Drive set just over 50%, boosts the vocal’s midrange tone and warmth. When heating up vocals, be careful not to overdistort the natural character of the voice – adjust the plugin’s overall wet/dry
Mix until you only just hear the effect. 11 Once you’re happy with the vocal’s pitch, timing and timbre, it’s time to use your new ‘instrument’ creatively. To add interest throughout my arrangement, I duplicate one of the vocal tracks and chopped out certain sections. I then use Cubase’s Transpose option to change the pitch of each segment, creating a stabby melodic line of sorts. 12 After this, I usually insert a delay plugin to highlight these chopped-up parts. I choose my go-to tape delay, Ohm Force Ohmboyz, and select a stereo delay preset with adjusted filters and delay times. I then use EQ to carve away bass and tonally separate this delayed ‘stab’ signal from the lead vocal.