Pro­cess­ing the vo­cal cut with Space De­signer and SoundShifter

Computer Music - - Make Music Now / Producer Masterclass -

The pitched-up vo­cal hook is one of the main fo­cal points in Ca­sual, and it comes from a short sec­tion of the orig­i­nal Fu­ture Cut acapella. Alex ap­plies the pitchshift us­ing Waves SoundShifter: “I use Au­toTune a lot when I want it to sound messy and weird, some­times Melo­dyne when I want it su­per clean, but I use SoundShifter on most of my vo­cals. I pitched up the lit­tle ’you’ bit by an oc­tave, and then the rest was pitched up by an ex­tra five semi­tones on top, so it gives quite a nice pro­gres­sion.”

Next, a very short re­verb is added in Logic’s Space De­signer, in­spired by a trick Alex learnt from Di­plo. “He uses a re­ally small re­verb with quite a lot of wet [sig­nal] for a re­ally dif­fer­ent tonal­ity. It changes the size a bit. I haven’t made it too ex­treme, as it’s quite a high sound, and I’ve made it more sub­tle with a two-se­cond re­verb.”

The vo­cal is then widened us­ing Logic’s Sam­ple De­lay plugin. “I had it down the mid­dle, but I just kind of wanted to hear it ev­ery­where, es­pe­cially lis­ten­ing in head­phones, so I used Sam­ple De­lay. A lot of peo­ple use Spreader, but I pre­fer the sound of Sam­ple De­lay, so it just hits both speak­ers with a su­per quick de­lay. There’s lots of lit­tle vo­cal ef­fects in this one. This is the first track where I re­ally looked at that as the main as­pect of it. You’ve heard it in a ton of the remixes I’ve done since Ca­sual, but I re­ally tried to go vo­cal cut-heavy at any given op­por­tu­nity.”

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