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Page 6: User Interface 4 LCD Display: the most informative part of VoicePrism, at the highest level this shows preset information in addition to the softknob libraries and controls. Elsewhere, the LCD provides menus where you can view your editable features, particularly the softknob menus by click- ing the softknobs and the softknob settings.
You can set the number of buttons and assign button functions in the The LCD is blank where the softknob name would be. Key Point Pressing any of the softknobs accesses the STYLE parameter lists, where you can select the parameter you want to alter. Page Mode Smooth Shift Shifts chromatic harmonies in semitones relative to the lead voice.
Presets using Shift harmo- ny contain unison and fixed semitone interval harmonies: they do not require key or scale information. This is the harmony mode where VoicePrism will make you shine, but a bit of effort Key Point: is required to pick out the correct key and scale.
You can select effects and adjust their parameters in the menu tabs for FX1 and FX2. The input menu tabs allow you to set lead, harmony or auxiliary inputs to different effects or send FX1 as an input to FX2. Stereo delay allows for greater delay control in each channel of the stereo mix. Of course, the real area of interest is the voice modelling, which boldly goes where the tonsils of man have never gone before. Working through the presets provides a very fair idea of how the process works when somebody has taken the time to optimise the various parameters, after which it's very easy to go into edit mode and juggle the available user parameters.
As expected, the most realistic treatments are the ones where only subtle changes have been made to the original voice — a bit of breath here, a bit of throaty growl there — and it helps if the formant restructuring doesn't stray too far either.
However, I wouldn't say any of the modelled voices sounded quite 'real', especially when heard in isolation. Changing male voices to female, and vice versa , definitely sounds artificial to my ears, though it is still perfectly usable in a musical context where you're going for an effected rather than natural sound.
The more drastic treatments always seem to have a noticeable metallic, digital edge to them that effects can't always disguise, and adding too much growl makes you sound somewhat like Darth Vader gargling with Swarfega — far too robotic to pass for human.
It's also interesting to see how little you have to change some elements to make the voice sound as though it belongs to a completely different person.
I found the inflection and vibrato parameters worked a lot more convincingly than those that attempted to change the essential character of the voice.
The harmony features are as easy to use as earlier Vocalist units if not easier , but the way in which the character of the individual harmony voices can be modified and made to sound less synthetic has advanced considerably. The voice modelling aspect of the machine is to my ears the least successful, and clearly there is some way to go before voice modelling can completely rebuild a voice and still make it sound completely natural, but it is remarkable what has been achieved already.
You can't yet dial in the name of your favourite singer and expect to sound like them, but you can add throatiness for soul and blues singing, or you can change your voice character to make you sound like a larger or smaller person. The human vibrato modelling is also a real step forward from simple electronic vibrato. A competent male singer can expect to go from blues singer to boy band without too much trouble, but going from Louis Armstrong to Britney Spears might just show up the limitations of the current technology.
Being realistic, I'd say you might get away with some of the modelling effects live, where the voice also has other effects added to it, but in the studio, it's still only at the stage where you could use it as a special effect rather than as a convincing substitute for the real thing. OK, it's all cheating if you choose to look at it that way, but then, with any other instrument, you can buy new hardware or learn new playing techniques to change the sound to imitate that of other players if you want.
Using Voiceprism Plus, you can at least modify your voice to suit the song style, and, though these are early days for this new technology, who knows what level of sophistication the future will bring? When the Voicecraft card is fitted, or when you buy a Voiceprism Plus which has the card already installed as standard, the signal path of the unit is made to work slightly differently.
Voice modelling is an immensely complicated subject, so presenting the user with all possible adjustable parameters would be about as sensible as asking plankton to learn how to program a video recorder!
Instead, the designers have produced a library of treatments which can be applied to the lead voice for a range of different effects. The Lead menu is used mainly to create thickening effects which can be achieved by layering the remodelled voice with the original in any desired proportion.
All the user needs do is pick a Style and an Amount, though be warned that some of the Styles towards the end of the list are a little 'abstract'. Any of these Styles may be stored as part of a user preset, along with all the other Voiceprism settings. To fully understand what this level of voice modelling is able to achieve, it is necessary to examine those VM effect parameters that have been made accessible to user control.
VM Spectral is a set of special preset equalisation curves that are tailored for use with human voices and that may be used in addition to the various resonance parameters available in the VM Warp section, or used simply to provide additional tonal control. Like each of the VM effect menus, there is a separate Amount control.
VM Warp is a way of modelling vocal tract resonances so that they can be superimposed on the source vocals.
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