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Vocal processing for Trance / Psy-Trance — Transcript

by Rumble channel · 2,414 words · 475 segments · language en · Watch on YouTube

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0:00Good day everyone. Today we are talking
0:02about
0:03vocal processing for um
0:06electronic music and uh psytrance in
0:09particular.
0:10I have a sample here which we will use
0:13uh
0:13copy over and then do our processing on
0:16it.
0:17And it comes from a
0:20originally
0:21potentially from some
0:23BBC documentary. At least to me it kind
0:26of sounds familiar, but uh
0:28but don't take my word for it.
0:30That's which you believe becomes your
0:35planet.
0:37As you can hear, it is not exactly
0:39unprocessed.
0:40It has kind of uh a preceding reverb.
0:44But
0:46for our purposes it's uh good enough.
0:50So
0:51first um
0:52let's stop this one, copy it over to a
0:55different audio channel where we will do
0:57our processing. You can see there's
0:58already
1:00a delay.
1:02But first we'll take care of
1:05the
1:06audio file itself.
1:08Now it's um
1:11on stretch HD. Let's listen to it.
1:14That's which you believe becomes your
1:19planet.
1:21Uh maybe you can hear it it has some
1:22sort of uh little
1:25crackling on top and that comes from the
1:27stretching algorithm which is not
1:29ideal for a vocal processing. Uh what I
1:32really like for psytrance is cyclic.
1:36Uh because you can really
1:38uh hear the granular nature of it. Uh
1:42for now just let's go back to
1:45raw which plays the original sample to
1:47see how long it is.
1:50And now back to cyclic and I want to
1:54compress it a little bit because this
1:57because uh Bitwig just assumes a tempo
1:59and because it's a vocal it cannot
2:01really determine how fast the original
2:04is. So, if you go here uh to the header
2:07and hold option, you can drag and
2:10compress or expand
2:12the sample. Since I want a little bit
2:14more energy, uh I want him to talk a
2:16little bit faster.
2:18And therefore I compress it a little
2:20bit.
2:20That's what you believe becomes your
2:24planet.
2:26Okay. The Cyclic has a few interesting
2:29uh parameters, uh especially the pitch
2:32and the the format. We can control here
2:34when you you always have a little
2:36description here on the side of uh the
2:39mode.
2:40And here we can we see formant controls
2:42the grain length.
2:44And we're going to use this. So, and we
2:47switch first to the pitch.
2:50And yeah, here's huge.
2:54So, we start maybe at like plus 11 plus
2:5712.
2:59And pitch down to maybe plus four.
3:03That's what you believe becomes your
3:07planet.
3:08As you can hear it it sounds really uh
3:13kind of old school granularish, which I
3:16uh really like.
3:17That's what you believe be
3:20And now we can switch over to formant
3:21and control
3:23how many of these grains we want.
3:26That's what you believe. That's what you
3:29be
3:30Yeah, that sounds different, but already
3:33kind of too clean. I really want it to
3:36I want the single grains to uh stand
3:39out.
3:40That's what you believe.
3:43It's maybe a bit too much.
3:44That's what you That's what you believe
3:48becomes your planet.
3:52Okay, nice.
3:54However, this it sounds a bit Mickey
3:55Mouse-ish, but there is a trick we can
3:58use to put it in a more kind of
4:02backed into a serious mode. And this is
4:04by using a
4:07frequency shifter.
4:08Uh by the way, I think this is a
4:11technique which uh
4:13producers like uh especially Electric
4:15Universe, I've heard a lot of uh vocals
4:17like this from him. He he uses a lot of
4:20uh frequency shifter on
4:23his vocals.
4:24And now let's let's listen to it. Um
4:27first I want to set the range
4:30roughly to like 173. That sounds about
4:34good.
4:35Um the shift, let's put the shift around
4:37in this position and then listen to it.
4:54Yeah, you can hear that it gives it a
4:56really
4:57I don't know how to describe this
4:59character, but it's it's quite
5:00interesting. Let's add some delay.
5:09Yeah, and maybe if the pitch is a bit
5:10too much, I mean, just
5:19Well, I don't have to tell you what to
5:20do. I mean, just uh dial in the pitch
5:23and formant settings
5:25as you see fit.
5:27Okay, that's kind of the the first way I
5:31process
5:33audio samples by changing the pitch and
5:36then applying a frequency shifter.
5:38So, the next
5:40is using
5:45our beloved grid
5:48and actually need to see the device and
5:52open it.
5:55That switch you believe become
5:58Oh, I wanted to drag.
6:01Funny enough, it doesn't work when you
6:03drag samples in from
6:06Bitwig's browser. When you drag a sample
6:08in from external, it creates a sampler.
6:12So, we have to
6:15instantiate a sampler here. And now that
6:18this is done, we can
6:20drop the sample in here,
6:22uh connect it to the envelope,
6:28switch to the poly grid.
6:33That switch you believe
6:38Okay, mixing mouse. Um
6:40the most interesting mode for me here is
6:43texture,
6:44which is also a granular mode. I mean,
6:46we can control the speed,
6:48the the grains, and the motion, which is
6:52basically a chitter. It uh moves the the
6:54play head slightly back and forward
6:57in a random pattern so that it creates
7:01some uh yeah, chitter.
7:03That That switch you believe That switch
7:07you believe becomes your planet. That
7:12switch you believe
7:17becomes
7:20your
7:21planet.
7:24That
7:25switch
7:27you believe
7:30becomes
7:32your
7:34planet.
7:36Yeah, I mean, this is it's quite simple,
7:38but let's make it a bit bigger.
7:41It's quite simple, but the effect is
7:44quite powerful. Um the difficulty is
7:46only to find something
7:49uh kind of a sequence that then fits
7:52together with your track.
7:54If I want a little bit more control over
7:57the pitch, I mean, you can use
7:59automation in the sequencer,
8:01or you can also use modules in here like
8:04um
8:05for example, an LFO
8:07to control the speed. So, we
8:10hit this button, and the position
8:12freezes.
8:13Um
8:18Now, we can use this knob to scroll uh
8:21through the sample.
8:23And I want to
8:24automate this by applying the LFO.
8:29Okay, maybe I should go to bar.
8:34Let's go for two bars.
8:47Okay, now that I have this,
8:50I duplicate this so that the settings
8:52here are identical,
8:55and switch to a curve.
8:58Now, reset that curve.
9:03Get a division.
9:05Remove this point.
9:08So, this is the neutral position
9:10once we set this to bipolar.
9:15Okay, now
9:16map this to the pitch.
9:18I don't know, plus minus like
9:2124
9:22semitones should be enough.
9:25Um leave this smoothing on or off,
9:27doesn't really
9:29make a big difference.
9:31And now, the position of
9:34the LFO here is synchronized
9:37with uh
9:39the sample position.
9:41At least once I hit the note.
9:44Now, both LFOs have been retriggered,
9:47and they should be perfectly in sync.
9:53Which allows me, of course, to
9:56now
9:57paint my my pitch curve into
10:01this raster here.
10:02That's what That's
10:08That's what That's what you believe
10:17That's what you believe
10:22becomes your planet.
10:26That's what you believe
10:31becomes
10:32your
10:34planet.
10:37And of course, this uh can be done for
10:40uh all sorts of parameters we have here.
10:43And since we're on the grid, we can also
10:46uh begin to stack voices to get kind of
10:49a
10:49a thicker sound with more grains and a
10:52kind of a
10:54chorus-like effect.
10:56So, turn on stacking. Maybe well, two
10:58voices will do.
11:00And then we go here and apply a little
11:03bit of
11:06stack to the pitch.
11:08That's what you believe
11:13becomes
11:16That's what That's
11:20So, interesting. Let's grab pan up to
11:25spread this stuff out a little bit.
11:29So, this will
11:31pan one voice to the left and one voice
11:33to the right.
11:34That which you believe
11:39becomes your planet.
11:45Next,
11:49next we're going to create another audio
11:51track
11:52and we're going to do some chopping.
11:59Okay, we're using stretch here. Don't
12:02want to use or no, I want to use side
12:04click.
12:07Let's play it.
12:09That which you believe becomes your
12:13planet.
12:16Yep, that's good enough.
12:19Because when you cut things up, uh the
12:22stretching algorithms
12:24sometimes start crackling.
12:27I want to bounce it now in the state
12:31it is or maybe maybe stretch it a little
12:33bit further.
12:36Uh now disable looping so that it does
12:38not bounce it twice. Hold shift
12:42and drag and now it's it's bounced.
12:45That which you believe
12:48becomes your planet.
12:52Okay, now it becomes interesting.
12:57So, just a little tip here about uh
13:00tooling.
13:01They are here or you can use the
13:04uh associated uh key on the keyboard
13:07which are number one through five to
13:10select them. But,
13:12for example, if you don't want to change
13:15your tool permanently, you just press
13:18and hold.
13:20And now I press number five and hold it
13:22and it gives me the knife. I can work
13:24with it and as soon as I let go, it
13:27switches back to the
13:29previously selected tool.
13:31And also you can see here that we have
13:33now a division of 16th notes.
13:36It's actually set to adaptive, which
13:38means the grid will adapt to the zoom
13:41level when I zoom
13:44zoom out.
13:46Yeah, it will at some point switch to
13:48quarter notes.
13:49Kind of interesting that it never goes
13:51to eight notes.
13:54What we need now is 16 notes. And when I
13:57now hold
13:58the number five and also option on my
14:01keyboard,
14:03I can
14:05drag across the sample and it cuts it
14:07into equal pieces the size of what we
14:12have here.
14:13Okay, now that we have this,
14:16we're going to slice it further or
14:18actually no, bring in repeats by
14:20increasing the number here. I mean most
14:23of you know this feature.
14:25We're now repeating the audio bit in
14:28each 16th
14:30twice, thrice, four times.
14:33I'll probably have to do some fading to
14:35get rid of some clicks.
14:37That which you believe
14:40becomes
14:41Yeah, it's kind of cracklish, but uh
14:45can get rid of it by
14:48fading in and out a little bit.
14:50That which you believe
14:53becomes your planet.
14:56Well, it's not yet good enough. Let's
14:57increase this to four.
14:58That which you believe
15:02becomes your planet.
15:05Yeah, and now we have a really robotic
15:08voice. And on top of that,
15:10we have a change every 16th note, so
15:14this now feels quantized.
15:18But we also hear that some of the slices
15:21have become quite loud.
15:24Except well, not like this.
15:27But we can easy go to each individual
15:30sample
15:32or slice and adjust the volume.
15:45Okay. Now
15:48that we have the slices, we can also
15:50play with them. Let's move this
15:54out of the way a little bit and maybe
15:56repeat the sample here four times to get
15:59some sort of stutter effect.
16:03It's maybe not pronounced enough, so
16:08let's highlight the four pieces and fade
16:11them out.
16:20planet
16:24Get that out of the way.
16:41Yeah, or maybe
16:44we can fade backwards, fade in instead.
16:57Yeah, add some uh
17:00equalizer.
17:03Cut off the lows
17:06and delay.
17:27Well then last but not least, there is
17:29the vocoder.
17:34Vocoder
17:36but probably no, not on an instrument
17:39channel. Ah, it's an audio channel.
17:41Fine.
17:43Let's copy our original audio.
17:48So first let's remove all of my kind of
17:52default settings.
18:03So.
18:12Yeah, I think eight bands are fine.
18:17Now let's drop in a carrier. We're going
18:20to use a grid.
18:27And I really like using square waves
18:30because they
18:31can give the voice a really robotic
18:34feeling.
18:36And we have to mute
18:38the ADSR so that we have a constant
18:40signal.
18:42Let's reduce that to
18:48Okay, we have to return to 48 bands.
19:06And I can hear it's really interesting.
19:07It gives me this uh
19:10robotic
19:11feeling. And also when I start moving
19:16the pulse width.
19:18That's what you believe becomes your
19:22planet.
19:25That's what you believe.
19:28This channel is a bit too quiet. Oh, why
19:30is it so low?
19:32And now it's too loud.
19:34That's what you believe.
19:37That's what you believe becomes your
19:41planet.
19:43That's what you believe becomes your
19:49And of course, we can also play
19:50melodies. The only thing you have to do
19:52is convert this to a hybrid track.
19:56And now we can assign a MIDI input,
19:59record enable it.
20:02And I have to switch to play mode on my
20:05controller.
20:07See that the pads light up.
20:10That's what you believe becomes your
20:14planet.
20:21Maybe a low cut and
20:24delay plus and maybe a chorus.
20:29That's
20:32That's what you believe becomes your
20:36planet.
20:38That's what
20:39you believe becomes your planet.
20:45That's what
20:46And of course, we can uh
20:50enable multiple voices,
20:52but you have to re-enable the
20:55amplitude envelope then, or you won't
20:58hear anything.
20:59That's what you believe becomes your
21:03planet.
21:05That's what you believe becomes your
21:10planet.
21:13Or we'll go back to
21:16mono and instead do some voice stacking
21:22and apply the stack to the pitch.
21:27That's what you
21:29Or kind of even simpler,
21:34change this oscillator to
21:37I could have just switched it
21:40to a wavetable.
21:47That's what you believe becomes your
21:51planet.
21:53That's what you believe becomes your
21:57planet.
22:02Here we have uh built-in unison.
22:04That's what you believe becomes your
22:09planet.
22:11That's what you believe becomes your
22:15planet.
22:17That's what you That's what you believe.
22:21And of course we can now use all
22:26wavetables that we have at our
22:28disposal.
22:30Uh not all of them will sound good. You
22:31have to do some searching.
22:34Let's pick one at random.
22:40Just by looking at the shape.
22:41That's what you believe becomes your
22:46planet.
22:48That's what you believe
22:51becomes your planet.
22:55you believe becomes your planet.
23:01And of course we can go all the way. We
23:03can now add FM to this and
23:06what not. Vocoders are quite old, but in
23:09a way they never get old. They
23:11they just sound cool and you have so
23:13many possibilities, especially
23:15in Bitwig where you can uh
23:18choose your carrier, you can add wet
23:20effects. Uh it doesn't really matter
23:22whether they are in here or after. Just
23:25when you're in here, you can save them
23:26as part of the preset, which is
23:29helpful. You can also add the modulator
23:32in here,
23:33which means basically putting a sampler
23:35in here and
23:37then play the sample here. Uh if there's
23:39nothing
23:40audio will just be routed through and
23:43hit the carrier.
23:45So, now this uh wraps it up. I hope you
23:50enjoyed the video, or you learned
23:51something, you have some new ideas for
23:54your vocal processing. Please uh if you
23:56like the video, like it, subscribe, and
24:00uh see you next time.

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