Lastly, change the NOTE SOURCE from Auto to MIDI, giving us complete control over the pitch. The preset has the pitch set artificially high so turn the synthesizer 2 TUNE knob down to the middle. Let’s fix this so we can control it with MIDI.
The voice should sound throaty and robust now. Turn the FORMANT FILTER’s Q up to around 1 o’clock for a little more focus. The formant is a little high and squeaky, so turn it down to about 10 o’clock. We’re getting closer to our new talk box sound. (We can ignore modulators 1(M1) and 2(M2), as they’re being used on synthesizer 1, which we have turned off.) If you press play on your transport, you should hear a dry, static vocal with no pitch fluctuations. Go into modulators 3 (M3) and 4 (M4) and turn down the level all the way to the left. OVox has a robust modulation section but we’re going to turn it off it for now, as this preset is using it to affect pitch so as to bring the vocal sample in line with the original Daft Punk song. We can always dial it back in if needed at the mix stage. OVox has some lovely mix-ready effects but we’re after a sound that’s a little more general, so let’s turn off the reverb for now. Let’s turn our attention to the effects and modulations sections next. While this is undoubtedly interesting, it isn’t very useful in a broad sense, so let’s take care of that. (Be sure to mute the audio track in your DAW as we only want to hear the processed vocal.) It should be immediately apparent that there are two sounds happening in this preset: the talk box-style effect on the vocal and a bassline, which is being generated via note information triggered by the vocal. Press play on the transport and you will hear the vocal sample being processed by OVox.
The gate will clamp down on the signal below a certain dB level, so fine-tune the settings until you get a clean signal with no audible noise between words. Adjust gate and gain settings as necessary for a clean, strong signal. Be sure to also select the SideChain option for the Voice signal on the OVox. Load an instance of OVox onto an audio track and select the Around The World preset from the drop-down menu. Here’s some audio of the loop we’ve created both before and after we add Waves OVox Vocal ReSynthesis. Although the talk box was originally created for guitarists, Roger Troutman of Zapp pioneered its use with synthesizers, first with a Minimoog and later with a Yamaha DX100. By mouthing words into a microphone, the user is able to modulate the carrier signal to sound like it’s singing. A talk box is a stompbox-style effect with a small speaker inside that pushes the carrier signal through a clear plastic tube and into the mouth of the vocalist. Check out Kraftwerk’s “Autobahn” and Dynamix II’s “Just Give The DJ A Break” for some classic vocoder action. Vocoders are all over popular music from the 1970s and ‘80s. Think of the voice as giving shape to the synthesizer sound. A vocoder combines a voice (called a modulator when processing vocals) and uses this signal to shape the carrier signal, usually a synthesizer.
To get that effect, we’re going to reverse-engineer the preset and see how we can arrive at something a little more general.īefore we get into the details, though, let’s talk a little about what a talk box is. We’re aiming for a talk box sound that can be used in a number of different situations. The OVox actually already has a preset called “Around The World” but it’s a little too specific for everyday use. In this tutorial, we’re going to use it to create a talk box vocal effect, much like the one in Daft Punk’s classic “Around The World.” Waves’ new OVox Vocal ReSynthesis plugin is a powerful vocal processor that can do everything from robotic vocoder effects to full-on harmonies and beyond.
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