Voice Processor Preset: Voice Modeling - Korg PA1X User Manual

Voice Processor Preset: Voice Modeling

Available as an option – see "Voice Processor: The optional Pitch
Correction and Voice Modeling modules" on page 252.
Note: The Voice Modeling module is alternative to the Harmony
module. They cannot be both active at the same time. Go to the
Preset page (Voice Processor Preset section) to select the Voice Mod-
eling option and make parameters in this page editable.
This page allows you to enable/disable, and edit, the Voice Mod-
eling parameters.
Voice Modeling is essentially realtime resynthesis and reshaping
of the human voice. It offers a variety of ways in which to process
the vocal input, including the ability to add breath, growl, rasp,
head and chest resonance, inflection or vibrato.
The Voice Modeling can enhance or transform a voice. For
example, a "thin" vocal into a "throaty" one, a "male" into a
"female". Complete control is possible through various modeling
parameters of the voice: Resonance, Spectral, Growl and Vibrato.
Note: You can use the Voice Modeled (VM) Lead voice together
with the unprocessed Lead voice, by turning on the "Lead" parame-
ter in the Preset page (Voice Processor Preset section).
Resonance
Resonance is how we model different vocal tract dimensions,
and apply them to incoming vocals. Your favorite vocalists all
have unique pitch and glottal characteristics. Resonance changes
the tonal makeup of the sound by moving vocal formants, so
that the Voice Modeled (VM) Lead voice sounds quite different
than the original. Formants are the harmonic combinations that
help make our voices unique.
The styles have been given names that are easily identified when
assembling presets. The names may be associated with a particu-
lar genre of music or sound. This way, you can associate a certain
modification with a name, similar to how we describe colors in a
picture with names.
Some of the Resonance styles contain a built-in octave shift,
either up or down. This is to accommodate a male singing in the
female register, with a feminine timbre, or for a female to simu-
late a male singing voice. These Resonance styles enable you to
sing in a natural range and still hit the notes of your opposite
gender comfortably; they are Style settings Transmute.
The Amt (Amount) parameter allows you to dial in the relative
strength of this effect on your VM voice; 0% for no effect, 100%
for pure Resonance.
Voice Processor Preset: Voice Modeling
Spectral
The Spectral control is a set of equalizer response curves
intended to complement the Resonance selections. This equal-
ization is different than those controlled via EQ in the Voice Pro-
cessor Setup section. The Spectral styles reflect the natural
equalization equivalent to the native control a singer has over his
or her own voice. These modeled EQ curves are applied to the
Voice Modeling (VM) voice. These styles may be used in con-
junction with the resonances, or purely as additional tonal con-
trol over the VM voice.
The Amt (Amount) parameter allows you to dial in the relative
strength of this effect on your VM voice; 0% for no effect, 100%
for maximum effect.
Growl
Growl refers to the combination of complex sounds the human
voice can make to change non-pitched aspects of the vocal
sound. Consider these examples: the cool breathy sound of a Jazz
or Folk singer, the legendary warm grumble of Blues from the
Mississippi Delta, the brazen sizzle of Rock and Alternative Rock
or the growl of 60's Soul.
The Growl settings contain three types of effects: Breathiness,
Rasp, and Growl, arranged in various combinations in the style
library. All of these are set to create percussive and expressive
textures in addition to the sung note. Experimentation is the key
to finding styles that work in your scenario, or are difficult to
create in your scenario. The last few entries contain extreme and
unreal Growl styles – no longer need you burn out your throat
night after night. Growl styles are created using the following
parameters:
Breathiness factors in 'virtual air' that gives the effect of being
close to a sensitive condenser microphone. This intimate sound
may be used in some Jazz styles or for pop ballads, although its
application is not limited to these. Breathiness may also be used
to give a 'tired' or 'strained' sound, where the singer may be
pushing a lot of air. You can also dial in 'whisper' or like textures
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to simulate a specific singer's style.
Rasp is an effect where the breath pushed through the throat
cavity goes beyond mere breathiness, into a harsh sizzle or grind.
These sounds are a combination of hard breath and friction in
the larynx, which are difficult for many singers to reproduce and
are very damaging on the vocal cords. You can use Rasp on your
normal voice and achieve a grittier, rough delivery, sending a
clean voice into an overdriven frenzy. In many forms of heavy
rock music, this is an expressive and elusive performance com-
ponent.
Growl describes another way that we can achieve Blues, Rock, or
Rhythm & Blues sounds with our normal voice. Growl refers to a
type of grind or friction of the larynx and epiglottis, usually
heard in Soul, R&B, and Blues music. Some of the styles are sen-
sitive to the dynamics of the lead voice, meaning that when you
raise the volume of a syllable, the Voice Processor 'growls' on that
syllable.
As with the other Voice Modeling effects, the Amt (Amount)
parameter controls the level of effect incorporated into the sig-
nal.
Global edit mode 247
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