User Manual

7
AVOX Evo Processing Guidelines
While it might seem to be convenient to
consolidate all of the AVOX Evo functions in one
huge integrated plug-in, some of the AVOX Evo
functions use quite a bit of processing power.
By organizing them as separate plug-ins, you
can choose to instantiate only those you need
for each particular vocal track, thereby using only
as much of your computer’s DSP power as you
absolutely need.
While it’s not likely that you’ll be using all ten plug-
ins on every track, it is likely that you’ll often be
using more than one. When that’s the case, keep
the following in mind:
General Guidelines
•
In general, you should progress from the
cleanest possible source vocal through
successive stages of processing. Harmony
Engine Evo, THROAT Evo, ARTICULATOR
Evo, MUTATOR Evo, ASPIRE Evo, DUO Evo
and CHOIR Evo in particular are designed to
process pitched monophonic voices and will
function much more effectively with clean
input signals.
•
If a track requires de-essing, use SYBIL Evo as
the first of the AVOX Evo plug-ins.
•
Next in line would be one of the “Voice
Creation/Modification” plug-ins, i.e., THROAT
Evo, MUTATOR Evo and/or ASPIRE Evo.
•
Once you’ve tweaked the voice exactly as you
want it, you can double, multiply, or harmonize
it with DUO Evo, CHOIR Evo or Harmony
Engine Evo.
•
Finally, WARM and PUNCH Evo work well
with pretty much any input, so they would
typically be the last of the AVOX Evo plug-ins in
the chain.
•
Effects like reverb and conventional chorus
or flanging should typically be applied after
processing by the desired AVOX Evo plug-ins.
Special Cases
•
While you will usually choose between
DUO Evo or CHOIR Evo, you can use them
together for a really huge vocal section. Assign
DUO Evo to your track and pan the original
and doubled voices to opposite tracks. Then
assign separate instances of CHOIR Evo
to each of the two tracks. Humongous!
•
If you will be using Harmony Engine Evo
to generate harmonies from a single vocal
line, start with SYBIL Evo (if necessary)
and then THROAT Evo and then feed
its output to Harmony Engine Evo.
•
If you have a vocal with problematic vibrato
(either too much or too little), you can use
DUO Evo for vibrato modification. Assign
DUO Evo to the track and use only the
doubled output. Set all parameters to
their minimum effect and use the Vibrato
function to adjust the performance’s vibrato
depth. See Chapter 5 for more details.
•
For maximum control of the timbre of
doubled voices (at the cost of increased CPU
requirements), assign DUO Evo to your vocal
and pan the original and doubled voices to
opposite tracks. Then assign an independent
instance of THROAT Evo to each part and
create a unique timbre for each voice.
But all that being said, always feel free to ignore
any of the above suggestions. The AVOX Evo
tools offer entirely new realms of creative
possibilities. There is no wrong way.
Now on to the details.