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TC Electronic TC Helicon VoiceOne Voice Pitch and Modeling Tool Processor
The TC-Helicon VoiceOne is designed for the creative producer/engineer who wants to create fresh, innovative, outstanding vocal tracks. We believe VoiceOne has the best quality voice shifting of any product — realtime or nonrealtime — and this combines with award-winning VoiceModeling™ technology (now in its second generation) to make VoiceOne an amazing vocal creativity tool. At its core, VoiceOne is built around a newly developed, vocal-trained pitch-recognition algorithm — an industry first. Its superior pitch recognition supports all of the following features: 4 Kinds of Voice Pitch Shifting In the PureShift, full-DSP mode, you can shift using Instrumental, Formant Corrected, and HybridShift™ (set the percentage of instrument vs. formant corrected). In the regular operating mode, all shifting is done through the VoiceModeling™ section. It's useful having all of these options depending on the kind of voice you are working with and the sound you want. FlexTime™ Time Elasticity Algorithm This allows you to control vocal phrase stretching/shrinking either directly or automatically, with up to 500ms of freedom. For example, the VoiceOne can be used to take a sustained vowel and sustain it longer than the singer does, then gradually reduce the delay in the phrase as time goes on in order to catch up with the singer — super for doubling or rephrasing. Second Generation VoiceModeling™ Enhance or even transform vocals using algorithms including Vibrato, Breath, Growl/Rasp, Inflection, Spectral, and Resonance. Advanced Pitch Correction and Repitching VoiceOne offers advanced automatic and manual forms of pitch correction, however, it goes much further by allowing you full control to repitch melodies to any pitch. Intelligent Harmonization Algorithms Naturally you can control it via MIDI, by internal scale, or custom write your own scale. The sonic quality of the shifted voice is outstanding. In combination with modeling you can create amazing backing vocals. Pitch to MIDI conversion Full MIDI implementation 100 Factory and 50 User presets Full DSP, "PureShift" mode for low latency/extended performance General Info About Voice Modeling Parameters A single click will activate/deactivate the effect. Double clicking on the key will enter the Edit menu of the VM effect algorithm. Lit key LED indicates active effect block. As all human voices are unique in their character, every input voice will be affected differently by VoiceOne. The Style parameter in each category is a collection of different Voice Modeling algorithms. Each one has its own unique application. You choose a style to work with, and use the other parameters in the category to manipulate the style further. Inflection Key Parameters The inflection effect can alter the inflection of your vocals in different ways. You can add various types of "scooping" effects to the onsets of a lead vocal for instance, but inflection is also the place where you can find the humanization and rephrasing tools that will help you give a harmony line its own identity or create extremely natural doubling effect. Inflection provides tools such as portamento, pitch and timing randomization (using our FlexTime™ algorithm) as well as up/down scoop models. Vibrato Key Parameters Vibrato is a pitch and amplitude effect that singers often use in their delivery of a piece of music. It is a combination of various characteristics of the voice being repeatedly altered in a oscillating fashion. Every singer's vibrato is unique. The Vibrato Styles are based on the vibratos of real singers. The Vibrato setting names reflect the style of the vocals from which they were derived. Spectral Key Parameters The Spectral styles reflect the natural equalization control a singer has over his or her own voice. Breath Key Parameters The Breath styles add breathiness to the vocal. This varies from a whisper, all the way to a rough, raspy sound, such as is found in hard rock and "alternative" rock music. Some styles are sensitive to the dynamics of the incoming vocal, meaning that they can be "played" by varying the level of what is sung into Voice One. This is also known as self control. Growl Key Parameters Growl in VoiceModeling mimics friction activity between the larynx and epiglottis regions of the vocal tract. This is a 'character' phenomenon used in high energy rock, blues, or old soul music for example. The Growl effect also models the changes in the vocal tract shape that growling requires, altering the vocal resonance characteristics. Some styles are sensitive to the dynamics of the incoming vocal, meaning that the effect can be controlled by the volume of what is sung into Voice One. This is also know as selfcontrol. Resonance Key Parameters Resonance styles allow you to control the harmonic content that forms the identity of the incoming voice and change it to yield a new character. Some styles change the voice to a heavier, darker chest resonance, while others lighten the sound to more of a head and throat resonance. Some styles also change the voice in a more complex way that depends on the input voice. COR Scale - Scale Type The selections in this category are: Major, Minor, Other, Custom and MIDI. Other scales come from the predefined list below. Their notes based on the root you select appear on the KEYBOARD in the display. Custom scales are entered via the COR Custom parameter below. When the MIDI scale type is selected, the Voice One corrects to MIDI notes supplied from a MIDI controller device. Scale types: Major, Minor š Natural, Minor š Harmonic, Minor - Ascending Melodic, Chromatic, Dorian, Phrygian, Lydian, Mixolydian, Locrian, Half-Whole Diminished, Whole-Half Diminished, Altered, Neopolitan, Minor, Neopolitan Major, Enigmatic, Whole tone, Leading Whole-Tone, Overtone, Augmented, Pentatonic š Major, Pentatonic š Minor, Pentatonic š Dominant, Blues, BeBop (Maj7), BeBop (dominant), BeBop (minor), Hungarian Minor, Hungarian Major, Hungarian Gypsy, Prometheus, HiraJoshi, Iwato, Kumoi, Hawaiian, Kokin, Spanish, Egyptian, Ritusen, Pelog, Pelog2, Javanese Pelog, Oriental, Gypsy, Arabian, Hindu, Persian, Chinese, Custom, MIDI. SHI Formant Voice Formants Edit allows the user to set the formant character of the voice. Values above 0 extend the vocal tract for a more masculine or mature sound, and a negative value shortens the vocal tract for a thinner, more youthful sound. SHI Hybrid Hybrid Shifter Ratio controls the pitch shifting algorithm. At 0%, the pitch shifter corrects the formants when transposing the voice, preserving the character of the original sound. At 100%, the algorithm does not preserve the formants, so they are shifted the same amount as the pitch, creating the typical "chipmunk" effect when performing a large upshift. In many cases, smaller shifts are best at a high percentage of non-formant corrected shifting. When set to Auto, VoiceOne adjusts this parameter dynamically in order to achieve the best naturalness at any shift amount. PureShiftœ PureShiftœ is a special full DSP operating mode. When this mode is set to on, only the pitch shifting effects (Pitch, Correct, Inflection and Vibrato) are available. By bypassing the non-pitch oriented VoiceModelingœ blocks, we allocate more processing power to the pitch shifting function and thus achieve even higher quality and lower latency shifting. Two parameters become available in this mode. VoiceOne FlexTimeœ Doubling VoiceOne FlexTimeœ is the world's only voice optimized implementation of real-time variable time-stretching. This technology lets you subtly rephrase your vocal (randomly or manually) leading to incredibly natural doubling effects. You can also go nuts and radically re-improvise your vocal phrasing. Mix it Yourself The output of VoiceOne is always 100% wet although VoiceOne provides a second dry output which can be automatically delay-compensated based on your needs. The easiest way to accomplish great doubling is to mix the wet and dry outputs of the VoiceOne. This way, you'll never have to slip your tracks later. Inflection FlexTimeœ finds its home under the VoiceOne Inflection menu. You‰ll quickly get used to the notion of Inflection being home to all sorts of useful naturalization effects. To save you time, there are several great doubling styles included. Experiment with each style, setting the Inflection amount to about 50, and then adjusting it to suit your taste. Flextime Delay Compensation As you‰ve probably realized by now, time as we perceive it goes in one direction only...Forward. Since Flextimeœ allows you to seamlessly rephrase your vocal in either direction (ahead or behind), by the very laws of the universe, we must start with some delay, and we must not slow down so much that our output vocal would have to be happening before we actually produced the input! VoiceOne allows you to easily add extra delay to the dry output so that the wet signal (doubled voice) will be on average, automatically aligned. This saves you the time of having to calculate and slip your tracks in an external audio sequencer after the fact (and possibly after your inspiration goes south). With VoiceOne you can hear your FlexTimeœ Doubling in real-time. The FlexTimeœ Controls The following 3 controls allow you to tweak the supplied styles to your own needs. Time Randomization (INF TimRnd) You can use all or none of the allocated "Time Compensation Buffer" (see below) for randomizing the phrasing of your vocal. For example, if you have 200ms of Time Buffer allocated, setting TimRnd to 50% will fluctuate the timing of the output vocal by up to 100ms in either direction (centered around the dry output). Time Delay (INF TimDly) If you are using a MIDI sequencer or an external CC Controller, you can manually control the delay of the output vocal. It will be centered around the dry output vocal when TimDly reaches half of your allocated time buffer. Time Compensation Buffer (INF TimBuf) The more buffer you allocate (up to 600ms), the more range you will have available to add phrase randomization. With a full 600ms allocated and 100% time randomization set, the result will sound more like 2 singers improvising the same melody but with very different phrasings. With a smaller amount of time randomization, you may just find the sweet spot you are looking for. The down side of increasing this buffer is that you are effectively adding delay to the box (in order to compensate for the possibility of going backward in time). This will effect your live performances. As a rule of thumb, allocate just enough so that when TimRnd is set to 100%, you‰ve got the most doubling you‰ll need for your preset. For most doubling applications, you shouldn‰t need more than 100ms. By increasing this buffer, you also limit the amount of manual time delay you can add using the TimDly control (as described above). This is because the VoiceOne has a hard limit of 600ms total delay, and if you use up all 600ms of allocated buffer for randomization, you will have none left for manual control. You might also notice that though TimRnd and TimBuf are audibly seamless as you change them, TimBuf causes some clicking on the dry path as you change it. TimBuf is not meant to be changed in real-time. You should set it up on a per-preset basis, and then leave it alone after that. Mix it Yourself The VoiceOne is a 100% wet box. If you want to sing along with a generated harmony line in real-time, you will have to take care of the mixing externally. Either mix your pre-VoiceOne dry signal with the post-VoiceOne generated harmony/corrected/modeling voice and slip your tracks later, or mix with the dry output of the VoiceOne which is specially compensated when using Flextimeœ doubling effects. Static Shift Harmony As simple as it gets. The VoiceOne will apply a constant shift based on the offset in cents that you supply. Don't forget that you can control all UI parameters via MIDI, including the shift offset! Intelligent Shifting TC-Helicon is rooted in a wealth of harmony knowledge thanks to its connection with IVL Technologies. IVL has been working closely with professional musicians for decades, and over that time has developed proven methods for generating great sounding harmonies. VoiceOne brings harmony a step further. VoiceOne allows you to specify exactly how each note you sing becomes translated into a resulting harmony note. We call this translation a "shift map". Pitch Corrected Harmonies? With VoiceOne it's easy to pitch correct your harmony voice. The harder you apply correction, the more of a "stepped" feel you can achieve. With the pitch correction effect enabled, the shift map input notes are filtered by the correction settings. Multi-Tracking Your Harmony Lines With VoiceOne, life is simple when tracking harmony lines into your multi-track audio sequencer. Simply play your dry lead into the box while recording the output alongside. To add another harmony part, simply adjust the harmony/naturalization settings and record a new track with the same dry lead track input. VoiceOne provides a wide array of funkifying and naturalizing effects, not to mention Voice Modeling, enabling you to individualize each harmony voice to your heart's content. You will also appreciate the fact that VoiceOne has amazingly low latency, especially in PureShift mode. The exact numbers are published in the manual. Flextimeœ Doubling and Harmony Once you've got your harmony line suited to your needs, flip over to your inflection menu and select a doubling style. Scroll down to the TimBuf parameter. It shows you how much latency will be added to the dry path of the VoiceOne. The TimRnd parameter will randomly rephrase (time stretch) your harmony voice so that on average, it's centered around the dry output vocal (hence the need for extra delay). No need to slip your tracks now; simply record the mix of the dry and wet VoiceOne outputs for amazingly realistic doubled harmonies! TC Helicon VoiceOne Voice Pitch and Modeling Specifications• Digital Inputs and Outputs• Connectors: RCA Phono (S/PDIF) • Formats: S/PDIF (24 bit) • EIAJ CP-340 • IEC 958 • Output Dither: HPF/TPDF dither 24/20/16/8-bit • Sample Rates: 44.1 kHz • 48 kHz • Frequency Response DIO: DC to 23.9 kHz ± 0.01 dB @ 48 kHz • Analog Inputs • Connectors: XLR • balanced • Impedance • Bal/Unbal: 21 kOhm/13 kOhm • Max. Input Level: +24 dBu • Min. Input Level for 0 dBFS: 0 dBu • Sensitivity: @ 12 dB headroom: -12 dBu to +12 dBu • A to D Conversion: 24-bit • 128x oversampling bitstream • A to D Delay: 0.65 ms/0.70 ms @ 48 kHz/44.1 kHz • Dynamic Range: 100 dB typ • 20 Hz - 20 kHz • THD: typ Analog Outputs • Connectors: XLR • balanced • Impedance Bal./Unbal.: 40 Ohm • Max. Output Level: +20 dBu (balanced) • Output Ranges: Balanced: 20/14/8/2 dBu • D to A Conversion: 24 bit • 128x oversampling bitstream • D to A Delay: 0.63 ms/0.68 ms @ 48 kHz/44.1 kHz • Dynamic Range: 104 dB typ • 20 Hz to 20 kHz • THD: typ Note: Due to continuous development and standardization all specifications are subject to change without notice.
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