Arturia VOCODER V User manual

USER MANUAL
_VOCODER V

DIRECTION
Frédéric Brun Kevin Molcard
DEVELOPMENT
Simon Conan
Geoffrey Gormond
Corentin Comte
Samuel Limier
Timothée Behety
Raynald Dantigny
Alexandre Adam
Baptiste Aubry
Yann Burrer
Markus Bollinger
Loris De Marco
Pierre-Lin Laneyrie
Cyril Lepinette
Antoine Moreau
Mathieu Nocenti
Marie Pauli
DESIGN
Baptiste Le Goff Florian Rameau Shaun Ellwood Morgan Perrier
SOUND DESIGN
Jean-Baptiste Arthus (lead)
Bastiaan Barth
Menno Hoomans
Maxime Dangles
Thibault Morel
Ed Ten Eyck
Simon Galiffet
Tom Hall
BETA TEST TEAM
David Birdwell
Gustavo Bravetti
Chuck Zwicky
Jeffrey M Cecil
Terry Marsden
Paul Beaudoin
Jay Janssen
Craig Anderton
George Ware
Chuck Capsis
Guillaume Hernandez-
Pagnier
Marco Correia 'KoshDukai'
Tony Flying Squirrel
Richard Courtel
Fernando Manuel
Rodrigues
Timothy Trifeletti
Mat Herbert
Max Ace
Peter Tomlinson
MANUAL
Craig ANDERTON (author)
Camille DALEMANS
Roger LYONS
Minoru KOIKE
Vincent LE HEN
Charlotte METAIS
Jose RENDON
Holger STEINBRINK
Jack VAN
© ARTURIA SA – 2020 – All rights reserved.
26 avenue Jean Kuntzmann
38330 Montbonnot-Saint-Martin
FRANCE
www.arturia.com
Information contained in this manual is subject to change without notice and does not
represent a commitment on the part of Arturia. The software described in this manual is
provided under the terms of a license agreement or non-disclosure agreement. The software
license agreement specifies the terms and conditions for its lawful use. No part of this
manual may be reproduced or transmitted in any form or by any purpose other than
purchaser’s personal use, without the express written permission of ARTURIA S.A.
All other products, logos or company names quoted in this manual are trademarks or
registered trademarks of their respective owners.
Product version: 1.0
Revision date: 8 December 2020

Thank you for purchasing Vocoder V!
This manual covers the features and operation of Arturia’s Vocoder V, whose design goal
was to be the most powerful and versatile virtual vocoder available today.
Be sure to register your software as soon as possible! When you purchased Vocoder V you
were sent a serial number and an unlock code by e-mail. These are required during the
online registration process.
Special Messages
Specifications Subject to Change:
The information contained in this manual is believed to be correct at the time of printing.
However, Arturia reserves the right to change or modify any of the specifications without
notice or obligation to update the hardware that has been purchased.
IMPORTANT:
The software, when used in combination with an amplifier, headphones or speakers, may
be able to produce sound levels that could cause permanent hearing loss. DO NOT operate
for long periods of time at a high level or at a level that is uncomfortable.
If you encounter any hearing loss or ringing in the ears, you should consult an audiologist.

Introduction
Congratulations on your purchase of Arturia's Vocoder V!
We’d like to thank you for purchasing Vocoder V. It expands on the vocoder tradition by
bringing it into the virtual world, but Vocoder V also provides capabilities, flexibility, and
sounds no hardware vocoder can approach.
Arturia has a passion for excellence, and Vocoder V is no exception. With Vocoder V,
vocoders are no longer only about "talking instruments." Feed in drums instead of voice, sing
into the built-in synthesizer, shift timbres, sequence samples through the vocoder, play it like
a conventional keyboard instrument, and even trigger the synthesizer with guitar solos - you
have never experienced a vocoder like this! We are confident that Vocoder V will provide you
with creative possibilities that will excite, inspire, and delight you.
Be sure to visit the www.arturia.com website for information about all of our other great
hardware and software instruments. They have become indispensable, inspiring tools for
musicians around the world.
Musically yours,
The Arturia team

Table Of Contents
1. Welcome to Vocoder V ............................................................................................................................................. 3
1.1. Iconic Sound, Modern Features .................................................................................................................................... 3
1.2. How Vocoders Work ............................................................................................................................................................ 4
2. Activation First Start .................................................................................................................................................. 5
2.1. System Requirements ........................................................................................................................................................ 5
2.1.1. Stand-Alone and Plug-In Modes.......................................................................................................................................................................... 6
2.2. Activate the Vocoder V License................................................................................................................................... 6
2.2.1. Installing the Arturia Software Center (ASC)............................................................................................................................................. 6
2.2.2. Activating Vocoder V ................................................................................................................................................................................................. 6
2.3. Initial Setup .............................................................................................................................................................................. 7
2.3.1. Stand-Alone Settings.................................................................................................................................................................................................. 7
2.4. Using Vocoder V as a Plug-In ...................................................................................................................................... 9
2.4.1. Supported DAWs ........................................................................................................................................................................................................... 9
2.4.2. Plug-In Behavior....................................................................................................................................................................................................... 10
3. Overview........................................................................................................................................................................... 11
3.1. The Advanced Panel........................................................................................................................................................... 11
3.1.1. Voice Input......................................................................................................................................................................................................................... 11
3.1.2. Sample Player.............................................................................................................................................................................................................. 12
3.1.3. Mods.................................................................................................................................................................................................................................... 13
3.1.4. Effects ................................................................................................................................................................................................................................ 13
3.2. Carrier Synthesizer ........................................................................................................................................................... 14
3.3. Vocoder ..................................................................................................................................................................................... 14
4. The User Interface .................................................................................................................................................... 15
4.1. High-Level Overview.......................................................................................................................................................... 15
4.2. The Upper Toolbar ............................................................................................................................................................. 16
4.2.1. The menu......................................................................................................................................................................................................................... 16
4.2.2. Browsing Presets ...................................................................................................................................................................................................... 18
4.2.3. Side Panel ...................................................................................................................................................................................................................... 19
4.3. The Lower Toolbar............................................................................................................................................................. 19
4.4. Side Panel................................................................................................................................................................................ 19
4.4.1. MIDI controller configuration........................................................................................................................................................................... 20
4.4.2. Assigning / Un-assigning controls................................................................................................................................................................. 21
4.4.3. Min / Max value sliders ......................................................................................................................................................................................... 21
4.4.4. Relative control option .......................................................................................................................................................................................... 22
4.4.5. Unassigning or "un-learning" a MIDI mapping .................................................................................................................................... 23
4.5. The Preset Browser in Detail ..................................................................................................................................... 24
4.5.1. Browse Presets With MIDI Controller.......................................................................................................................................................... 24
4.5.2. Playlists........................................................................................................................................................................................................................... 25
5. Voice page ..................................................................................................................................................................... 26
5.1. Voice Page Basics .............................................................................................................................................................. 26
5.2. Voice Input............................................................................................................................................................................. 26
5.2.1. Help...................................................................................................................................................................................................................................... 27
5.2.2. Gain and Threshold ................................................................................................................................................................................................. 27
5.2.3. Pitch Tracking ............................................................................................................................................................................................................. 28
5.3. Sample Player..................................................................................................................................................................... 29
5.3.1. Loading Samples....................................................................................................................................................................................................... 29
5.3.2. Playback Mode .......................................................................................................................................................................................................... 33
5.4. Editing Samples.................................................................................................................................................................. 36
5.4.1. Change the Order of Samples in the Chain ............................................................................................................................................ 36
5.4.2. Time-Stretch a Sample .......................................................................................................................................................................................... 37
5.4.3. Set Start and End Points....................................................................................................................................................................................... 37
5.4.4. Change Sample Gain (Level)............................................................................................................................................................................ 38
5.4.5. Sample Zoom In and Out................................................................................................................................................................................... 38
5.4.6. Looping Within the Sample ............................................................................................................................................................................... 39
5.4.7. Legato Mode ............................................................................................................................................................................................................... 40
5.5. Param EQ and Compressor...................................................................................................................................... 40
6. Carrier Synthesizer ................................................................................................................................................... 14
6.1. The Virtual Keyboard ........................................................................................................................................................ 41
6.1.1. Keys...................................................................................................................................................................................................................................... 41
6.1.2. Wheel Controllers ..................................................................................................................................................................................................... 42

6.1.3. Sample Player Trigger Keys .............................................................................................................................................................................. 42
6.2. VCOs .......................................................................................................................................................................................... 43
6.2.1. VCO 1 and VCO 2 Common Controls ........................................................................................................................................................... 43
6.2.2. VCO 1 and VCO 2 Unique Controls ............................................................................................................................................................... 43
6.3. Synthesizer Global Controls ....................................................................................................................................... 44
7. Vocoder Section.......................................................................................................................................................... 46
7.1. Input Section.......................................................................................................................................................................... 46
7.2. Envelope and Character Controls ........................................................................................................................... 47
7.3. Band Level Controls and Meters.............................................................................................................................. 48
7.4. High Frequency and Balance .................................................................................................................................... 49
7.5. Master Output Section ................................................................................................................................................... 50
7.6. Patch Bay................................................................................................................................................................................. 51
7.6.1. How to Use the Virtual Patch Cables............................................................................................................................................................. 51
7.6.2. Patch Bay Bypass ..................................................................................................................................................................................................... 51
7.6.3. Patch Bay Presets.................................................................................................................................................................................................... 52
7.7. Sample and Hold................................................................................................................................................................ 52
8. Modulations Section ............................................................................................................................................... 53
8.1. Modulation Overview ....................................................................................................................................................... 53
8.2. Envelope Follower ............................................................................................................................................................. 54
8.2.1. Envelope Follower Controls................................................................................................................................................................................. 54
8.3. LFO (Low-Frequency Oscillator) ............................................................................................................................. 55
8.3.1. LFO Controls ................................................................................................................................................................................................................. 55
8.4. Assign Section...................................................................................................................................................................... 56
8.4.1. Control Sources .......................................................................................................................................................................................................... 56
8.4.2. Applying Control Sources to Destinations................................................................................................................................................. 57
8.4.3. Assigning Modulation Amount......................................................................................................................................................................... 58
9. The Effects ..................................................................................................................................................................... 59
9.1. About the Vocoder V Effects........................................................................................................................................ 59
9.2. The Effects Panel............................................................................................................................................................... 59
9.3. Parallel and Serial Effects Routing ....................................................................................................................... 60
9.4. Common Slot Controls.................................................................................................................................................... 61
9.5. Each Effect in Depth ........................................................................................................................................................ 62
9.5.1. Reverb............................................................................................................................................................................................................................... 62
9.5.2. Delay ................................................................................................................................................................................................................................ 64
9.5.3. Chorus ............................................................................................................................................................................................................................. 66
9.5.4. Flanger ............................................................................................................................................................................................................................. 67
9.5.5. Phaser.............................................................................................................................................................................................................................. 68
9.5.6. Overdrive ....................................................................................................................................................................................................................... 69
9.5.7. Compressor.................................................................................................................................................................................................................. 70
9.5.8. BitCrusher....................................................................................................................................................................................................................... 72
9.5.9. Multi Filter ....................................................................................................................................................................................................................... 73
9.5.10. Param EQ .................................................................................................................................................................................................................... 74
9.5.11. Stereo Pan..................................................................................................................................................................................................................... 76
10. SOFTWARE LICENCE AGREEMENT............................................................................................................... 77

1. WELCOME TO VOCODER V
1.1. Iconic Sound, Modern Features
A vocoder analyzes the human voice and imparts those vocal qualities to synthesized
sounds. Although known mostly for making “talking instrument” and robot voice effects, the
vocoder (from “voice encoder”) had its origins almost a century ago at Bell Labs. The goal
was to improve the efficiency of telecommunications by reducing the bandwidth needed
to communicate speech. Later, during World War II, some of these same principles were
applied to a classified communications system.
The vocoder wasn’t used much in music until 1968, when Robert Moog developed a solid-
state vocoder. Since then, several companies have introduced hardware vocoders. Vocoder
V draws its inspiration from a variety of vocoders, including those considered “gold
standards” for classic vocoder effects.
The vocoder’s popularity started soaring in the 70s, and the effect has been used by artists
as diverse as Kraftwerk, Jean Michel Jarre, Neil Young, Phil Collins, Herbie Hancock, Daft
Punk, Michael Jackson, Coldplay, Red Hot Chili Peppers, and others. Vocoders have also
found a home in movies, games, and radio. Famous songs using vocoders include:
Kraftwerk - The Robots
Giorgio Moroder - E=MC²
Daft Punk - Robot Rock
Herbie Hancock - I Thought It Was You
Beastie Boys - Intergalactic
Grandmaster Flash & The Furious Five - Scorpio
Vocoders are typically either stand-alone devices used with an external synthesizer, or
built into keyboards. Software-based vocoders no longer need to incorporate expensive
hardware, so not only have they made vocoding more affordable, they can also add
features that would be difficult or impossible to implement with hardware.
When Arturia started designing Vocoder V, the object was not simply to produce “another
vocoder,” but to add a level of innovation, flexibility, and sound quality that took advantage
of Arturia’s decades of experience with synthesis, modulation, and effects.
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1.2. How Vocoders Work
Traditional vocoders have two inputs and one output. Both inputs need to receive audio, or
there is no effect. The two inputs are:
Modulator The usual input is speech from a microphone, although drums have also become
a popular modulation source. However, Vocoder V also includes a sampler player for playing
back up 12 different samples. These can include sound sources like drum loops, sound
effects, percussion, rhythm guitar, and more; you are not limited to vocal sounds.
Carrier The modulator modifies the carrier’s sound. Usually this is a sustained sound, like
a synthesizer pad, choir, string section, and the like. Vocoder V features a full-featured
synthesizer for the carrier. The vocoder impresses the modulator’s speech characteristics
onto the carrier, which is how the modulator makes the carrier “talk.”
With analog vocoders, the main elements are filter banks, VCAs, and envelope followers.
Vocoder V recreates these elements digitally, but the principle of operation is the same
A vocoder contains two identical filter banks that cover specific bands throughout the audio
spectrum, somewhat like a graphic equalizer. Vocoder V’s filter bank uses 16 filters to create
16 frequency bands.
The carrier goes through one filter bank, where each filter output feeds a DCA (digitally
controlled amplifier, the digital equivalent of an analog synthesizer’s VCA). Each DCA
therefore controls a carrier band’s level.
The modulator goes through an identical filter bank, but each filter feeds an envelope
follower that controls the corresponding carrier filter’s level. For example, speech produces
energy at different frequencies, so the modulator envelope followers control the carrier filter
VCAs that correspond to speech frequencies. Or, if a kick drum is the modulator, then only
the carrier’s low-frequency filters will be triggered to let audio through.
Another vocoding element is adding noise selectively, which improves intelligibility with
vocal effects. The noise can reproduce fricatives (consonants that result from friction in the
mouth, like “s” or “f”). Vocoder V includes a way to adjust the amount of noise injected in
response to fricatives, which makes vocal effects much clearer.
Remember that vocoders are not only useful with voice—you can obtain exciting, rhythmic
effects by using a modulation source like drums with any sustained carrier source, such
as guitar power chords. The chords become more interestingly rhythmically, and sync with
the drums. Ultimately, Vocoder V can do everything traditional vocoders do—but also offers
many new capabilities.
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2. ACTIVATION FIRST START
2.1. System Requirements
Vocoder V works with computers that meet these minimum specifications.
• Operating System: Windows 8.1 or later (64-bit), macOS 10.13 or later
• 4 GB RAM
• 2.5 GHz CPU
• 2 GB free hard disk space
• OpenGL 2.0 compatible GPU
To find a Windows computer’s specs, right-click on This PC and choose Properties, or open
the Control Panel then choose System and Security > System.
To find a macOS computer’s specs, choose About this Mac from the Apple menu.
Please note that these are the minimum specifications. Most DAWs require at least 8 GB of
RAM for stable operation with typical projects..
Arturia - Us r Manual Vocod r V - Activation First Start 5

2.1.1. Stand-Alone and Plug-In Modes
Stand-alone mode is available with both Windows and MacOS. Only one Vocoder V instance
can be open at a time in stand-alone mode.
As a plug-in, Vocoder V is compatible within most 64-bit DAWs as an Audio Unit, AAX, VST
2.4, or VST3 instrument. With DAWs that cannot route audio to virtual instrument plug-ins,
Vocoder V’s Sampler Player is available, but not its real-time live input feature (see section
2.3.2.1 for supported DAWs).
2.2. Activate the Vocoder V License
After installing Vocoder V, please activate your software license using the Arturia Software
Center program. If it’s already installed, skip to section 2.2.2.
2.2.1. Installing the Arturia Software Center (ASC)
Go to the web page Arturia Downloads and Manuals at https://www.arturia.com/support/
downloads&manuals
After locating the Arturia Software Center at the top of the downloads list, download the
installer that’s compatible with your operating system (Windows or macOS), and then
follow the installation instructions.
2.2.2. Activating Vocoder V
Launch the Arturia Software Center (ASC), and log into your Arturia account. Scroll down to
the My Products section, and then click the Vocode V Activate button.
Now you’re ready to add fantastic vocoder effects—and more!—to your music.
6 Arturia - Us r Manual Vocod r V - Activation First Start

2.3. Initial Setup
To access the settings for file management, interface resizing, audio and MIDI settings for
stand-alone operation, and help, click on the three lines in the upper left corner.
2.3.1. Stand-Alone Settings
In stand-alone mode, you need to specify how Vocoder V interacts with your computer’s
audio and MIDI input and outputs. The audio input sends an audio signal to serve as the
vocoder’s modulator, while the output receives Vocoder V’s audio output. MIDI triggers notes
in Vocoder V’s internal synthesizer.
Choose Audio Midi Settings from the menu shown above to make the appropriate audio and
MIDI assignments.
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2.3.1.1. Stand-Alone Audio Settings
Device Choose your computer’s audio driver protocol in the top Device drop-down menu.
The Mac uses Core Audio. Windows uses ASIO, DirectSound, or Windows Audio. ASIO
provides the best performance with Windows, but requires an external ASIO-compatible
audio interface.
In the lower Device drop-down menu, choose your audio interface, such as the Arturia
AudioFuse Studio or AudioFuse USB interface.
For the remaining options, Mac and Windows work similarly.
Output Channels To hear Vocoder V’s audio output, select an output channel from your
audio interface that connects to a monitoring system. The number of outputs you’ll see
depends on your interface; this field may show your interface’s name. Note that some audio
interfaces use proprietary mixer applications that must be set correctly to hear outputs and
receive inputs. Please refer to your interface’s documentation for information on its mixer
application (if any).
Input Channels Select an input channel from your audio interface, such as a microphone
input, to provide an audio signal to Vocoder V’s modulator.
♪: If you are using two different interfaces in stand-alone mode, like a laptop’s microphone for the
input and a USB interface for the output, you will need to aggregate the two interfaces so that they look
like a single interface to the computer. For Windows, use Windows native drivers (Windows Audio or
DirectSound) as the Device in Audio Midi settings, and all available inputs and outputs will show in the
Audio Midi settings. For the Mac, open Audio MIDI Setup (under Utilities), and then choose the Audio
Devices window. Click the little + sign in the lower left corner; an Aggregate Device box appears, and
you’ll see a list of available I/O. Check the interfaces you want to aggregate, and check “resample” for
the secondary interface or interfaces. Now all input and output options will be available to Vocoder V.
For more information, see the in-app tutorials.
Buffer Size and Sample Rate Vocoder V will read these parameter values from your
audio interface. With some interfaces, changing these values in Vocoder V will change the
parameters values in the interface, and vice-versa. With other interfaces, Vocoder V will
change the parameter values, but you will need to close and re-open the interface’s control
panel to see these changes. To see the audio interface’s control panel, click on Show Control
Panel.
The Buffer Size trades off CPU load with the delay between playing a note on your keyboard
and hearing it. This delay is called latency, as listed in ms to the right of the buffer size.
Lower buffer sizes give less latency, but too low a buffer can produce pops, clicks, or
audio distortion. A buffer setting of 256 or 128 samples should work properly with any
modern computer running a project of average complexity. Projects with multiple virtual
instruments, CPU-hungry reverbs, and lots of plug-ins may require increasing the buffer
size. However, remember that sound travels at about 1/3 meter (1 foot) per millisecond. So,
a 3 ms delay is only about the same amount of delay as sitting a meter away from your
monitor speakers.
Sample Rate is traditionally 44.1 kHz for CD quality, 48 kHz for use with video, and 96 kHz for
“high-resolution” audio. 96 kHz operation requires more CPU power, and is rarely necessary
with most music production.
Test Tone Click Play to send a test tone and verify that the output is going to your monitoring
system.
8 Arturia - Us r Manual Vocod r V - Activation First Start

2.3.1.2. MIDI Settings
MIDI Devices Choose the MIDI input from your computer’s MIDI interface. Unlike audio, you
can choose several MIDI inputs (for example, a keyboard and a separate control surface). In
stand-alone mode, Vocoder V defaults to MIDI messages coming in on any channel number,
so there’s no need to set a particular channel. However, you can choose a specific channel,
as described in chapter 10 on MIDI control.
Tempo Vocoder V can synchronize various parameters to tempo. In stand-alone mode,
choose a tempo that corresponds to the song tempo. When used as a plug-in, the tempo
follows the host tempo automatically.
2.4. Using Vocoder V as a Plug-In
Whether your DAW supports VST, AU, or AAX, different DAWs have different ways of
handling a plug-in like Vocoder V, because it has characteristics of both a virtual instrument
and a signal processor. Fortunately, Vocoder V knows if you’re using a supported DAW.
In Vocoder V’s Voice Input section, click the Help button for instructions on how to insert
Vocoder V in your specific DAW. You can also review the ways of inserting Vocoder V for
different DAWs in the Tutorial, “Learning the Instrument.” Access tutorials by clicking on the
Gear icon in the interface’s upper right.
2.4.1. Supported DAWs
Vocoder V officially supports the following DAWs.
• Ableton Live 9/10/11
• Bitwig 3
• Steinberg Cubase 9/10/11
• Apple Logic Pro X
• Native Instruments Maschine 2
• Avid Pro Tools 2019-2020
• Cockos Reaper
• Reason Studios Reason
• Cakewalk by BandLab
The following DAWs do not allow audio routing into external instruments. Therefore, you
cannot feed audio into Vocoder V or use the Voice Input section. However, you can trigger
samples for playback with the Sample Player.
• PreSonus Studio One 5
• FL Studio
Arturia - Us r Manual Vocod r V - Activation First Start 9

2.4.2. Plug-In Behavior
When used as a plug-in with a host DAW, Vocoder V’s interface and settings work the same
way as stand-alone mode, with the following differences.
• Audio and MIDI interface settings aren’t needed. Vocoder V adopts whatever
settings the host uses.
• Tempo synchronizes to the host tempo instead of the tempo in Settings.
• Vocoder V responds to parameter automation from your DAW as well as external
MIDI control.
• Unlike stand-alone mode, multiple Vocoder V instances can be open in a host.
• Because Vocoder V is an instrument plug-in, you can add audio effect plug-ins
after it to further process the sound.
10 Arturia - Us r Manual Vocod r V - Activation First Start

3. OVERVIEW
Vocoder V’s design generally follows a vocoder’s workflow. Typically, you’ll choose a signal
source with the Voice or Sample Player to modulate the sound of a Synthesizer (such
as giving the synthesizer vocal qualities that sound like it’s talking), and then manipulate
the vocoder controls to further refine the sound. In traditional vocoders, the Voice section
is called the modulator, and the Synthesizer is called the carrier. Vocoder V’s sections
correspond to this workflow, with separate sections for the Voice/Sample Player section, the
Vocoder section itself, and the carrier Synthesizer.
A separate flyout to the right offers system and MIDI settings, as well as tutorials.
The toolbar at the top of the interface provides (from left to right) a menu for file
management, setup, and help, as accessed by clicking on the three lines at the upper left.
The middle section accesses the Library and preset Browser. Additional buttons to the right
choose between the Voice or Sample Player input; the Advanced button shows or hides the
Advanced panel, and the Gear icon opens the flyout.
3.1. The Advanced Panel
Although it’s easy to use Vocoder V by just calling up presets, there are many ways to
customize its operation to create your own signature sound. The Advanced Panel has three
sections: Voice, Modulations, and Effects. Voice has two sub-sections.
3.1.1. Voice Input
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This accepts and adjusts the voice input, which is the most common modulator source
for vocoders. However, it can accept other audio as well, such as drums. There’s also a
pitch tracking feature, which detects the pitch of monophonic signal sources (like voice) and
triggers corresponding notes in the synthesizer. This allows you to “sing” a synthesizer part.
Pitch tracking can work with other monophonic audio sources, like single-note guitar lines
(good for creating guitar synthesizer effects), flute, and the like.
A parametric EQ and compressor, located at the output of this section, processes the input
prior to passing it along to the main vocoder section.
3.1.2. Sample Player
The Sample Player offers several useful features. Instead of needing to always rely on real-
time audio input, you can store 12 important phrases, drum fills, and even complete vocal
parts, then use these to provide an audio input to the vocoder section. (The samples can be
stereo, but they will be summed to mono prior to being vocoded.) Use a keyboard or other
source of MIDI control signals to trigger samples, or step through them sequentially with
newly played notes. Samples can also be time-stretched to fit particular rhythmic values,
and looped. Note that the Sample Player and Voice Input can’t be used simultaneously.
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3.1.3. Mods
The Mods section provides control signals that you can route to several destinations in the
vocoder and synthesizer sections.
An envelope follower derives a modulation signal from the input. LFO modulation, with
several waveforms and tempo sync, is also available. Finally, a general-purpose Assign
section can route other modulation sources, like velocity, pressure, mod wheel, and more, to
various modulation destinations. All of these signals can be scaled, positively or negatively,
to ensure the desired amount of modulation.
3.1.4. Effects
The effects are post-vocoder. Because they’re accessed in the Advanced Panel, you can
see them and edit them while also being able to see and edit the vocoder and synthesizer
sections.
The 11 effects have a level of quality that’s equal to or better than what’s in most DAWs, so a
single Vocoder V patch will likely contain all the processing you’ll need. Three effects can be
active simultaneously, with a series or parallel connection.
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3.2. Carrier Synthesizer
The Voice Input or Sampler Player interacts with Vocoder V’s Carrier Synthesizer to create
the vocoder effect. This two-oscillator synthesizer includes four waveforms, FM synthesis,
an ensemble effect, hard sync, and glide (monophonic and polyphonic). To simplify
vocoding, a Chord feature allows playing any of several chords, or a custom chord, from a
single note. Additionally, a hold option can hold a chord or single note indefinitely, while you
modulate it from the input signal.
In addition to playing synthesizer notes suitable for modulation, the keyboard also reserves
the lowest octave for calling up the Sample Player’s 12 samples (when the Sample Player is
active, and in Keyboard mode).
3.3. Vocoder
In this section, the modulation source, either the Voice input or Sampler Player, join with the
carrier synthesizer to create the vocoding effect. 16 bands are sufficient to create intelligible
vocals, but that’s not all. Each band has its own level control for tailoring the vocoded
sound’s frequency response, and a patch bay lets modulator frequency bands control
different carrier frequency bands—for example, a low-frequency input sound could trigger a
high-frequency synthesizer band. Attack and Release controls provide amplitude envelope
control over the vocoder’s bands, while the Shift and Width controls alter the timbre in
unique ways.
The Vocoder can also mix in hiss and buzz to increase intelligibility with vocal effects.
Additional controls adjust overall level, the balance of dry and vocoded sounds, filter
frequency shift, and sample-and-hold functionality to “freeze” particular sounds.
For diagnostic purposes, you can solo the individual Voice and Synth sounds feeding the
vocoder section by clicking the headphone buttons. Note that these settings are not saved
with presets, or the vocoder's current state.
♪: Soloing the synthesizer lets you play it like a standard synthesizer, without vocoding effects.
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4. THE USER INTERFACE
In this chapter we’ll start with an overview of the Vocoder V user interface. This will give you
an idea of how the instrument is organized and where to find things. The point here is to
establish how the interface is composed at a high level.
4.1. High-Level Overview
The Vocoder V is neatly subdivided into three sections.
1. The Upper Toolbar: This is where you handle administrative tasks such as
saving, loading and browsing presets, editing various setup and configuration
parameters, adjusting MIDI mappings and accessing advanced features.
2. The Main Panel: Here is where you will likely spend most of your time when
working with Vocoder V. It contains a detailed reproduction of the Vocoder V
panel and features.
3. The Lower Toolbar: This section provides quick access to a number of important
parameters and useful bits of information such as CPU usage, panic button and
undo history.
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4.2. The Upper Toolbar
The toolbar that runs along the top of the instrument provides access to many useful
features including the Vocoder V menu, preset browsing features, access to the "advanced"
Screen mode and lastly the gear button which opens the side panel giving access to various
MIDI functions including global MIDI channel and mapping features.
4.2.1. The menu
Clicking the Vocoder V box at the top-left corner opens a drop-down menu and lets you
access ten important features.
•New Preset: This option creates a new preset with default settings on all
parameters. It is a good place to start if you would like to create a new sound
from scratch.
•Save Preset: This option will overwrite the currently loaded preset with any
changes you have made. If you would like to save the current preset under a
different name, use the "Save As…" option below.
•Save Preset As… This lets you save your preset under a different name. Clicking
this option reveals a window where you can name your preset and enter
information about it.
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