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vocal work like BT

hey how do i get vocal work like BT?
i know its major vocoder work with possible autotune work but what synth do you use for the vocoder or what sound??
thanks, and also how does he get that massive delayed reverb stereo enhanced vocoded vocals??
lol, hopefully its pretty straight forward..
another example is = imogen deep - hide and seek (enmass remix) bt force of gravity, tiesto love comes again, markus schulz - without you near

imogen heap - hide and seek (enmass remix)

Randy and Eric (Enmass) just cut the vocal up from the original track, rather then working an accapella and chucking effects onto it. Imogen does all her own work apparently.

As for ur other questions, i cant really answer them other then to say that BT has used this ....

http://www.symbolicsound.com/cgi-bi...Company/WebHome

You get effects like BT's with about 10 years of production experience under your belt. You can attempt them however you like, but don't expect to get good results with a VST effect and a couple of knob turns (most of BT's more interesting effects are processed offline several times over).

If you're referring to the low-quality timestretch, you can approximate that with granular synthesis plugins (but again, don't expect it to be as good as what you're hearing in those tracks).

Hey. There are a ton of things going on in all of BTs vocal tracks. One key thing to note is that he uses chords with a vocoder as well as actual vocal harmonies he has recorded. A lot of his songs he has about 2 or 3 harmonies to go along with the main section of the vocals. He then has those going through a vocoder (morphoder from waves returns excellent results) with an ultra rich-in-harmonics carrier. You need to have a little bit of the dry vocal signal getting through for it to sound right and a little bit of the dry carrier getting through as well. A lot of expirimentation is needed to do anything like what BT does since thats all he ever does .

Cheers,
Zac

hey thanks alot darksword!
just wondering... i know for a vocoder you have the vocals and a synth sound under it.. any suggestions on what sound to use? ie) supersaw?? sine?

Hey. For the best carriers, definitely use a saw wave. The more harmonics the better. Using something like a sine wave or a triangle doesnt do a lot of good since they have no, or almost no harmonics to work with . A supersaw might work out pretty well but the internal carriers in vocoders such as Orange Vocoder and Morphoder use saw waves that have been run through a really crisp wave shaper (distortion) to make it sound really bright. Sometimes, running it then through a bitcrusher can give it even more crisp but I'd advise against that since that can also sometimes make it really hard to understand the vocals through the vocoder (but does sound good for percussion ). A quick and easy way to get a good carrier if you dont have Morphoder or Orange Vocoder or some other vocoder with really good internal carriers, if you have FM7, pick a really punch saw patch (like the eurosynth patch), go to the 'easy' tab across the top and turn up the brightness for it. Like I said before though, in the end, expirimentation always turns out to be the best solution .

Cheers,
Zac

Actually, if you have FM7, try using the vocal as either a carrier or an operator. You can get some very cool effects that way as well!

Hey Digi,

You mentioned that BT uses several offline processes. I know about the infamous reverse-reverb, do you have any idea what else he might be doing offline?

quote:

Originally posted by jojimbo1 Hey Digi, You mentioned that BT uses several offline processes. I know about the infamous reverse-reverb, do you have any idea what else he might be doing offline?

Most granular synthesis is done offline, or partially offline. Stutter edits are almost always done offline. Reverse delays as well as reverse reverbs, although those don't necessarily need to be done offline; multi-taps especially can be very CPU intensive in realtime. Pitch shifting (esp. multitap pitch shifting) is often done offline, as are pitch and/or tempo slides (I've used a fair number of those and they're almost impossible in real time). Vocoded signals are often recorded into audio and edited offline.

In general, anything that requires multiple passes of FX tends to be done offline. Often an effect will involve breaking a chunk of audio into smaller slices - this is for many effects, not just stutters. When you break something into slices you'll often need to do something to eliminate clicks and pops, like crossfades and reverb/delay. Then, afterwards, you might want to add some more effects, more slices, etc.

Think of it this way - many edits in professional tracks (at least with experimental producers like BT) have undergone many processes and passes, and in those cases, it's just not efficient or even possible sometimes to do them all in real-time. In my experience, I'd say that any edit requiring more than 3 effects and 1 splice is going to end up being done at least partially offline.

It'd be quite impossible to do it like BT.
First of all, as you one else mentioned u'd need at least 10 years of experience.
Second of all, most of his equipment is unique... A while ago he mentioned that a friend of his created a stutter software as well as some other things which he did not quite explain what it was .... everything was made just for him.
Thrid of all, He uses a program called Kima which is half software, half hardware. It costs like US$3000.

Hey. Another thing BT really likes to do is pitch shifting the vocals. A good example of this can be heard in Somnambulist. Very few pitch shifters (read: formant preserving pitch shifting) can do a similar chunky shift. Adobe does make a very good plugin that can do this same type of shifting and I'd recomend it to anyone wanting to pull off a similar effect. The thing about all the custom stuff, that may be true, I dont know, but you can do very similar stuff with the shit thats already out there. If he had custom software/hardware made, then its just to make the process easier. All it takes to do this stuff is tons of creativity and decent knowlege of what kind of plugins are out there .

Cheers,
Zac

Thanks Digi, that was really informative. Gave me a lot to read/research about.

I've always done everything realtime, so its good to broaded my horizons a bit.

I believe he's working on a book that'll explain his most complex production methods. The stutter edits as well as his time correcting technique in conjunction with unreal note values (64th and above). Also if you want a near impossible way of learning the ways of the Transeau then you could attend a seminar he does at like Berklee or some other place where he basically explains all his current production techniques, talks about all the beta plugins he has and stuff but it's almost impossible to get into one of those. I know of one technique he does that isn't just a bt thing and that's layering vocals, if you listen to his vocal samples in songs like Somnambulist he does an awesome job layering his vocals on top of JC's then fiddling with the pitch and then adding effects. If you do wanna hear some of those vocal samples then here's the remix pack...[[ LINK REMOVED ]]

If you're after a pitch shifter then the Waves UltraPitch-Shift (multitap) does a very nice job as well.

The bottom line is, effects like the ones you hear in BTs music are either the result of custom-programmed DSP (Kyma) or several layers and combinations of effects (Reverb, delay, flanger, phaser, lo-fi, compression, stereo expansion, granular resynthesis, and so on), and then after all that processing is done, the entire piece is bounced back to audio, spliced and reordered, and processed again.

And many people are probably thinking "but wait! It doesn't sound processed, it sounds very organic and natural". Yes, it does, and that's where it becomes an art form as opposed to a cookbook. I've been experimenting with this stuff for about 6 months now and have barely scratched the surface.

quote:

Originally posted by DigiNut You get effects like BT's with about 10 years of production experience under your belt. You can attempt them however you like, but don't expect to get good results with a VST effect and a couple of knob turns (most of BT's more interesting effects are processed offline several times over). If you're referring to the low-quality timestretch, you can approximate that with granular synthesis plugins (but again, don't expect it to be as good as what you're hearing in those tracks).

dood u r hilarious.....music SNOBBBBBBBBBB

quote:

Originally posted by girllovingtvibe dood u r hilarious.....music SNOBBBBBBBBBB

And you seem to be one of the c0r whores far from home...

let Digi be he's one of those who I respect here...

quote:

Originally posted by BOOsTER And you seem to be one of the c0r whores far from home... let Digi be he's one of those who I respect here...

LOL, don't you worry, she's a friend from the Tdot, I'm sure she meant it in the highest respect. Right Penny?

erm, actually her replies here in production forum were quite a bit ... uh oh...

though there was only 2 of them :P sorry...

cya

lol shes probably BT laughing at you.

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