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One of the really cool things you can do with the EVOC 20 is vocode other sources other than just voice. You can vocode drums, get really cool results. So let's explore that. So I am going to go ahead and pull in a drum track from somewhere, so we will mute our Nothing To Say voice. And if we go to the Media tab here and go to the Apple loops, I have selected All Drums as the filter. Then there's this 2-Step Flux Beat here, so I will just pull that in and see what that's like. Okay, so let's audition. Let's check it out.
(music playing) Cool, so I am listening more for the rhythmic pattern of it rather than the sounds because we are going to vocode it, so it's not going to sound like the original, but the rhythmic pattern will be the same. So what I am going to do is set the output of this to No Output, because we don't want to actually hear this in our range. Okay, so there we go, and then go back to the EVOC_20 and open it up and use the Side Chain input here and select 2-Step Flux Beat because that's what we want to vocode.
Cool! So then the next thing I want to do is make sure that our signal is set to vocoder, because that's what we want to monitor in here, and now I am going to hit play and then I press the key on the keyboard. (music playing) Hear the beat is vocoded. So if I up the number of bands, it's going to be a little bit more higher resolution. You can hear it's a little bit more accurate-sounding. (music playing) I can play different pitches on here.
Then I can adjust our Side Chain analysis input envelope. So if I want to give us a longer release, you can hear everything is going to sustain more. I'll make this short, make this all a bit tighter. And if I want to bring in some of the characteristic of the original drums, what I can do is bring up the Noise Oscillator level. (music playing) Actually, you can increase that quite a bit to taste to get a good balance.
If I adjust the color of the noise to focus more on the higher end of the spectrum, so this high-pass filter noise here-- There we go. That sounds pretty natural. And when I have got my low-pass filter cutoff all the way open like it is, what I can do is increase the Resonance, and that's going to boost the high frequencies because our cutoff point is in the high frequency range and this will create a little bump in that area. (music playing) Then if we want to have some fun with it, we can do the formant stretching, make it more of a narrow sound, and then use the Formant Shift to sweep it around.
And of course this formant shifting process can be done with the shift LFO here. So let's set that to happen every quarter note. We will decrease. I just want it to be a more of a subtle thing. (music playing) And we will really notice a more of increase in the Resonance too. (music playing) May be that's too extreme, so let's bring that down. So now we have got our vocoded drums. As you can see, it's just endless. You can explore this and get all kinds of fun, interesting results.
So I highly recommend trying all kinds of sources and see what sounds good vocoding. In the next video, I want to show you a musical example that has a number of EVOC 20s. Some are acting just as a synthesizer, others are acting as a vocoder, but you can get a sense of the variety of sounds you can get with it.
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