6 – Get Creative

Up to this point, the instructions in this manual have focused on how to use the TA-1VP for its primary purpose: creating traditionally gorgeous vocal tracks. But don’t let that limit you. We’ve purposely given the controls wide ranges to allow you to move beyond what might be considered useful for traditional processing. Try some of the following:

Using the Auto-Tune Module

••

Auto-Tune can be used to simulate other singing

 

styles. Many ethnic styles feature exceptional (almost

 

unbelievable) intonation during fast, melismatic

 

passages. Setting the Speed parameter faster than

 

normal (less than 5), and setting the SCALE to an

 

appropriately exotic mode (for example, G A A# C#

 

D D# F#) can produce exactly this result (if the singer

 

improvises with sufficient global panache.)

••

You can also create ‘impossible’ effects (like very fast

 

octave leaps) by creating a Scale of only one note and

 

setting the Speed medium fast (~5). Using a foot pedal,

 

enter bypass mode before beginning the performance,

 

then engage Auto-Tune while singing an interval of

 

a fifth or more from the Scale note, and then re-enter

 

Bypass Mode to continue with the normal performance.

 

This effect can sound quite like the abruptly beautiful

 

vocal ornaments of the Pygmies.

••

Don’t be afraid to use just as little Auto-Tune as you

 

need. It’s quite possible that a performer has really

 

quite good intonation, but fails consistently on one or

 

two notes. In this case, use Auto-Tune’s note Bypass

 

function to bypass all the notes except the one(s)

 

which need the retuning. This way, the Auto-Tune is

 

working in a completely transparent mode, and only

 

when needed.

••

Speed = 0 = “Cher effect.”

Using Auto-Tune in Double Track Mode

•• Use Auto-Tune to create the double track, but instead of using a scale that will produce the traditional unison double track, create a more constrained scale that includes some, but not all, of the notes in the main track’s melody. Improvising in this mode can produce heterophonic effects (the effect of two players and instruments playing the ‘same’ melody, which actually varies with some different pitch material). The more constrained your Auto-Tune scale is, the more variation there will be between the two performances.

•• To set up a drone or ambient aura behind a melodic performance, use Double Track Mode in stereo with an extremely constrained scale (for example, in the key of

C:C, F, G, A#). Process the Auto-Tune created double track through a lush, long reverb. The effect produced

will be a steady backdrop of chanting tones behind the main melodic material.

Using the Microphone Modeler Module

•• Select a Source Mic that doesn’t match your physical mic. In fact, try one whose characteristics are as different as possible from your physical mic.

•• Select Bypass for the Source Mic to combine the sound of your physical mic with the sound of the modeled mic.

•• Extreme Proximity settings can give strange, but interesting effects. Try wildly differing settings in the Source and Model sections.

•• Dynamically change Proximity settings during a performance.

•• Overdrive the Tube Warmth section for some serious gruzz.

34 TASCAM TA-1VP