VocalSynth 2 Help Documentation - VocalSynth 2 Help Documentation

May 2024 · 79 minute read
iZotope VocalSynth

VocalSynth 2 includes a number of new features and workflow enhancements. The following guide highlights the key areas of the interface:



Overview

VocalSynth is designed to be inserted on a vocal track and offers different input modes to determine how it applies processing to your vocal.

VocalSynth relies on two input signals to process a vocal, a modulator and a carrier input.

  • Modulator: The modulator (voice/speech) is the audio from the track VocalSynth is inserted on. The modulator imparts spectral characteristics on the carrier signal.
  • Carrier: The carrier signal takes on spectral characteristics of the modulator and is further modified by the processing parameters in the different modules. The carrier directly influences the processed (wet) output signal of VocalSynth. The source of the carrier signal is different depending on the global mode you have selected, see the mode descriptions below for more information.
  • Changing Modes

    You can change the currently selected mode by clicking on the mode button in the top bar of the interface:

    In the mode selection screen, select a mode and click “Accept” to change to the selected mode. You can exit the mode selection screen without changing modes by clicking the “Cancel” button.

    The following sections outline how the different Global Modes in VocalSynth 2 work:

    Auto Mode

    When Auto mode is selected, the incoming audio serves as the source for the modulator and the carrier.

    VocalSynth listens to the incoming audio and detects pitch information based on the range selected in the Pitch controls area. The pitch information it detects informs the notes played by the internal synth engine. The notes played by the synth can be further customized by adjusting the auto voice parameters in the Voicing panel.

    No special configuration is needed to process your vocal in Auto Mode. As long as the vocal track VocalSynth is inserted on contains audio, you will hear the effect.

    Auto Mode is ideal for adding textural effects to your vocal. Not a keyboard player? Not using MIDI in your session? Auto mode may be the best option for manipulating your vocal.

    MIDI Mode

    MIDI Mode allows you to play harmonies into VocalSynth to create interesting vocal effects tailored to the musical structure of your song.

    When MIDI mode is selected, the modulator signal is the incoming audio from the track VocalSynth is inserted on.

    The carrier input is based on MIDI information from a connected MIDI keyboard or MIDI clip in your session. The MIDI notes received by VocalSynth tell the internal synth engine what notes to play.

    You can choose between Mono or Poly mode and adjust Glide time amount (Mono mode only) in the Voicing panel.

    Need help configuring MIDI mode?

    Configuring MIDI mode can vary depending on your DAW. For detailed setup instructions, check out the DAW Setup chapter.

    Sidechain Mode

    Routing non-traditional sources (a guitar or synthesizer, for example) to the sidechain input of VocalSynth when operating in Sidechain mode can create some interesting experimental sounds.

    Sidechain mode bypasses the internal synthesizers and routes the audio signal from the selected sidechain input into VocalSynth. The audio routed into VocalSynth’s sidechain input will be modulated by your vocal track, allowing you to make any audio source “talk”.

    When Sidechain mode is selected, the modulator signal is the incoming audio from the track VocalSynth is inserted on. The audio input from a configured sidechain source is treated as the carrier.

    Sidechain Mode Limitations

    Not all VocalSynth features are available in Sidechain mode. The following controls are disabled in Sidechain Mode:

    Need help setting up Sidechain mode?

    Configuring Sidechain mode can vary depending on the DAW you are using. For detailed setup instructions, check out the DAW Setup chapter.



    Overview

    VocalSynth offers an X/Y pad controller and output effects/mixer section for enhanced control of the processing applied to your vocal. In addition to these controls, an output meter and two visualization options allow you to monitor processing activity in different ways.

    XY View

    The X/Y pad controller can be accessed by selecting the X/Y button in the center of the interface.

    You can assign parameters to the x-axis by selecting them from the “X” dropdown menu. Moving the X/Y pad node horizontally will increase or decrease the selected parameter’s value. The left edge of the X/Y pad represents the minimum value of the control, the right edge represents the maximum value.

    You can assign parameters to the y-axis by selecting them from the “Y” dropdown menu. Moving the X/Y pad node vertically will increase or decrease the selected parameter’s value. The bottom edge of the X/Y pad represents the minimum value of the parameter, the top edge represents the maximum value.

    The following parameters can be assigned to either axis of the X/Y pad controller:

    X/Y Params
    Biovox BreathCompuvox BatsDistort DrivePolyvox CharacterTalkbox Drive
    Biovox ClarityCompuvox BitsDistort MixPolyvox FormantTalkbox Formant
    Biovox LvlCompuvox BytesDistort TonePolyvox HumanizeTalkbox Lvl
    Biovox NasalCompuvox LvlFilter FreqPolyvox LvlTalkbox Speaker
    Biovox ShiftDelay FeedbackFilter MixRing Mod DepthTransform Mix
    Chorus DepthDelay MixFilter ResRing Mod Freq/TimeTransform Width
    Chorus MixDelay TimeLvl (Dry/Corrected)Ring Mod LFOVocoder Lvl
    Chorus RateDelay WidthOutput MixRing Mod MixVocoder Scale
    Chorus Width-Shred Mix-Vocoder Shift

    Meter View

    A vocal that sounds good deserves to look good too. VocalSynth 2 comes with a brand new way to visualize your vocal. If you prefer the Wave Meter from VocalSynth 1, you can select it from the Meter dropdown menu in the Options window.

    ANEMONE

    The anemone meter displays visual information for each module and allows you to control module level amounts by clicking and dragging on the associated node (B = Biovox, V = Vocoder, C = Compuvox, T = Talkbox, P = Polyvox). If a module is disabled, the associated node and visualization will be hidden. The shape of the visualization for each module changes based on MFCC (Mel Frequency Cepstral Coefficients) calculations.

    WAVE METER

    The wave meter displays frequency spectrum information based on the output of VocalSynth.

    How do I get the Wave meter to show up?

    Output

    MIX

    Adjusts the balance between the processed (wet) and unprocessed (dry, pre-FX) signals.

    GATE

    Adjusts the Gate threshold level. The Gate detection occurs on the input signal level, gating is applied to the wet output signal before effects chain processing. In other words, if the input signal level falls below the Gate threshold level, gating will be applied to the wet (processed) signal before it is processed by the effects chain.

    PAN

    Adjusts the stereo pan position of the output signal.

    WIDTH

    Adjusts the amount of stereo widening or narrowing effect applied to the output of VocalSynth. At -100 this will narrow the apparent stereo width of the output so that it is effectively mono. At +100 this effect will exaggerate the stereo image width of the output signal.

    LVL

    Applies a clean gain offset amount to the output signal. Clip indicators appear when the output of the plug-in is clipping. You can clear the clip indicator lights by clicking on them after stopping playback.



    Overview

    The Pitch and Voicing control tabs allow you to adjust pitch detection and correction parameters, dry voice gain, and synth voice parameters.

    Pitch

    REGISTER

    Controls how VocalSynth 2 detects and analyzes incoming vocal data. There are three Register settings to choose from: LOW, MID, HIGH.

    Tip

    Auto Mode & Register

    When VocalSynth 2 is in Auto mode, the Register control will effect how the pitch tracking interacts with the oscillators. If the Register is set to High and you’re singing Low, the oscillators in the Compuvox, Vocoder, or Talkbox modules won’t be able to follow your vocal effectively.

    LVL

    Adjusts the dry input/pitch corrected signal level.

    ENABLE CORRECTION

    Enables/disables pitch correction processing.

    SCALE TYPE

    There are two methods for selecting the scale type used for pitch correction: KEY and CUSTOM.

    SPEED

    Determines how quickly your incoming vocals will be snapped to any particular note. Speed ranges from 0 to 100 ms. Values closer to 0 ms achieve robotic, immediate pitch snapping, where values higher than 50 ms obtain more natural and transparent results.

    STRENGTH

    Controls how closely the pitch correction will pull your voice to the correct frequency. Lower strength values may not perfectly correct a pitch, but will lessen any tuning issues. This tends to sound more natural, but if you’re after the more robotic sound, you’ll want Strength turned up.

    Voicing

    There are two global modes that allow you to control aspects of the internal synthesizer voices in VocalSynth 2: Auto mode and MIDI mode. When Sidechain mode is selected, the internal synthesizers are bypassed and all Voicing controls are disabled. Read more about the global different input modes in the Global Modes chapter.

    AUTO MODE VOICING

    INTERVAL

    Defines an interval for each of the 3 auto voices. This interval is how far away, diatonically, the new harmony will be from the root note of the musical key. The musical key is defined in the Pitch control panel (which doesn’t have to be enabled).

    LVL

    Adjusts the level of the auto generated voices sent to the modules for processing.

    MIDI MODE VOICING

    MONO

    Short for monophonic. Allows only one pitch to be played at a time, but playing notes consecutively will not retrigger the internal envelopes.

    POLY

    Short for polyphonic. Allows multiple pitches to be played at once (known as polyphony) like chords with lines or melodies that might have overlapping voices.

    GLIDE

    Adjusts the portamento speed when transistioning from one note to another (Mono Mode only).



    Overview

    Inspired by articulatory synthesis, Biovox offers tools for altering physiological qualities of a vocal. The module estimates a vocal tract shape from the incoming audio and allows you to effectively manipulate the vocal tract length and shape using just a few intuitive controls. In addition to adjusting properties of the vocal tract, you can control and blend vowel sounds using the vowel pad and even impose vocal imperfections such as nasality and breathiness on your vocal. Biovox is an innovative suite of tools for sculpting formants, tone, and the overall vocal aesthetic.

    Controls

    ENABLE

    Enables/disables Biovox module processing.

    CLARITY

    Controls the amount of filter modulation applied to the signal. At lower values, more of the synth signal is present which allows Biovox to exhibit a playable synth character. Lower values also result in less intelligibility.

    SHIFT

    Alters vocal tract length to effectively shift the formants of the processed vocal higher or deeper. Positive values result in higher, chipmunk-like sounds. Negative values produce a deep, monster-like sound.

    NASAL

    Simulates changes to the soft palate to introduce a more nasal quality in the processed vocal.

    BREATH

    Mixes in a breathy, whisper-like character to the processed audio. At the minimum value, no breathiness is added to the signal. At the maximum value, Biovox will output only the breathy signal.

    LVL

    Controls the output level of the Biovox module.

    Note

    SYNTH PRESET SELECTOR

    Displays the currently selected synth preset name and allows you to change the synth preset without opening the advanced view. Clicking on the preset name display will open the synth preset list. Clicking on the left and right arrow buttons allows you to quickly load different synth presets. You can modify synth parameters and save new synth presets in the advanced view.

    ADVANCED VIEW BUTTON

    You can open the Advanced View window by clicking on the mixer button at the bottom of the module’s main panel:

    Advanced View

    The Biovox Advanced View includes:

    Advanced View: Vowel

    The Vowel chart is modeled after the official International Phonetic Alphabet Vowel Chart that maps vowels according to a physical location on the tongue. The Vowel chart controller can be used to impart the sound of a particular vowel on the processed signal by moving a node to different locations on the chart.

    By default, the node is positioned in the center of the chart, resulting in no vowel blend.

    Double-click to reset

    Double-clicking on the node will return it to the default position in the center of the chart.

    Dragging the node toward the outer boundaries of the chart will impart more of the nearest indicated vowel(s) to the processed audio.

    When the node is positioned at an edge of the chart, the vowel blend is at the maximum amount and only the nearest vowel(s) will be audible in the processed output.

    Advanced View: Synth

    When Auto Mode or MIDI Mode is selected, you can control the oscillators and modulation settings for the notes being played into the Biovox module synth engine.

    Sidechain mode disables synth controls

    When Sidechain mode is selected, the sidechain input signal replaces the module synth engine as the carrier signal. Synth parameters are disabled in all modules when Sidechain is selected as the global mode.

    SYNTH PRESETS

    Modules that include synth parameters in the advanced view allow for synth presets to be saved and recalled.

    LOAD PRESETS

    Select a preset from the dropdown menu to load the saved synth parameter values in the current module.

    Note

    You can also quickly change synth presets without opening the advanced view by clicking on the left/right arrow buttons in the module main panel.

    SAVE PRESETS

    Click on the floppy disk button next to the preset dropdown menu to save a new Synth preset. Type a name in the text field and hit the enter/return key to save the preset.

    OSC 1

    NAMEDESCRIPTION
    ENABLEEnables/disables Osc 1.
    WAVEFORMSelects the waveform shape.
    GAINAdjusts the level of Osc 1.
    PITCH: Coarse TuneTunes Osc 1 in coarse increments. (Semitones)
    PITCH: Fine TuneTunes Osc 1 in fine increments. (Cents)
    PITCH: MODAdjusts the amount of LFO modulation applied to Osc 1’s pitch.
    SHAPEMorphs the waveform shape.
    SHAPE: MODAdjusts the amount of LFO modulation applied to the waveform shape.

    The following table outlines how each shape is affected by modulation:

    ShapeModulation Behavior
    SAWModifies the pulse width of the saw wave.
    SQUAREModifies the pulse width of the square wave.
    SYNC SAWThis shape simulates two synchronized saw oscillators. Modulating shape will modify the pitch ratio between the two saw oscillators.
    TRIANGLEMorphs the triangle wave into a saw wave shape.
    SAWSSimulates a swarm of seven saw waves. Modulating shape will modify the detune amount between the saw waves.

    OSC 2

    NAMEDESCRIPTION
    ENABLEEnables/disables Osc 2.
    WAVEFORMSelects the waveform shape.
    GAINAdjusts the level of Osc 2.
    PITCH: Coarse TuneTunes Osc 2 in coarse increments. (Semitones)
    PITCH: Fine TuneTunes Osc 2 in fine increments. (Cents)
    PITCH: MODAdjusts the amount of LFO modulation applied to Osc 2’s pitch.
    SHAPEMorphs the waveform shape.
    SHAPE: MODAdjusts the amount of LFO modulation applied to the waveform shape.

    The following table outlines how each shape is affected by modulation:

    ShapeModulation Behavior
    SAWModifies the pulse width of the saw wave.
    SQUAREModifies the pulse width of the square wave.
    SYNC SAWThis shape simulates two synchronized saw oscillators. Modulating shape will modify the pitch ratio between the two saw oscillators.
    TRIANGLEMorphs the triangle wave into a saw wave shape.
    SAWSSimulates a swarm of seven saw waves. Modulating shape will modify the detune amount between the saw waves.

    NOISE

    NAMEDESCRIPTION
    ENABLEEnables/disables the Noise oscillator.
    GAINAdjusts the level of Noise oscillator.
    LFO/PITCHSelects the modulation source used by the Crush Mod control.
    CRUSHAdjusts the amount of aliasing distortion applied to the noise oscillator. At the maximum value, the Noise oscillator will output white noise.
    MODAdjusts the amount of modulation applied to the Crush parameter. The modulation source is determined by the LFO or Pitch selection to the left of the Crush knob. This Mod parameter allows for bidirectional modulation.

    LFO MOD SOURCE

    These parameters define the waveshape and speed of the LFO modulation source. All Mod knobs in the current synth view (except for the Crush Mod control, which can toggle between LFO or Pitch modulation sources) use this LFO as their modulation source.

    NAMEDESCRIPTION
    SHAPESelects the low frequency oscillator waveform shape.
    RATEAdjusts the speed of the low frequency oscillator.

    Advanced View: Mix

    Adjusts stereo pan position and pass filter controls of the module’s output signal.

    PAN

    Controls the stereo pan position of the module’s output signal.

    FILTER

    Adjusts the center frequencies of high-pass and low-pass filters applied to the module’s output signal. Clicking and dragging on a node will adjust the center frequency of that filter. Clicking and dragging in the space below the two nodes will move both nodes at the same time.



    Overview

    As with a lot of today’s musical technologies, the vocoder (short for Voice Encoder) began life as a completely non-musical, utilitarian piece of electronic equipment. A vocoder relies on two signals, a carrier (synthesizer) and a modulator (usually a voice). Both of the incoming signals are split into a number of frequency bands. The amplitude of the modulator signal in each individual band is then used to control the amplitude of the corresponding bands of the carrier signal. This has the auditory effect of mapping the frequency characteristics of the modulator onto the carrier signal as amplitude changes in each of the frequency bands, resulting in what we hear as talking synthesizers.

    VocalSynth 2 allows for detailed manipulation of the Vocoder frequency bands and carrier synth parameters in the Advanced View.

    Controls

    ENABLE

    Turns Vocoder module processing on and off.

    MODE

    The Vocoder has three different modes which alter number of frequency bands used in both the modulator (voice) and carrier (instrument) input. You can adjust the gain and pan of the frequency bands by modifying the Bands controller in the Vocoder advanced view.

    SHIFT

    Alters the amount of frequency shift applied to each vocoder frequency band. Adjusting the Shift amount results in changes to the pitched timbre of the processed signal. Positive values result in brighter timbre but may reduce lower frequency presence in the processed signal. Negative values result in a darker sounding timbre, but may reduce higher frequency presence in the processed signal.

    SCALE

    Adjusts how quickly the vocoder responds to changing vowel sounds. Higher values may increase the articulation of the synthesized output, where lower values may sacrifice intelligibility for softer-sounding, pad-style result.

    LVL

    Controls the output level of the Vocoder module.

    Note

    SYNTH PRESET SELECTOR

    Displays the currently selected synth preset name and allows you to change the synth preset without opening the advanced view. Clicking on the preset name display will open the synth preset list. Clicking on the left and right arrow buttons allows you to quickly load different synth presets. You can modify synth parameters and save new synth presets in the advanced view.

    ADVANCED VIEW BUTTON

    You can open the Advanced View window by clicking on the mixer button at the bottom of the module’s main panel:

    Advanced View

    The Vocoder Advanced View includes:

    Advanced View: Bands

    Displays a bar for each Vocoder frequency band control. The currently selected view (Vol or Pan) determines what the bars control. The number of frequency bars displayed in the bands view is determined by the currently selected vocoder Mode.

    VOL

    When selected, adjusting a band control will modify the volume of the associated frequency band.

    PAN

    When selected, adjusting a band control will modify the stereo pan of the associated frequency band.

    RESET

    Sets controls in the currently selected band processing view to their factory default values.

    Advanced View: Synth

    When Auto Mode or MIDI Mode is selected, you can control the oscillators and modulation settings for the notes being played into the Vocoder module synth engine.

    Sidechain mode disables synth controls

    When Sidechain mode is selected, the sidechain input signal replaces the module synth engine as the carrier signal. Synth parameters are disabled in all modules when Sidechain is selected as the global mode.

    SYNTH PRESETS

    Modules that include synth parameters in the advanced view allow for synth presets to be saved and recalled.

    LOAD PRESETS

    Select a preset from the dropdown menu to load the saved synth parameter values in the current module.

    Note

    You can also quickly change synth presets without opening the advanced view by clicking on the left/right arrow buttons in the module main panel.

    SAVE PRESETS

    Click on the floppy disk button next to the preset dropdown menu to save a new Synth preset. Type a name in the text field and hit the enter/return key to save the preset.

    OSC 1

    NAMEDESCRIPTION
    ENABLEEnables/disables Osc 1.
    WAVEFORMSelects the waveform shape.
    GAINAdjusts the level of Osc 1.
    PITCH: Coarse TuneTunes Osc 1 in coarse increments. (Semitones)
    PITCH: Fine TuneTunes Osc 1 in fine increments. (Cents)
    PITCH: MODAdjusts the amount of LFO modulation applied to Osc 1’s pitch.
    SHAPEMorphs the waveform shape.
    SHAPE: MODAdjusts the amount of LFO modulation applied to the waveform shape.

    The following table outlines how each shape is affected by modulation:

    ShapeModulation Behavior
    SAWModifies the pulse width of the saw wave.
    SQUAREModifies the pulse width of the square wave.
    SYNC SAWThis shape simulates two synchronized saw oscillators. Modulating shape will modify the pitch ratio between the two saw oscillators.
    TRIANGLEMorphs the triangle wave into a saw wave shape.
    SAWSSimulates a swarm of seven saw waves. Modulating shape will modify the detune amount between the saw waves.

    OSC 2

    NAMEDESCRIPTION
    ENABLEEnables/disables Osc 2.
    WAVEFORMSelects the waveform shape.
    GAINAdjusts the level of Osc 2.
    PITCH: Coarse TuneTunes Osc 2 in coarse increments. (Semitones)
    PITCH: Fine TuneTunes Osc 2 in fine increments. (Cents)
    PITCH: MODAdjusts the amount of LFO modulation applied to Osc 2’s pitch.
    SHAPEMorphs the waveform shape.
    SHAPE: MODAdjusts the amount of LFO modulation applied to the waveform shape.

    The following table outlines how each shape is affected by modulation:

    ShapeModulation Behavior
    SAWModifies the pulse width of the saw wave.
    SQUAREModifies the pulse width of the square wave.
    SYNC SAWThis shape simulates two synchronized saw oscillators. Modulating shape will modify the pitch ratio between the two saw oscillators.
    TRIANGLEMorphs the triangle wave into a saw wave shape.
    SAWSSimulates a swarm of seven saw waves. Modulating shape will modify the detune amount between the saw waves.

    NOISE

    NAMEDESCRIPTION
    ENABLEEnables/disables the Noise oscillator.
    GAINAdjusts the level of Noise oscillator.
    LFO/PITCHSelects the modulation source used by the Crush Mod control.
    CRUSHAdjusts the amount of aliasing distortion applied to the noise oscillator. At the maximum value, the Noise oscillator will output white noise.
    MODAdjusts the amount of modulation applied to the Crush parameter. The modulation source is determined by the LFO or Pitch selection to the left of the Crush knob. This Mod parameter allows for bidirectional modulation.

    LFO MOD SOURCE

    These parameters define the waveshape and speed of the LFO modulation source. All Mod knobs in the current synth view (except for the Crush Mod control, which can toggle between LFO or Pitch modulation sources) use this LFO as their modulation source.

    NAMEDESCRIPTION
    SHAPESelects the low frequency oscillator waveform shape.
    RATEAdjusts the speed of the low frequency oscillator.

    Advanced View: Mix

    Adjusts stereo pan position and pass filter controls of the module’s output signal.

    PAN

    Controls the stereo pan position of the module’s output signal.

    FILTER

    Adjusts the center frequencies of high-pass and low-pass filters applied to the module’s output signal. Clicking and dragging on a node will adjust the center frequency of that filter. Clicking and dragging in the space below the two nodes will move both nodes at the same time.

    More Information

    One of the earliest vocoders was developed by Homer Dudley in the late 1920s/early 1930s at Bell Laboratories. Large-scale telephone networks were being implemented at the time, and the vocoder was developed as a potential solution to bandwidth issues. These early tools were designed to encode speech to reduce bandwidth, allowing multiple voice signals to be transmitted over the same cables. Vocoders even underpinned pivotal World War II technologies, such as the SIGSALY system used for secure voice transmission.

    “The Carrier Nature of Speech. 1940. Bell System Technical Journal.”

    Fast forward a few decades and the vocoder was starting to be used in some iconic musical applications. Early pioneers such as Werner Meyer-Eppler paved the way for Robert Moog and Wendy Carlos as well as Kraftwerk. In the early 1970s Moog and Carlos built a vocoder in which the carrier signal was a Moog modular synth and the modulator a mic input, which was heard several times on the soundtrack to Stanley Kubrick’s film adaptation of Anthony Burgess’ A Clockwork Orange.

    Over the years vocoders have become so well known, audible on anything from ELO’s Mr. Blue Sky and Michael Jackson’s P.Y.T. (Pretty Young Thing) to Coldplay’s Midnight and now… whatever you’ll be using VocalSynth on next!



    Overview

    Compuvox is based on a technology known as Linear Predictive Coding (LPC) which has existed since the late 1960s. As with a number of the audio processors in VocalSynth, LPC was originally a communications technology for encoding intelligible speech at low bit rates to save bandwidth. Nowadays this computerized vocal sound is often used as a special effect common in electronic music production. The outcome sounds similar to infamous toys like the Furby, Speak n Spell (which uses LPC), and even older text-to-speech technologies.

    HOW DOES COMPUVOX WORK?

    Compuvox breaks down the vocal signal into two components. It simultaneously estimates the formants alongside the “excitation,” which is the buzz or noise created by the vocal folds. This information can then be used to recreate the sound of the vocal signal by synthesizing the excitation and filtering it through a formant filter. The simplifications that this model makes lead to some wonderfully cool artifacts.

    Controls

    ENABLE

    Enables/disables Compuvox module processing.

    BITS

    Adds digital aliasing noise to the signal by resampling it using a low-quality technique known as zero-order hold interpolation. Used gently, this can add an interesting inharmonic quality to the sound. Pushed farther, this control can reduce your audio to almost unrecognizable levels of digital chaos.

    BYTES

    Allows you to artificially prolong vowel sounds. Stretching vowels out in this way can create some interesting non-human yet musically useful vocal effects.

    BATS

    Increases noise and vocal gravel for a winged-animal-man effect.

    Tip

    There are some genuinely fun, diverse, and practical ways to use this control. With a lead vocal, especially in some rap, EDM, or metal tracks, pushing Bats close to 100%, but then using the Mixer to only blend in a small amount of Compuvox helps fill out the bottom of the vocal with some really solid noise full of emotion and inflection.

    MODE

    Compuvox has three different modes that represent multiple different flavors of LPC processing. They react differently to varying types of incoming vocals so experiment with each mode to find the setting that works best for your audio.

    LVL

    Controls the output level of the Compuvox module.

    Note

    SYNTH PRESET SELECTOR

    Displays the currently selected synth preset name and allows you to change the synth preset without opening the advanced view. Clicking on the preset name display will open the synth preset list. Clicking on the left and right arrow buttons allows you to quickly load different synth presets. You can modify synth parameters and save new synth presets in the advanced view.

    ADVANCED VIEW BUTTON

    You can open the Advanced View window by clicking on the mixer button at the bottom of the module’s main panel:

    Advanced View

    The Compuvox Advanced View includes:

    Advanced View: Synth

    When Auto Mode or MIDI Mode is selected, you can control the oscillators and modulation settings for the notes being played into the Compuvox module synth engine.

    Sidechain mode disables synth controls

    When Sidechain mode is selected, the sidechain input signal replaces the module synth engine as the carrier signal. Synth parameters are disabled in all modules when Sidechain is selected as the global mode.

    SYNTH PRESETS

    Modules that include synth parameters in the advanced view allow for synth presets to be saved and recalled.

    LOAD PRESETS

    Select a preset from the dropdown menu to load the saved synth parameter values in the current module.

    Note

    You can also quickly change synth presets without opening the advanced view by clicking on the left/right arrow buttons in the module main panel.

    SAVE PRESETS

    Click on the floppy disk button next to the preset dropdown menu to save a new Synth preset. Type a name in the text field and hit the enter/return key to save the preset.

    OSC 1

    NAMEDESCRIPTION
    ENABLEEnables/disables Osc 1.
    WAVEFORMSelects the waveform shape.
    GAINAdjusts the level of Osc 1.
    PITCH: Coarse TuneTunes Osc 1 in coarse increments. (Semitones)
    PITCH: Fine TuneTunes Osc 1 in fine increments. (Cents)
    PITCH: MODAdjusts the amount of LFO modulation applied to Osc 1’s pitch.
    SHAPEMorphs the waveform shape.
    SHAPE: MODAdjusts the amount of LFO modulation applied to the waveform shape.

    The following table outlines how each shape is affected by modulation:

    ShapeModulation Behavior
    SAWModifies the pulse width of the saw wave.
    SQUAREModifies the pulse width of the square wave.
    SYNC SAWThis shape simulates two synchronized saw oscillators. Modulating shape will modify the pitch ratio between the two saw oscillators.
    TRIANGLEMorphs the triangle wave into a saw wave shape.
    SAWSSimulates a swarm of seven saw waves. Modulating shape will modify the detune amount between the saw waves.

    OSC 2

    NAMEDESCRIPTION
    ENABLEEnables/disables Osc 2.
    WAVEFORMSelects the waveform shape.
    GAINAdjusts the level of Osc 2.
    PITCH: Coarse TuneTunes Osc 2 in coarse increments. (Semitones)
    PITCH: Fine TuneTunes Osc 2 in fine increments. (Cents)
    PITCH: MODAdjusts the amount of LFO modulation applied to Osc 2’s pitch.
    SHAPEMorphs the waveform shape.
    SHAPE: MODAdjusts the amount of LFO modulation applied to the waveform shape.

    The following table outlines how each shape is affected by modulation:

    ShapeModulation Behavior
    SAWModifies the pulse width of the saw wave.
    SQUAREModifies the pulse width of the square wave.
    SYNC SAWThis shape simulates two synchronized saw oscillators. Modulating shape will modify the pitch ratio between the two saw oscillators.
    TRIANGLEMorphs the triangle wave into a saw wave shape.
    SAWSSimulates a swarm of seven saw waves. Modulating shape will modify the detune amount between the saw waves.

    NOISE

    NAMEDESCRIPTION
    ENABLEEnables/disables the Noise oscillator.
    GAINAdjusts the level of Noise oscillator.
    LFO/PITCHSelects the modulation source used by the Crush Mod control.
    CRUSHAdjusts the amount of aliasing distortion applied to the noise oscillator. At the maximum value, the Noise oscillator will output white noise.
    MODAdjusts the amount of modulation applied to the Crush parameter. The modulation source is determined by the LFO or Pitch selection to the left of the Crush knob. This Mod parameter allows for bidirectional modulation.

    LFO MOD SOURCE

    These parameters define the waveshape and speed of the LFO modulation source. All Mod knobs in the current synth view (except for the Crush Mod control, which can toggle between LFO or Pitch modulation sources) use this LFO as their modulation source.

    NAMEDESCRIPTION
    SHAPESelects the low frequency oscillator waveform shape.
    RATEAdjusts the speed of the low frequency oscillator.

    Advanced View: Mix

    Adjusts stereo pan position and pass filter controls of the module’s output signal.

    PAN

    Controls the stereo pan position of the module’s output signal.

    FILTER

    Adjusts the center frequencies of high-pass and low-pass filters applied to the module’s output signal. Clicking and dragging on a node will adjust the center frequency of that filter. Clicking and dragging in the space below the two nodes will move both nodes at the same time.



    Overview

    The Talkbox module emulates the effect of a hardware talkbox effect popularized by rock artists such as Peter Frampton, The Who, and Stevie Wonder, to name just a few. A talkbox imparts vocal characteristics on an input source (a guitar, for example) by driving the output of an instrument through a tube that terminates in or around a performer’s mouth. The signal is then filtered and modulated by the mouth, tongue and lip movements of the performer. The resulting effect sounds as though the guitar is “speaking” or “talking”. With it’s tube-free design and unique formant shifting feature, the Talkbox module is an excellent alternative to the traditional Talkbox pedal.

    Controls

    ENABLE

    Enables/disables Talkbox module processing.

    DRIVE

    Increases the input gain into the Talkbox. Higher values will add a crunchy distortion to your signal. The additional harmonics generated when increasing the Drive amount can help to enhance intelligibility by effectively adding frequency content for your voice to modulate.

    SPEAKER

    Adjusts the amount of talkbox convolution applied to the signal. This simulates the internal acoustics of the speaker compression driver that is typically sealed inside of a hardware Talkbox pedal.

    FORMANT

    Adjusts the amount of formant shift applied to the incoming signal. VocalSynth’s talkbox algorithm has the ability to extract formant information from the incoming vocal, making this unique feature possible.

    The deep, raspy, throatiness of a talkbox can sound very different from person to person, so if your vocal formants aren’t doing it for you, experiment by shifting them with this parameter.

    MODE

    Alters the response to high frequencies in both the modulator (voice) and carrier (instrument) input. You can choose from the following Talkbox modes:

    LVL

    Controls the output level of the Talkbox module.

    SYNTH PRESET SELECTOR

    Displays the currently selected synth preset name and allows you to change the synth preset without opening the advanced view. Clicking on the preset name display will open the synth preset list. Clicking on the left and right arrow buttons allows you to quickly load different synth presets. You can modify synth parameters and save new synth presets in the advanced view.

    ADVANCED VIEW BUTTON

    You can open the Advanced View window by clicking on the mixer button at the bottom of the module’s main panel:

    Advanced View

    The Talkbox Advanced View includes:

    Advanced View: Synth

    When Auto Mode or MIDI Mode is selected, you can control the oscillators and modulation settings for the notes being played into the Talkbox module synth engine.

    Sidechain mode disables synth controls

    When Sidechain mode is selected, the sidechain input signal replaces the module synth engine as the carrier signal. Synth parameters are disabled in all modules when Sidechain is selected as the global mode.

    SYNTH PRESETS

    Modules that include synth parameters in the advanced view allow for synth presets to be saved and recalled.

    LOAD PRESETS

    Select a preset from the dropdown menu to load the saved synth parameter values in the current module.

    Note

    You can also quickly change synth presets without opening the advanced view by clicking on the left/right arrow buttons in the module main panel.

    SAVE PRESETS

    Click on the floppy disk button next to the preset dropdown menu to save a new Synth preset. Type a name in the text field and hit the enter/return key to save the preset.

    OSC 1

    NAMEDESCRIPTION
    ENABLEEnables/disables Osc 1.
    WAVEFORMSelects the waveform shape.
    GAINAdjusts the level of Osc 1.
    PITCH: Coarse TuneTunes Osc 1 in coarse increments. (Semitones)
    PITCH: Fine TuneTunes Osc 1 in fine increments. (Cents)
    PITCH: MODAdjusts the amount of LFO modulation applied to Osc 1’s pitch.
    SHAPEMorphs the waveform shape.
    SHAPE: MODAdjusts the amount of LFO modulation applied to the waveform shape.

    The following table outlines how each shape is affected by modulation:

    ShapeModulation Behavior
    SAWModifies the pulse width of the saw wave.
    SQUAREModifies the pulse width of the square wave.
    SYNC SAWThis shape simulates two synchronized saw oscillators. Modulating shape will modify the pitch ratio between the two saw oscillators.
    TRIANGLEMorphs the triangle wave into a saw wave shape.
    SAWSSimulates a swarm of seven saw waves. Modulating shape will modify the detune amount between the saw waves.

    OSC 2

    NAMEDESCRIPTION
    ENABLEEnables/disables Osc 2.
    WAVEFORMSelects the waveform shape.
    GAINAdjusts the level of Osc 2.
    PITCH: Coarse TuneTunes Osc 2 in coarse increments. (Semitones)
    PITCH: Fine TuneTunes Osc 2 in fine increments. (Cents)
    PITCH: MODAdjusts the amount of LFO modulation applied to Osc 2’s pitch.
    SHAPEMorphs the waveform shape.
    SHAPE: MODAdjusts the amount of LFO modulation applied to the waveform shape.

    The following table outlines how each shape is affected by modulation:

    ShapeModulation Behavior
    SAWModifies the pulse width of the saw wave.
    SQUAREModifies the pulse width of the square wave.
    SYNC SAWThis shape simulates two synchronized saw oscillators. Modulating shape will modify the pitch ratio between the two saw oscillators.
    TRIANGLEMorphs the triangle wave into a saw wave shape.
    SAWSSimulates a swarm of seven saw waves. Modulating shape will modify the detune amount between the saw waves.

    NOISE

    NAMEDESCRIPTION
    ENABLEEnables/disables the Noise oscillator.
    GAINAdjusts the level of Noise oscillator.
    LFO/PITCHSelects the modulation source used by the Crush Mod control.
    CRUSHAdjusts the amount of aliasing distortion applied to the noise oscillator. At the maximum value, the Noise oscillator will output white noise.
    MODAdjusts the amount of modulation applied to the Crush parameter. The modulation source is determined by the LFO or Pitch selection to the left of the Crush knob. This Mod parameter allows for bidirectional modulation.

    LFO MOD SOURCE

    These parameters define the waveshape and speed of the LFO modulation source. All Mod knobs in the current synth view (except for the Crush Mod control, which can toggle between LFO or Pitch modulation sources) use this LFO as their modulation source.

    NAMEDESCRIPTION
    SHAPESelects the low frequency oscillator waveform shape.
    RATEAdjusts the speed of the low frequency oscillator.

    Advanced View: Mix

    Adjusts stereo pan position and pass filter controls of the module’s output signal.

    PAN

    Controls the stereo pan position of the module’s output signal.

    FILTER

    Adjusts the center frequencies of high-pass and low-pass filters applied to the module’s output signal. Clicking and dragging on a node will adjust the center frequency of that filter. Clicking and dragging in the space below the two nodes will move both nodes at the same time.



    Overview

    Polyvox is a voice generator that allows you to create vocal harmonies based on your vocal. Voice generators come in all shapes and sizes but are based on a similar fundamental concept: sampling an incoming audio signal and then creating multiple additional versions of this audio signal using time/pitch stretching to achieve different intervals, such as an octave down, a third up, and so on. Voice generators are most commonly used on voice but there are many examples of this type of technology being used in guitar effects as well, usually some combination of pitch/whammy adjustment.

    Controls

    ENABLE

    Enables/disables Polyvox module processing.

    FORMANT

    Transposes the vocal formants of the signals it reproduces. This type of control is often talked about as the difference between deeper voiced and higher, chipmunk-style sounds.

    CHARACTER

    Controls the relationship between the incoming vocal’s formant envelopes and how they are applied to the outgoing sound.

    A higher value will cause the formants themselves to shift more in the direction of the pitch of the audio (e.g. sing a higher pitch, formants scale upwards). Interestingly, this parameter can be used to increase naturality, if, say, the generated voices were consistently a lot higher or lower than the original source, or it can be used to push a voice into a sonic realm the human voice-box isn’t capable of. Pro tip: This is a lot safer than Helium.

    By default, the voices generated by Polyvox will sound like your voice singing at potentially different pitches. The algorithm preserves the formants of an incoming vocal exactly as is…crucial for a natural sound.

    HUMANIZE

    Varies time and pitch offset amount applied to the generated voices. This reduces phase cancellation and can increase realism slightly.

    A higher Humanize value will start to introduce more extreme variations to the point of detuning, a very powerful auditory sensation, especially when done in unison.

    LVL

    Controls the output level of the Polyvox module.

    Note

    You can also control the Polyvox output level by dragging the node labeled ‘P’ that appears in the anemone visualization when the Polyvox module is enabled.

    ADVANCED VIEW BUTTON

    You can open the Advanced View window by clicking on the mixer button at the bottom of the module’s main panel:

    Advanced View: Mix

    Adjusts stereo pan position and pass filter controls of the module’s output signal.

    PAN

    Controls the stereo pan position of the module’s output signal.

    FILTER

    Adjusts the center frequencies of high-pass and low-pass filters applied to the module’s output signal. Clicking and dragging on a node will adjust the center frequency of that filter. Clicking and dragging in the space below the two nodes will move both nodes at the same time.



    Overview

    Chorus is a modulation effect that can simulate the slight variations in timing and pitch that occur when multiple performers play or sing the same part. This effect applies a short delay to the input signal and modulates the delay time using an LFO. The modulation of delay time introduces slight pitch variations in the chorused signal. Chorus can be used to add subtle depth and movement to your voice. When using aggressive modulation settings, Chorus can be used to add a more synthetic sounding vibrato effect.

    Controls

    DEPTH

    Adjusts the intensity of LFO modulation.

    RATE

    Adjusts the speed of LFO modulation.

    WIDTH

    Adjusts the perceived stereo image of the processed output.

    MIX

    Adjusts the balance of dry (unprocessed) and wet (processed) audio at the output of the effect. 0 = dry (unprocessed); 100 = wet (processed).



    Controls

    ENABLE

    Enables/disables the Delay effect processing.

    HOST SYNC

    Enables/disables host tempo sync behavior for the Time control.

    TIME

    Determines the amount of time that will pass before each successive repeat of a dry audio input signal.

    WIDTH

    Adjusts the perceived stereo image of the processed signal.

    FEEDBACK

    Adjusts the amount of delayed signal that is fed back into the input of the delay.

    MIX

    Adjusts the balance of dry (unprocessed) and wet (processed) audio at the output of the effect. 0 = dry (unprocessed); 100 = wet (processed).



    Overview

    The Distort effect adds grit, attitude, and perceptual power to your vocal track. The Distort effect utilizes waveshaper distortion and several different algorithms to affect your vocal. A waveshaper creates complex harmonics in an audio signal by mapping the input signal (dry) to a new output signal (wet) based on the current “shape” of the waveshaper’s curve. There’s something unique and fun about the way a waveshaper sonically transforms a vocal, the most important areas of which are the tonal elements from 300 Hz to 900 Hz and the sibilant presence from 8 kHz to 15 kHz.

    Controls

    ENABLE

    Enables/disables the Distort effect.

    DRIVE

    Increases the amount of overdrive applied to the selected distortion type.

    TONE

    Applies filtering to the distorted signal, effectively modifying the tone of the processed output.

    TYPE

    The Distort effect offers the following waveshapes:

    MIX

    Adjusts the balance of dry (unprocessed) and wet (processed) audio at the output of the effect. 0 = dry (unprocessed); 100 = wet (processed).



    Overview

    The Filter effect offers four filters with adjustable resonance specially selected with vocal processing in mind.

    Controls

    ENABLE

    Enables/disables the Filter effect.

    FREQ

    Adjusts the center frequency of the filter.

    RES

    Adjusts the amount of emphasis applied to a narrow band of frequencies surrounding the center frequency of the filter.

    TYPE

    You can choose between the following 4 filter types:

    NameDescription
    NY LPA low pass filter that lends a warm, “buttery” quality to the low-end of a vocal fundamental. Based on an analog filter design originally developed in the 1960s in upstate New York.
    NY HPA high pass filter that enhances the high frequency presence of a vocal. Based on an analog filter design originally developed in the 1960s in upstate New York.
    SCREAMA very sharp resonant filter with a lot of amplification around the center frequency for aggressive peaks and overdrive.
    COMBOCombines both flat HP and LP filters in a single sweepable control. Moving it downward engages a low-pass filter, moving it up engages a high-pass filter. In the center neither filter is applied.

    MIX

    Adjusts the balance of dry (unprocessed) and wet (processed) audio at the output of the effect. 0 = dry (unprocessed); 100 = wet (processed).



    Overview

    Ring modulation is an effect that multiplies the frequency content of two input waveforms and outputs a new waveform that includes frequency content from both input sources and it’s own unique frequency content. The output waveform contains partials (inharmonic frequency content) that are responsible for the metallic sound characteristic of ring modulation. VocalSynth’s Ring Mod effect can be used as a Tremolo effect by setting the Freq control to lower values.

    Controls

    ENABLE

    Enables/disables Ring Mod effect processing.

    HOST SYNC

    Enables/disables host tempo sync behavior for the Freq control.

    Host Sync Mode Parameter Availability

    When host sync is enabled, the LFO and Depth controls will be disabled.

    FREQ

    Adjusts the timing of frequency modulation. When Host Sync is enabled, musical note values are used to determine the timing of the effect. When Host Sync is disabled, the unit used to determine the timing of the effect is Hertz. At lower values the timing is slower, functioning as a Tremolo. At higher values the timing is fast, functioning as a Ring Mod.

    LFO

    Adjusts the rate of triangle-wave LFO modulation.

    DEPTH

    Adjusts the intensity of the triangle-wave LFO modulation.

    MIX

    Adjusts the balance of dry (unprocessed) and wet (processed) audio at the output of the effect. 0 = dry (unprocessed); 100 = wet (processed).



    Overview

    Shred comes with all new processing under the hood and the addition of a bite-sized 3 step sequencer in VocalSynth 2. The Shred effect takes chunks of audio and repeats them. The captured audio can be repeated at 3 different rates (each step has it’s own repeat rate), the rate and capture length values are always synced to the tempo of your session. Shred also allows you to choose from a number of sequence rhythms (based on Euclidean Rhythms) to vary the musical timing of switching between the different steps.

    Controls

    ENABLE

    Enables/disables Shred effect processing.

    LENGTH

    Sets how often Shred captures new buffers of audio to repeat. This value is synced to the timing of your session and presented in musical note units (from 2 bars to 1/64T in length).

    SEQ

    Determines the Euclidean rhythm sequence used to switch between the different steps. There are 16 different rhythm sequences to choose from.

    Tip

    If you want Shred to repeat at one constant rate, set the Seq knob to 1. When Seq is set to 1, Shred will only repeat step A.

    STEP REPEAT RATE

    Sets how often the captured audio is repeated for the currently selected step when it is triggered by the sequencer. Each step has an independent Repeat Rate setting

    Setting the repeat rate of the different sequence steps

    The Repeat Rate knob only sets the rate value for the currently selected step. The currently selected sequence step will display a thin circle around the step’s activity light.

    STEP ACTIVITY LIGHTS

    The circles directly above each step label (A/B/C) turn white when the associated step is triggered to repeat. The rhythm used for triggering the steps is determined by the SEQ parameter setting.

    MIX

    Adjusts the balance of dry (unprocessed) and wet (processed) audio at the output of the effect. 0 = dry (unprocessed); 100 = wet (processed).



    Overview

    Transform is a convolution effect modeling a variety of guitar cabinets, speakers, and other devices that are key to significantly shaping a vocal sound. Re-amping a vocal through guitar amps is a commonly used production effect. The Transform effect’s impulse responses provide a natural post-filtering counterpart to distortion and filtering.

    Controls

    ENABLE

    Enables/disables Transform effect processing.

    TYPE

    The following Impulse Responses (IR) are available in the Transform effect:

    Impulse ResponseDescription
    HOLLOWAn IR based on a recording of someone knocking on an empty briefcase and, weirdly, this imparts a really cool sound.
    BRIGHTSamples an air pump that made a high, airy sound we thought sounded cool.
    CREEPAn IR that various folks at iZotope have used and enjoyed for years but the original source has been lost to the ages. After asking around to see if anyone remembered, many explanations of Creep were volunteered, none of which can be printed.
    BASSA heavy mid scoop which is often used to give vocals a more polished, broadcast sound.
    RADIOPlaces your voice inside a 1960s transistor radio speaker/cabinet.
    STERLINGA smaller amplifier with a low end drop-off and a heavy emphasis around 3 to 5 kHz for are more biting sound.
    OXFORDA popular 2x10 cabinet with a heavy mid range bump 700 Hz to 3 kHz and a steeper cutoff above 4 kHz.
    CAMBRIDGEA popular 2x10 cabinet with a “smile curve” mid range dip and a more gradual cutoff above 5 kHz.

    What is an Impulse Response?

    An Impulse Response is a snapshot of a system’s output when it is presented with a brief input signal.

    WIDTH

    Adjusts the amount of stereo widening or narrowing effect that is blended into the transformed audio.

    MIX

    Adjusts the balance of dry (unprocessed) and wet (processed) audio at the output of the effect. 0 = dry (unprocessed); 100 = wet (processed).


    VocalSynth ships with many presets covering a wide variety of iconic sounds, genres, and interesting textures.

    You can open the Preset Manager window by clicking the Preset button in the top bar of the interface. You can also cycle through the presets without opening the preset manager window by clicking on the left/right arrow buttons to the right of the Presets button.

    Add/Remove Presets

    Working Settings

    If you decide not to use a preset and would like to apply the last settings used that were not associated with a preset, you can select to return parameters to the previous state.

    Default

    Select to return all parameters to their factory default state.

    Below the list of presets, some text details the parameter settings associated with the selected preset. Double-click on this field to edit a comment or add a new one. Hit the enter/return key to update the comment field.

    Factory Preset Locations

    VocalSynth 2 factory presets are stored in the following locations:



    General

    ENABLE TRUE BYPASS

    To ensure seamless transitions (no audible clicks or ramp up times) when enabling/disabling modules, the DSP is always running in the background. Enabling True Bypass means that when disabling a module or effect that particular DSP is fully disabled rather than running in the background. This saves on CPU resources and latency. Optimizing performance by enabling True Bypass means that you may hear audible transitions when enabling/disabling modules or effects. This may make it harder to do A/B comparisons.

    LOW LATENCY TALKBOX

    VocalSynth’s Talkbox is able to intelligently analyze an incoming audio signal, extracting an accurate map/envelope of the formants without need for the hardware. With more latency comes more intelligibility but this compromises the ability for live performance. This parameter allows you to toggle between two types of algorithms, one optimized for live performance, and one for studio use, or the final bounce, which increases intelligibility. The algorithm for studio use has approximately 50 ms of latency at 44.1 kHz. This, coincidentally, is roughly the amount of time it takes all frequencies to pass (a 20 Hz cycle is 50 ms long).

    SEND ANONYMOUS USAGE DATA

    When enabled, anonymous usage data is sent to help iZotope improve VocalSynth.

    ENABLE TOOLTIPS

    When enabled, control descriptions will be displayed in a tooltip when you hover your cursor over a parameter.

    METER

    Selects the meter to display in the center of the VocalSynth 2 interface. You can choose between:

    Updates

    CHECK NOW

    Checks for available updates to VocalSynth 2.

    Authorization

    Displays your current authorization status and allows you to authorize or remove authorization. Read more about authorizing VocalSynth in the Authorization chapter.



    Overview

    The sections below outline how to setup VocalSynth 2 in popular DAWs. To learn more about how the different modes work, see the Global Modes chapter.

    Ableton Live

    The following instructions apply to Ableton Live 9 and Ableton Live 10.

    AUTO MODE | Ableton Live

    Make sure there is audio on the track VocalSynth 2 is inserted on and press play.

    MIDI MODE | Ableton Live

    This mode uses a MIDI keyboard or the piano roll as a MIDI input.

    More Information: MIDI Mode

    See the MIDI Mode section of the Global Modes chapter to learn more about MIDI Mode.

  • Create an Audio Track and insert VocalSynth 2.
  • Create a MIDI Track and choose “In” from the Monitor drop down.
  • On the MIDI Track’s “MIDI To” dropdown, choose the name of the Audio Track that has VocalSynth 2 on it. In the next dropdown menu, select “VocalSynth 2.”
  • SIDECHAIN MODE | Ableton Live

    The audio routed into VocalSynth’s sidechain input will be modulated by your vocal track, allowing you to make any audio source “talk.”

    More Information: Sidechain Mode

    See the Sidechain Mode section of the Global Modes chapter to learn more about Sidechain Mode.

  • Create an Audio Track (1) and insert VocalSynth 2.
  • Create a second Audio Track (2) and make sure there is some audio on Audio Track (2).
  • On Audio Track (2), find the “Audio To” dropdown and choose Audio Track (1). In the next dropdown menu, select “VocalSynth 2.”
  • Cubase

    AUTO MODE | Cubase

    Make sure there is audio on the track VocalSynth 2 is inserted on and press play.

    MIDI MODE | Cubase

    This mode uses a MIDI keyboard or the piano roll as a MIDI input.

    More Information: MIDI Mode

    See the MIDI Mode section of the Global Modes chapter to learn more about MIDI Mode.

    Note: Plug-in Formats

  • Create an Audio Track and a MIDI Track.
  • Insert VocalSynth 2 on the Audio Track (VST3 only, not VST2).
  • Select VocalSynth 2 in the Output section of your MIDI Track.
  • If you are using a live MIDI device, make sure it is configured by going to Devices/Device Setup, and navigating to the MIDI Port Setup option.
  • SIDECHAIN MODE | Cubase

    The audio routed into VocalSynth’s sidechain input will be modulated by your vocal track, allowing you to make any audio source “talk.”

    More Information: Sidechain Mode

    See the Sidechain Mode section of the Global Modes chapter to learn more about Sidechain Mode.

    Note: Plug-in Formats

  • Create two Audio Tracks.
  • Insert VocalSynth 2 on one of the two Audio Tracks (VST3 only) and activate sidechain.
  • On Audio Track 2, navigate to the Output section and set the Output to the sidechain input for VocalSynth 2.
  • FL Studio

    AUTO MODE | FL Studio

    Make sure there is audio on the track VocalSynth 2 is inserted on and press play.

    MIDI MODE | FL Studio

    This mode uses a MIDI keyboard or the piano roll as a MIDI input.

    More Information: MIDI Mode

    See the MIDI Mode section of the Global Modes chapter to learn more about MIDI Mode.

    Note: Plug-in Formats

  • Create an Audio Track and insert VocalSynth 2 as a VST3 (not VST2) onto this track.
  • Go to Options/MIDI Settings. Under “Input,” select your MIDI keyboard and the desired Port, then click “Enable.” If you don’t have a keyboard, insert a MIDI Out instrument into your project and select the port in the MIDI Out window.
  • Open VocalSynth 2 and click the gear icon to open the plug-in settings. Make sure the MIDI Input Port matches the Port you selected for your device.
  • SIDECHAIN MODE | FL Studio

    The audio routed into VocalSynth’s sidechain input will be modulated by your vocal track, allowing you to make any audio source “talk.”

    More Information: Sidechain Mode

    See the Sidechain Mode section of the Global Modes chapter to learn more about Sidechain Mode.

    Note: Plug-in Formats

  • Create two Audio Tracks: one with VocalSynth 2 inserted as a VST3 (not VST2), and one with the audio you want to send to VocalSynth 2.
  • In the FL Studio Mixer window, select Track 2 then, right-click on the upward arrow at the bottom of your VocalSynth 2 track and select “Sidechain to this track.”
  • Open the VocalSynth 2 window, and click on the gear icon in the upper left corner of the plug-in window to open the plug-in settings.
  • In Processing, enable the “Stereo Aux In” option, then left-click in the grey box to select the Sidechain input.
  • Logic Pro X

    AUTO MODE | Logic Pro X

    Make sure there is audio on the track VocalSynth 2 is inserted on and press play.

    MIDI MODE | Logic Pro X

    This mode uses a MIDI keyboard or the piano roll as a MIDI input.

    More Information: MIDI Mode

    See the MIDI Mode section of the Global Modes chapter to learn more about MIDI Mode.

  • “Advanced Tools” need to be enabled in Logic’s Preferences menu to use MIDI mode in VocalSynth 2. To enable “Advanced Tools” in Logic:
    • Navigate to: “Logic Pro X” menu > “Preferences” > “Advanced Tools…”
    • Check the “Show Advanced Tools” box.
    • Select “Enable All” at the bottom of the window.
  • Create an Audio Track and mute it.
  • Create a Software Instrument Track and insert VocalSynth 2 into the Instrument slot.
  • In the VocalSynth 2 plug-in window, navigate to the Sidechain dropdown menu and select the Audio track you want to apply VocalSynth to.
  • SIDECHAIN MODE | Logic Pro X

    The audio routed into VocalSynth’s sidechain input will be modulated by your vocal track, allowing you to make any audio source “talk.”

    More Information: Sidechain Mode

    See the Sidechain Mode section of the Global Modes chapter to learn more about Sidechain Mode.

  • “Advanced Tools” need to be enabled in Logic’s Preferences menu to use Sidechain mode in VocalSynth 2. To enable “Advanced Tools” in Logic:
    • Navigate to: “Logic Pro X” menu > “Preferences” > “Advanced Tools…”
    • Check the “Show Advanced Tools” box.
    • Select “Enable All” at the bottom of the window.
  • Create two Audio Tracks with audio on both. Try vocals on Track 1 and the instrument on Track 2.
  • Insert VocalSynth as a plug-in on Track 1.
  • From the VocalSynth 2 plug-in window, find the Sidechain menu and choose Track 2.
  • AUTO MODE | Pro Tools

    Make sure there is audio on the track VocalSynth 2 is inserted on and press play.

    MIDI MODE | Pro Tools

    This mode uses a MIDI keyboard or the piano roll as a MIDI input.

    More Information: MIDI Mode

    See the MIDI Mode section of the Global Modes chapter to learn more about MIDI Mode.

  • Create an Audio Track and a MIDI Track.
  • Insert VocalSynth 2 onto the Audio Track.
  • In the Output dropdown menu of the MIDI Track, select any MIDI channel you want for VocalSynth 2.
  • SIDECHAIN MODE | Pro Tools

    The audio routed into VocalSynth’s sidechain input will be modulated by your vocal track, allowing you to make any audio source “talk.”

    More Information: Sidechain Mode

    See the Sidechain Mode section of the Global Modes chapter to learn more about Sidechain Mode.

  • Create an Audio Track (1) and insert VocalSynth 2.
  • Create a second Audio track (2) and make sure there is some audio on it.
  • On Audio Track (2), set the Output to any open Bus.
  • From the VocalSynth 2 plug-in window (Track 1), select the Bus you set in Step 3 from the key input dropdown.
  • REAPER

    AUTO MODE | REAPER

    Make sure there is audio on the track VocalSynth 2 is inserted on and press play.

    MIDI MODE | REAPER

    This mode uses a MIDI keyboard or the piano roll as a MIDI input.

    More Information: MIDI Mode

    See the MIDI Mode section of the Global Modes chapter to learn more about MIDI Mode.

  • Create an Audio Track and insert VocalSynth 2.
  • Click “Input 1” to open the dropdown and choose your MIDI device.
  • Click the speaker to turn on “Record Monitoring” and record-enable your Track.
  • SIDECHAIN MODE | REAPER

    The audio routed into VocalSynth’s sidechain input will be modulated by your vocal track, allowing you to make any audio source “talk.”

    More Information: Sidechain Mode

    See the Sidechain Mode section of the Global Modes chapter to learn more about Sidechain Mode.

  • Create an Audio Track (1) and insert VocalSynth 2.
  • Create a second Audio track (2) and make sure there is some audio on Audio Track (2).
  • On Track (1), click the Route button, select “Add new receive,” choose Track (2), choose “pre-fader” and choose ¾ instead of ½.
  • Bring the fader of Audio Track (2) to off.
  • Reason

    AUTO MODE | Reason

    Make sure there is audio on the track VocalSynth 2 is inserted on and press play.

    MIDI MODE | Reason

    This mode uses a MIDI keyboard or the piano roll as a MIDI input.

    More Information: MIDI Mode

    See the MIDI Mode section of the Global Modes chapter to learn more about MIDI Mode.

  • Create an Audio Track and and insert VocalSynth 2.
  • Open Preferences/Sync. Under “External Control: Bus A,” choose your MIDI Device.
  • Open Adv. MIDI Panel from the “Hardware Interface” at the top of the rack.
  • In any channel from the Adv. MIDI Panel, from the triangle button dropdown, choose your Audio Track and then the VocalSynth 2 plug-in.
  • SIDECHAIN MODE | Reason

    The audio routed into VocalSynth’s sidechain input will be modulated by your vocal track, allowing you to make any audio source “talk.”

    More Information: Sidechain Mode

    See the Sidechain Mode section of the Global Modes chapter to learn more about Sidechain Mode.

  • Create two Audio Tracks, and make sure there is audio on one of the tracks.
  • Insert VocalSynth 2 onto Track 1.
  • Press Tab to flip to the back of the rack, and press the CV Programmer button on Track 1.
  • Expand track 2 and connect the Output cables from Track 2 to “Optional Audio In” 3-4 of Track 1.
  • Studio One

    AUTO MODE | Studio One

    Make sure there is audio on the track VocalSynth 2 is inserted on and press play.

    MIDI MODE | Studio One

    This mode uses a MIDI keyboard or the piano roll as a MIDI input.

    More Information: MIDI Mode

    See the MIDI Mode section of the Global Modes chapter to learn more about MIDI Mode.

  • Create an Audio Track and insert VocalSynth 2 (VST3) on the track.
  • Create an Instrument Track and select “VocalSynth 2” in the output section.
  • If you are using a live MIDI device, make sure to set the input of this track to your MIDI device. If you do not see your device available, open the Studio One Preferences and select the External Devices option to configure it.
  • SIDECHAIN MODE | Studio One

    The audio routed into VocalSynth’s sidechain input will be modulated by your vocal track, allowing you to make any audio source “talk.”

    More Information: Sidechain Mode

    See the Sidechain Mode section of the Global Modes chapter to learn more about Sidechain Mode.

  • Create an Audio Track (1) and insert VocalSynth 2.
  • Create a second Audio Track (2) and make sure there is some audio on Audio Track (2).
  • Open the Console View, click “+” in the Sends section of Track (2), and select VocalSynth 2 under Sidechains.
  • Turn the Pre/Post-fader toggle to Pre-Fader (the toggle will turn yellow) and turn down the volume fader for the sidechain’s Audio Track.


  • Overview

    The first time you open VocalSynth 2, the Authorization window will appear.

    The Authorization window allows you to:

    Trial and Demo Modes

    A 10 day trial period will start when you first open the VocalSynth 2 plug-in. After the 10 day trial period has expired, VocalSynth 2 will enter demo mode. To disable Trial or Demo mode, you must authorize the product with a valid serial number.

    Trial Mode

    Trial mode begins when VocalSynth 2 is first instantiated in a DAW/NLE. The authorization wizard window will display the number of days remaining in your trial period.

    Clicking on the “Continue” button will dismiss the Authorization window and allow you to continue evaluating VocalSynth 2 in trial mode.

    Demo Mode

    After 10 days, VocalSynth 2 will operate in Demo mode. VocalSynth 2 will periodically output silence when operating in demo mode. If you would like to continue evaluating VocalSynth 2 in demo mode, click the “Demo” button.

    Authorizing VocalSynth 2

    There are three methods for authorizing VocalSynth 2:

    More Information

    For information on authorization, please visit the iZotope website: https://www.izotope.com/authorization

    For additional help with authorizing VocalSynth 2:

    More information on iZotope’s Customer Care department and policies can be found in the iZotope Customer Care chapter.



    Purchasing VocalSynth 2

    If you are using the demo version of VocalSynth 2 and would like the full version, you can purchase VocalSynth 2 direct from the iZotope online store: www.izotope.com/store

    Once your purchase is complete, you will be sent an email confirmation and a full version serial number that can be used to fully authorize your current installation of VocalSynth 2.

    iZotope Customer Care policy

    iZotope is happy to provide professional technical Customer Care to all registered users absolutely free of charge. www.izotope.com/support/contact/index.php

    We also offer valuable pre-sales technical Customer Care to customers who may be interested in purchasing an iZotope product. Before contacting iZotope Customer Care, you can search our Product Knowledgebase to see if the solution to your problem has already been published.

    How long does iZotope provide customer support for purchased products?

    You can email us with any question for 12 months after you buy any iZotope product. Past 12 months, we’ll still help you with your account and authorization but will not provide technical support for in-depth product questions. If you need more detailed help on how to use the product, please check out our FAQs and Tutorials.

    How long does iZotope support its products?

    Although we can’t guarantee it, we do our best to keep our products up to date with the operating systems and plug-in hosts that we support. Sometimes, other companies make changes that we’re not able to support, but we actively work with other companies to avoid these sorts of compatibility problems. We also do our best to address bug fixes within the product itself to ensure our products operate in accordance with our specifications.

    We will provide software updates for 12 months from product release. After 12 months, no software updates will be provided.

    For details on what operating systems and plug-in host software are officially supported for a product, please check that product’s Specs page.

    For additional help with VocalSynth 2:

    iZotope’s highly trained Customer Care team is committed to responding to all requests within one (1) business day and frequently respond faster. Please try to explain your problem with as much detail and clarity as possible. This will ensure our ability to solve your problem accurately, the first time around. Please include all system specs and the build/version of VocalSynth 2 that you are using.

    Once your Customer Care request is submitted, you will receive a confirmation email from iZotope Customer Care. If you do not receive this email within a few minutes, please check your spam folder and make sure our responses are not getting blocked. To prevent this from happening please add support@izotope.com to your list of allowed email addresses.

    International distribution

    Customer Care is also available from our international distributors worldwide for any customers who purchased their iZotope products through a certified iZotope distributor.

    Check with your local distributor for availability. If you would like help locating your local distributor please contact iZotope Customer Care.

    Thanks for using VocalSynth 2!

    -The iZotope Team



    Anti-Grain Geometry

    Version 2.4

    Copyright © 2002-2005 Maxim Shemanarev (McSeem).

    Redistribution and use in source and binary forms, with or without modification, are permitted provided that the following conditions are met:

  • Redistributions of source code must retain the above copyright notice, this list of conditions and the following disclaimer.
  • Redistributions in binary form must reproduce the above copyright notice, this list of conditions and the following disclaimer in the documentation and/or other materials provided with the distribution.
  • The name of the author may not be used to endorse or promote products derived from this software without specific prior written permission.
  • THIS SOFTWARE IS PROVIDED BY THE AUTHOR “AS IS” AND ANY EXPRESS OR IMPLIED WARRANTIES, INCLUDING, BUT NOT LIMITED TO, THE IMPLIED WARRANTIES OF MERCHANTABILITY AND FITNESS FOR A PARTICULAR PURPOSE ARE DISCLAIMED. IN NO EVENT SHALL THE AUTHOR BE LIABLE FOR ANY DIRECT, INDIRECT, INCIDENTAL, SPECIAL, EXEMPLARY, OR CONSEQUENTIAL DAMAGES (INCLUDING, BUT NOT LIMITED TO, PROCUREMENT OF SUBSTITUTE GOODS OR SERVICES; LOSS OF USE, DATA, OR PROFITS; OR BUSINESS INTERRUPTION) HOWEVER CAUSED AND ON ANY THEORY OF LIABILITY, WHETHER IN CONTRACT, STRICT LIABILITY, OR TORT (INCLUDING NEGLIGENCE OR OTHERWISE) ARISING IN ANY WAY OUT OF THE USE OF THIS SOFTWARE, EVEN IF ADVISED OF THE POSSIBILITY OF SUCH DAMAGE.

    Better Enums

    Version 0.11.1

    Copyright © 2012-2016, Anton Bachin. All rights reserved.

    Redistribution and use in source and binary forms, with or without modification, are permitted provided that the following conditions are met:

  • Redistributions of source code must retain the above copyright notice, this list of conditions and the following disclaimer.
  • Redistributions in binary form must reproduce the above copyright notice, this list of conditions and the following disclaimer in the documentation and/or other materials provided with the distribution.
  • THIS SOFTWARE IS PROVIDED BY THE COPYRIGHT HOLDERS AND CONTRIBUTORS “AS IS” AND ANY EXPRESS OR IMPLIED WARRANTIES, INCLUDING, BUT NOT LIMITED TO, THE IMPLIED WARRANTIES OF MERCHANTABILITY AND FITNESS FOR A PARTICULAR PURPOSE ARE DISCLAIMED. IN NO EVENT SHALL THE COPYRIGHT HOLDER OR CONTRIBUTORS BE LIABLE FOR ANY DIRECT, INDIRECT, INCIDENTAL, SPECIAL, EXEMPLARY, OR CONSEQUENTIAL DAMAGES (INCLUDING, BUT NOT LIMITED TO, PROCUREMENT OF SUBSTITUTE GOODS OR SERVICES; LOSS OF USE, DATA, OR PROFITS; OR BUSINESS INTERRUPTION) HOWEVER CAUSED AND ON ANY THEORY OF LIABILITY, WHETHER IN CONTRACT, STRICT LIABILITY, OR TORT (INCLUDING NEGLIGENCE OR OTHERWISE) ARISING IN ANY WAY OUT OF THE USE OF THIS SOFTWARE, EVEN IF ADVISED OF THE POSSIBILITY OF SUCH DAMAGE.

    Box2D

    Copyright © 2006-2017 Erin Catto.

    http://www.box2d.org

    This software is provided ‘as-is’, without any express or implied warranty. In no event will the authors be held liable for any damages arising from the use of this software. Permission is granted to anyone to use this software for any purpose, including commercial applications, and to alter it and redistribute it freely, subject to the following restrictions:

  • The origin of this software must not be misrepresented; you must not claim that you wrote the original software. If you use this software in a product, an acknowledgment in the product documentation would be appreciated but is not required.
  • Altered source versions must be plainly marked as such, and must not be misrepresented as being the original software.
  • This notice may not be removed or altered from any source distribution.
  • fmt

    Version 4.0.0

    Copyright © 2012 - 2016, Victor Zverovich

    All rights reserved.

    Redistribution and use in source and binary forms, with or without modification, are permitted provided that the following conditions are met:

  • Redistributions of source code must retain the above copyright notice, this list of conditions and the following disclaimer.
  • Redistributions in binary form must reproduce the above copyright notice, this list of conditions and the following disclaimer in the documentation and/or other materials provided with the distribution.
  • THIS SOFTWARE IS PROVIDED BY THE COPYRIGHT HOLDERS AND CONTRIBUTORS “AS IS” AND ANY EXPRESS OR IMPLIED WARRANTIES, INCLUDING, BUT NOT LIMITED TO, THE IMPLIED WARRANTIES OF MERCHANTABILITY AND FITNESS FOR A PARTICULAR PURPOSE ARE DISCLAIMED. IN NO EVENT SHALL THE COPYRIGHT OWNER OR CONTRIBUTORS BE LIABLE FOR ANY DIRECT, INDIRECT, INCIDENTAL, SPECIAL, EXEMPLARY, OR CONSEQUENTIAL DAMAGES (INCLUDING, BUT NOT LIMITED TO, PROCUREMENT OF SUBSTITUTE GOODS OR SERVICES; LOSS OF USE, DATA, OR PROFITS; OR BUSINESS INTERRUPTION) HOWEVER CAUSED AND ON ANY THEORY OF LIABILITY, WHETHER IN CONTRACT, STRICT LIABILITY, OR TORT (INCLUDING NEGLIGENCE OR OTHERWISE) ARISING IN ANY WAY OUT OF THE USE OF THIS SOFTWARE, EVEN IF ADVISED OF THE POSSIBILITY OF SUCH DAMAGE.

    gsl

    Copyright © 2015 Microsoft Corporation. All rights reserved.

    This code is licensed under the MIT License (MIT).

    Permission is hereby granted, free of charge, to any person obtaining a copy of this software and associated documentation files (the “Software”), to deal in the Software without restriction, including without limitation the rights to use, copy, modify, merge, publish, distribute, sublicense, and/or sell copies of the Software, and to permit persons to whom the Software is furnished to do so, subject to the following conditions: The above copyright notice and this permission notice shall be included in all copies or substantial portions of the Software.

    THE SOFTWARE IS PROVIDED “AS IS”, WITHOUT WARRANTY OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO THE WARRANTIES OF MERCHANTABILITY, FITNESS FOR A PARTICULAR PURPOSE AND NONINFRINGEMENT. IN NO EVENT SHALL THE AUTHORS OR COPYRIGHT HOLDERS BE LIABLE FOR ANY CLAIM, DAMAGES OR OTHER LIABILITY, WHETHER IN AN ACTION OF CONTRACT, TORT OR OTHERWISE, ARISING FROM, OUT OF OR IN CONNECTION WITH THE SOFTWARE OR THE USE OR OTHER DEALINGS IN THE SOFTWARE.

    IcoMoon

    IcoMoon-Free licensed under: CC BY 4.0

    JsonCpp

    Version 1.2.1

    Copyright © 2007-2010 Baptiste Lepilleur and The JsonCpp Authors

    Permission is hereby granted, free of charge, to any person obtaining a copy of this software and associated documentation files (the “Software”), to deal in the Software without restriction, including without limitation the rights to use, copy, modify, merge, publish, distribute, sublicense, and/or sell copies of the Software, and to permit persons to whom the Software is furnished to do so, subject to the following conditions:

    The above copyright notice and this permission notice shall be included in all copies or substantial portions of the Software.

    THE SOFTWARE IS PROVIDED “AS IS”, WITHOUT WARRANTY OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO THE WARRANTIES OF MERCHANTABILITY, FITNESS FOR A PARTICULAR PURPOSE AND NONINFRINGEMENT. IN NO EVENT SHALL THE AUTHORS OR COPYRIGHT HOLDERS BE LIABLE FOR ANY CLAIM, DAMAGES OR OTHER LIABILITY, WHETHER IN AN ACTION OF CONTRACT, TORT OR OTHERWISE, ARISING FROM, OUT OF OR IN CONNECTION WITH THE SOFTWARE OR THE USE OR OTHER DEALINGS IN THE SOFTWARE.

    LibXML2

    Version 2.7.8

    Except where otherwise noted in the source code (e.g. the files hash.c, list.c and the trio files, which are covered by a similar licence but with different Copyright notices) all the files are:

    Copyright © 1998-2003 Daniel Veillard. All Rights Reserved.

    Permission is hereby granted, free of charge, to any person obtaining a copy of this software and associated documentation files (the “Software”), to deal in the Software without restriction, including without limitation the rights to use, copy, modify, merge, publish, distribute, sublicense, and/or sell copies of the Software, and to permit persons to whom the Software is fur- nished to do so, subject to the following conditions:

    The above copyright notice and this permission notice shall be included in all copies or substantial portions of the Software.

    THE SOFTWARE IS PROVIDED “AS IS”, WITHOUT WARRANTY OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO THE WARRANTIES OF MERCHANTABILITY, FITNESS FOR A PARTICULAR PURPOSE AND NONINFRINGEMENT. IN NO EVENT SHALL THE DANIEL VEILLARD BE LIABLE FOR ANY CLAIM, DAMAGES OR OTHER LIABILITY, WHETHER IN AN ACTION OF CONTRACT, TORT OR OTHERWISE, ARISING FROM, OUT OF OR IN CONNECTION WITH THE SOFTWARE OR THE USE OR OTHER DEALINGS IN THE SOFTWARE.

    Except as contained in this notice, the name of Daniel Veillard shall not be used in advertising or otherwise to promote the sale, use or other dealings in this Software without prior written authorization from him.

    Material Docs Theme

    Copyright © 2016 Digitalcraftsman digitalcraftsman@protonmail.com Copyright © 2016 Martin Donath martin.donath@squidfunk.com

    Permission is hereby granted, free of charge, to any person obtaining a copy of this software and associated documentation files (the “Software”), to deal in the Software without restriction, including without limitation the rights to use, copy, modify, merge, publish, distribute, sublicense, and/or sell copies of the Software, and to permit persons to whom the Software is furnished to do so, subject to the following conditions:

    The above copyright notice and this permission notice shall be included in all copies or substantial portions of the Software.

    THE SOFTWARE IS PROVIDED “AS IS”, WITHOUT WARRANTY OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO THE WARRANTIES OF MERCHANTABILITY, FITNESS FOR A PARTICULAR PURPOSE AND NON-INFRINGEMENT. IN NO EVENT SHALL THE AUTHORS OR COPYRIGHT HOLDERS BE LIABLE FOR ANY CLAIM, DAMAGES OR OTHER LIABILITY, WHETHER IN AN ACTION OF CONTRACT, TORT OR OTHERWISE, ARISING FROM, OUT OF OR IN CONNECTION WITH THE SOFTWARE OR THE USE OR OTHER DEALINGS IN THE SOFTWARE.

    nanomsg

    Version 0.5-beta

    Copyright © 2012-2013 Martin Sustrik All rights reserved. Copyright © 2013 GoPivotal, Inc. All rights reserved.

    Permission is hereby granted, free of charge, to any person obtaining a copy of this software and associated documentation files (the “Software”), to deal in the Software without restriction, including without limitation the rights to use, copy, modify, merge, publish, distribute, sublicense, and/or sell copies of the Software, and to permit persons to whom the Software is furnished to do so, subject to the following conditions:

    The above copyright notice and this permission notice shall be included in all copies or substantial portions of the Software.

    THE SOFTWARE IS PROVIDED “AS IS”, WITHOUT WARRANTY OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO THE WARRANTIES OF MERCHANTABILITY, FITNESS FOR A PARTICULAR PURPOSE AND NONINFRINGEMENT. IN NO EVENT SHALL THE AUTHORS OR COPYRIGHT HOLDERS BE LIABLE FOR ANY CLAIM, DAMAGES OR OTHER LIABILITY, WHETHER IN AN ACTION OF CONTRACT, TORT OR OTHERWISE, ARISING FROM, OUT OF OR IN CONNECTION WITH THE SOFTWARE OR THE USE OR OTHER DEALINGS IN THE SOFTWARE.

    “nanomsg” is a trademark of Martin Sustrik.

    TinyXML

    Copyright © 2000-2002 Lee Thomason www.grinninglizard.com

    This software is provided ‘as-is’, without any express or implied warranty. In no event will the authors be held liable for any damages arising from the use of this software.

    Permission is granted to anyone to use this software for any purpose, including commercial applications, and to alter it and redistribute it freely, subject to the following restrictions:

  • The origin of this software must not be misrepresented; you must not claim that you wrote the original software. If you use this software in a product, an acknowledgment in the product documentation would be appreciated but is not required.
  • Altered source versions must be plainly marked as such, and must not be misrepresented as being the original software.
  • This notice may not be removed or altered from any source distribution.
  • Copyright © 2017 Tipue

    Permission is hereby granted, free of charge, to any person obtaining a copy of this software and associated documentation files (the “Software”), to deal in the Software without restriction, including without limitation the rights to use, copy, modify, merge, publish, distribute, sublicense, and/or sell copies of the Software, and to permit persons to whom the Software is furnished to do so, subject to the following conditions:

    The above copyright notice and this permission notice shall be included in all copies or substantial portions of the Software.

    THE SOFTWARE IS PROVIDED “AS IS”, WITHOUT WARRANTY OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO THE WARRANTIES OF MERCHANTABILITY, FITNESS FOR A PARTICULAR PURPOSE AND NONINFRINGEMENT. IN NO EVENT SHALL THE AUTHORS OR COPYRIGHT HOLDERS BE LIABLE FOR ANY CLAIM, DAMAGES OR OTHER LIABILITY, WHETHER IN AN ACTION OF CONTRACT, TORT OR OTHERWISE, ARISING FROM, OUT OF OR IN CONNECTION WITH THE SOFTWARE OR THE USE OR OTHER DEALINGS IN THE SOFTWARE.

    vectorize

    Copyright © 2012 Aaron Wishnick. All rights reserved.

    Redistribution and use in source and binary forms, with or without modification, are permitted provided that the following conditions are met:

    THIS SOFTWARE IS PROVIDED BY THE COPYRIGHT HOLDERS AND CONTRIBUTORS “AS IS” AND ANY EXPRESS OR IMPLIED WARRANTIES, INCLUDING, BUT NOT LIMITED TO, THE IMPLIED WARRANTIES OF MERCHANTABILITY AND FITNESS FOR A PARTICULAR PURPOSE ARE DISCLAIMED. IN NO EVENT SHALL BE LIABLE FOR ANY DIRECT, INDIRECT, INCIDENTAL, SPECIAL, EXEMPLARY, OR CONSEQUENTIAL DAMAGES (INCLUDING, BUT NOT LIMITED TO, PROCUREMENT OF SUBSTITUTE GOODS OR SERVICES; LOSS OF USE, DATA, OR PROFITS; OR BUSINESS INTERRUPTION) HOWEVER CAUSED AND ON ANY THEORY OF LIABILITY, WHETHER IN CONTRACT, STRICT LIABILITY, OR TORT (INCLUDING NEGLIGENCE OR OTHERWISE) ARISING IN ANY WAY OUT OF THE USE OF THIS SOFTWARE, EVEN IF ADVISED OF THE POSSIBILITY OF SUCH DAMAGE.

    ZeroMQ

    Copyright © 2007-2015 iMatix Corporation Copyright © 2009-2011 250bpm s.r.o. Copyright © 2010-2011 Miru Limited Copyright © 2011 VMware, Inc. Copyright © 2012 Spotify AB Copyright © 2013 Ericsson AB Copyright © 2014 AppDynamics Inc.

    Distributed under the GNU Lesser General Public License v3 (LGPLv3).

    Full text of the license is available here: https://www.gnu.org/licenses/lgpl-3.0.txt

    To receive a copy of the source code for the ZeroMQ library distributed with this product under the under the terms of the LGPLv3 please contact devsupport@izotope.com.

    zlib

    Copyright © 1995-2004 Jean-loup Gailly and Mark Adler.

    This software is provided ‘as-is’, without any express or implied warranty. In no event will the authors be held liable for any damages arising from the use of this software.

    Permission is granted to anyone to use this software for any purpose, including commercial applications, and to alter it and redistribute it freely, subject to the following restrictions:

  • The origin of this software must not be misrepresented; you must not claim that you wrote the original software. If you use this software in a product, an acknowledgment in the product documentation would be appreciated but is not required.
  • Altered source versions must be plainly marked as such, and must not be misrepresented as being the original software.
  • This notice may not be removed or altered from any source distribution.
  • Jean-loup Gailly jloup@gzip.org

    Mark Adler madler@alumni.caltech.edu


    END USER LICENSE AGREEMENT

    READ CAREFULLY THE TERMS AND CONDITIONS OF THIS AGREEMENT (“AGREEMENT”) BEFORE YOU CLICK ON THE “ACCEPT” BUTTON OR OTHERWISE USE THE PRODUCT. CLICKING ON THE “ACCEPT” BUTTON OR OTHERWISE DOWNLOADING, INSTALLING AND/OR USING THE LICENSED SOFTWARE OR ANY TECHNOLOGY, IDEA, DATA AND DATABASES, ALGORITHM OR INFORMATION CONTAINED THEREIN OR PROVIDED THEREWITH (COLLECTIVELY, THE “SOFTWARE”), ESTABLISHES A BINDING AGREEMENT BETWEEN YOU AS THE PERSON LICENSING THE SOFTWARE, EITHER ON BEHALF OF YOURSELF OR ANY THIRD PARTY ENTITY (“YOU” OR “LICENSEE”) AND IZOTOPE, INC. (“IZOTOPE”), YOU (WHETHER AN INDIVIDUAL OR FORMAL LEGAL ENTITY) (HEREINAFTER REFERRED TO AS “YOU”), AGREE TO BE BOUND BY THE TERMS AND CONDITIONS OF THIS AGREEMENT WITH RESPECT TO YOUR USE OF THE SOFTWARE.

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    YOUR REMEDIES. iZotope’s sole obligation and your exclusive remedy for any breach of warranty will be, at iZotope’s sole option, either the return of the purchase price you paid or the repair or replacement of the Software, media and documentation, provided you in all instances return the Software, together with all media and documentation and a copy of your receipt, to the location where you obtained it during the Warranty Period. Outside the United States, neither these remedies nor any support services are available without proof of purchase from an authorized non-U.S. source.

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    GENERAL. The export of the Software from the United States and re-export from any other country is governed by the U.S. Department of Commerce under the export control laws and regulations of the United States and by any applicable law of such other country, and the Software may not be exported or re-exported in violation of any such laws or regulations. This Agreement is the complete and exclusive statement of the agreement between you and iZotope and supersedes any proposal or prior agreement, oral or written, and any other communications relating to the subject matter of this Agreement. This Agreement will be governed by and interpreted under the laws of the Commonwealth of Massachusetts, United States of America, without regard to conflicts of law provisions. The application of the United Nations Convention of Contracts for the International Sale of Goods is expressly excluded. This Agreement is in the English language only, which language will be controlling in all respects, and all versions of this Agreement in any other language will be for accommodation only.

    IN ADDITION, ANY SUCH LEGAL PROCEEDING SHALL NOT BE HEARD BEFORE A JURY. EACH PARTY GIVES UP ANY RIGHT TO A JURY TRIAL. To the extent permitted by law, you agree that you will not bring any class action lawsuit against iZotope or be a representative plaintiff or plaintiff class member in any such lawsuit.

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    January 2018



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