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Also, if you have an iPhone or Android, download the new VocalSynth 2 app. It’s even easier to use than the desktop software and is very similar to VocalSynth 2 from a user perspective. I don’t think they get enough credit for that.

On the other hand, VocalSynth 2 is also a great production tool in the studio. Most of us who run their own gear (we all have our day jobs) still end up getting our audio down the chain via an API, because we can usually find a better return on our $$ if its a plug-in. Its pretty rare that all of our requirements can be satisfied that way, especially if we’re planning on adding a lot of effects. I know I’m very reluctant to spend all of my budget on this sort of thing, because its easy to rack up an insane amount of $500-$1,000 for a single effect chain. A lot of these plugins can be run with a MIDI-CV converter (i.e. Tech21’s M-Trig), which allows you to create any crazy effects with far less equipment than you would need with an API patch.

The VocalSynth 2 interface lets you really nimbly create incredible tracks, almost by accident. Sometimes the controls just fall into place for you and you’re able to dial in a perfect sound, with every parameter at its optimal position. This is especially true if you’re mixing a song with no vocals. That’s when you’ve really got the chance to explore the different possibilities of a patch, whether its a bass, lead, or synthetic vocal sound.

A lot of the cool sounds in VocalSynth 2 are algorithmic, and almost only have an intuitive and obvious setting which will yield the sound you’re looking for. The same can’t be said about all audio plugins, where you really have to spend some time hunting down every possible setting. The modular design lets you dive into the code and play around with the algorithms if you’re ever interested.

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What’s new in iZotope VocalSynth?

Lastly, I want to applaud iZotope for their decision to provide vocalist with live, actual vocal. I like that iZotope asks their vocalists to record the vocal with a clickable microphone, and iZotope provides a simple slider for calibrating the recording. Also, iZotope provides a peak level meter, which is used to dynamically adjust the input level. This can be used to tone down peaks to easily, such as an A-sides vocal, which is often too loud. Also, be sure to get a good mic, a good room, and a good signal chain if you do this. I use a Shure SM7 and my little Peavey 541. But really, after you’ve recorded your vocal, there’s no reason to use that same mic.

And they are easy to work with. The vocal presets have the same sort of drag-and-drop ease of VocalSynth’s effects. That is it. When looking for inspiration, VocalSynth 2 has a built-in library that is searchable by vocalist, key, or pitch. You can even save your favorite presets.

This is a massive update with a huge number of new features and enhancements. A number of key features are highlighted below but I think you’ll find that the bulk of the new features are hidden in the quality of the sound you get. User interface changes, expansion of the VocalSynth 1 engine and a number of features that I haven’t listed yet are all new additions to what is shaping up to be an excellent vocal shaping tool. All this is combined with the precision, midi integration and accuracy of VocalSynth 1.

Whilst VocalSynth 1 had two harmonics per band with a phase of 0 or 180 degrees, this new feature of VocalSynth 2 lets you choose 5 bands with only two harmonics per band. In addition, the harmonics are not tied to the fundamental pitch, so you can assign them to the pitch of any voice.

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