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Control is also easier than ever with VocalSynth now offering easier-to-use routing in your DAW. The plugin now comes compatible with over seven different flavors of DAW and even recognizes what software is being used. By default, VocalSynth opens in Auto Mode, where effects are modulated by the audio within the track itself. However, clicking on the Auto Mode button just next to the presets will open advanced routing options.

To kick things off, we look at the interface. The entire GUI has had a complete overhaul, following suit with the new versions of Ozone 8 and Neutron 2. This further solidifies iZotopes vision of a common feel among their updated plugin line, and for good reason. VocalSynth 2 now integrates into the very same ecosystem that Ozone and Neutron now occupy. VocalSynth 2 now incorporates Tonal Balance Control, Masking Meter, and Visual Mixer. It really almost seems iZotope could be gearing up for their own DAW given this new all-inclusive environment. Either way, it does increase efficiency once some time is invested into learning how to use these new mixing tools in your DAW.

Not even the presets and menus are the same – something which you can probably expect from a software development company. What? Im being harsh? Yeah, a little. I can understand a company wanting to implement simple changes such as a new graphic user interface, and making some improvements to VocalSynth 1, but there are plenty of missteps. Im looking at you, Audio Feedback and the Auto-Tune filters.

Other neat features include the context-sensitive parameter controls, and the new iZotope Retrigolate function that keeps a vocal engine going after a long session. The retrigolator function could also be a lifesaver if you decide to track vocals late at night. Simply save your vocal track in VocalSynth 1 format, then transfer it into VocalSynth 2 format, set up the retrigolator to make it automatically revive the vocal track when it has lapsed in time, and you are done. I am not certain if this function is available for iZotopes other plugins, such as the WaveMax or Vocalist, so be sure to check if you plan on going that route.

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The unique timbral palette of the iZotopes effects can be stretched and twisted in many unique ways to create some really exciting sounds. For example, if you use Portamento to make the voices rise as the note lasts, you can find a vocal voice. But if the timbre is just sharp, the effect will actually decay in accordance with the Cymbal effect. If you use the Phaser to make the resonance not quite so linear, the effect can be more shimmering or with another modules, it may result in warbly, a series of echoes of a one sound.

Vocals naturally have harmonic content. The tuning is a set of predictable overtones or harmonics. If you just record what you sing, youll often find that the singer has some sort of natural harmonic in the region around the note they are singing (E3 in the scale A3 is in the key of C#). You can replicate the sound of these overtones or harmonics if you understand harmonic content. This is what VocalSynth 2 aims to do and thats why it was developed.

There are 3 distinct ways that VocalSynth 2 lets you replicate this harmonic content in its most rawest form. You can use the Pitch Correction feature to generate harmonics, you can use the Pitch Shifter to add base harmonics, and lastly, you can use the Pitch Shifter to add harmonics at harmonics

One of the most complex aspects of VocalSynth 2 is the Level Effect. This is the series of parallel synthesis and parallel processing analog circuitry that has the potential to provide some really interesting timbral changes. This is where you can really find a bunch of interesting possibilities.

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User Assistance: iZotope may assist you with initial installation of the Software by sending a technician to your site. iZotopes personnel may also conduct remote installation of the Software on your behalf. For purposes of this Agreement, iZotopes technician personnel and any other employee of iZotope who are assisting you with the software or training you with the use of the Software may use the Software during the course of such installation or training, subject to the terms and conditions of this Agreement. The Software is subject to applicable export laws and regulations. You acknowledge that you are agreeing to comply with all applicable export laws and regulations to conduct your use of the Software.

Use Software. You may use the Software, solely as expressly permitted in this Agreement. You may copy the Software onto one or more computers or other electronic devices you own or control and use the Software on one or more computers or other electronic devices you own or control as permitted by iZotopes Software license terms. iZotope does not require a user to agree to the foregoing terms in order to receive the Software under these terms. You may not use the Software for any illegal or unauthorized purposes or in any manner inconsistent with the terms of this Agreement. You must not download or use the Software, or use a copy of the Software, on any computer or other electronic device, not owned or controlled by you, with the purpose or intent of uploading, copying or storing any audio file onto any computer or electronic device not owned or controlled by you.

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What’s new in iZotope VocalSynth

Spiffy new interface
Open API compatible with other iZotopes
Expanded Vocoder
Expanded Shred
Expanded New Sound Engine
Expanded TimeStretch
Expanded CPU Optimization
Expanded FFT
New Presets

iZotope VocalSynth Features

48 kHz / 24-bit floating point audio input
One or multiple voice types
Gaussian filters
Cubic interpolation
Elimination of common frequencies
Schweiss filter settings
X-Y cut filter settings
Equalizer settings
All available filters
Smooth settings
Smoothing: small, medium or large
Note: ALL filters can be bypassed via “No Filters” option
Concatenate multiple tracks into one
Quality control
Enhance, test, manipulate signals and split stereo channels
A number of additional user-friendly features can be found in the iZotope VocalSynth V2 manual.