Of the three versions of the EVOC 20, two can be used for the classic effect we’ll be looking at here-the EVOC 20 PolySynth (the Instrument) and the EVOC 20 TrackOscillator (audio processor). For this article, I’m just going to show how to get that one classic “singing synth” effect, so I’ll cover a little of the basic theory and only the most key settings.
These are fairly deep, complex processors, so I’m not going to explain them in full detail (that would be more of a book then an article!). In fact, Logic has not one, but three versions of this effect-two audio processors and an Instrument, which incorporates its own synthesizer. Logic has been good enough to include a Vocoder in its collection of effect plug-ins-the EVOC 20 (the E comes from the old days (Emagic) and the 20 is the maximum number of frequency bands- see below). The vocal doesn’t have to be sung (though it can be)-even a spoken word recording is fine-the pitches come from the instrument or synth. The effect requires two signals-the instrument or synthesizer, which provides the tone and music-chords and/or melody-and the vocal, which articulates the words. Blue Sky” (middle and end), and The Cars’ “Dangerous Type” (at the very end). This is where a vocal is superimposed on an instrument, so it sounds like the instrument is singing-some classic examples of this particular effect are ELO’s “Mr. But the classic Vocoder synthetic voice effect is the “singing instrument” or “singing synthesizer”. Vocoders are capable of quite a number of effects, from harsh, metallic Robot Voices (Cylons), to a quantized pitch effect similar to the Auto-Tune effect. More recently, Vocoder effects have been incorporated into music by various artists, ranging from Coldplay to Daft Punk. The Vocoder has been around for a long time-originally developed in the 1930s (!), and used for voice synthesis and even encryption (in WWII), it was adapted for musical use (by Bob Moog, among others) in the ’60s and ’70s, where its range of effects was heard on recordings by artists like Kraftwerk, Wendy Carlos (the Clockwork Orange score), ELO (“Mr Blue Sky”), Styx (“Mr Roboto”), and even Doctor Who (at least one version of the theme music).
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