Vocal Splicer Application Hints
The Vocal Splicer is to be used to comp (compile) a master take from several lesser takes. The takes
are patched
via inputs 1-8 and the output from Out 1. For ease in finding the best portions or the takes, keep the
Splice Fader at A and use the A buttons to select between the takes. If takes are numbered 1 thru 8 it
is much easier to keep track of which take is selected. After selecting the portions to comp, much of it
can be done simply by selecting the takes via the A buttons with the Splice Fader left at A. Where there are
problems with the aforementioned method, select the first take on A and the second take on B and simply
Splice at the desired point. Rapidly move the Splice Fader through its travel. Suggested Splice points are
between words as this minimizes the 'double' effect when the fader is in the middle of its travel. Of course
a new take on A can be selected and Spliced back from B. In this manner it is possible to put the recorder in
Record and not have to punch at all for the entire master composite. Believe it or not, it can be
done. Comping
can now be fun, instead of the dregs of recording. The master can be comped while the performer is
taking a break
and any material needed can be obtained with the studio setup intact. No more trying to match
eq, gain, mic placement and recorder alignment at some later date.
Where the Vocal Splicer really shines is when dealing with less than stellar performances. When there
are timing inconsistencies between tracks it is impossible to
punch the track inaudibly via the old brute force method. With the Vocal Splicer it is possible
to select a
splice point and timing to make almost inaudible splices. The worst offenders are either a double
attack or a
gap where the first take is 'cleaned' to fit the later second take. Simply start the Splice at
the beginning
of the attack on the first take and finish at the end of the attack on the second take. Some trial
and error
is required, but with practice great results are obtained. With practice it is possible to dot 'i's and
cross 't's.
Another technique is to take four or five 'straight' takes and then a couple of 'wild'
ones. It is possible to create unsingable performances by splicing in material from the 'wild'
takes. This
technique is effective when 'flying' in choruses from a single chorus performance. Simply splice into a
sampler and then 'fly' in your perfect chorus performaces. This can save a lot of wear and tear on a singer
when time is short.
The gain buttons can be used in conjunction with the Level Fader to correct gain
irregularities in a performance. Increase the gain by pressing either of the Gain buttons and use the Master
Level Fader to restore unity gain. Levels can then be adjusted with the Master Level Fader. For unity gain
both gain buttons should be up and the Master Level Fader fully up. When both Gain buttons are down there is
14db of gain (not 18). They can both be released by pressing gently on whichever of the buttons is not
depressed.
We do not recommend having two or more buttons down on the same row. This effectively
shorts the two inputs together. Depending on the source, this may or may not work. For double and triple
splices we recommend summing the required tracks via console groups and using a channel of the
Vocal Splicer from
the group output. Splices are then possible between the doubles, etc. In this manner the correct level and
balance of the double can be achieved and no signal degradation will result due to mismatched impedances. Some
doubles can be effected by simply selecting the two takes, one on A, the other on B and simply moving the
Splice Fader to the center. This technique is effective to enhance key words in a performance. Any
balance can be
obtained depending on where the Splice Fader is placed. Similarly, effects can be added via the Loop
function.
The Loop can be used to correct pitch or timing problems if the necessary devices are available. For
example, to correct the pitch of a word on channel 1, select 1 on the A buss, A as the Loop send and
Loop on the B
buss. Patch the from Send into a pitch shifter input and the Rtn to the device output. Adjust the
pitch shift to the
correct amount. To correct the offending word simply splice between the original signal on A and the
corrected signal
on B. With a high quality device, the change is inaudible. Rushing problems can be corrected in
the same manner using
a delay line in place of the pitch shifter. Unfortunately, there is no early box, so late problems
cannot be corrected
in this manner. Do not have both LOOP buttons down at the same time as this will short the A and B busses
together. Unless using the loop, both buttons should be up. This avoids any signal degradation due to cable
loading. If not using the Loop, the black loop button can be used as a Mute for its respective buss.
To do stereo splices, use channels 1 & 2 for the 'A' pair and channels 3 & 4 for the 'B'
pair. Select 1 on 'A' and 3
on 'B' (or any combination excluding 2 & 4). The splice will be between 1 & 3 for the left channel
and 2 & 4 for
the right channel. Output 2 is always a splice between channels 2 and 4. The buttons have no effect on
Output 2.
The inputs are balanced, the outputs unbalanced. The third pin on the power supply is not chassis
ground, so it does not to be lifted. Do not lift or remove the third pin on the power supply
cord. The Vocal
Splicer is wired internally to be completely compatible with a star ground system. The power supplies
are ±22v,
which exceeds almost all console and recorder supplies.