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.
A few comments from users of the Vocal Splicer:
- H.W. - saves $10,000 per album.
- P.L. - the best thing ever invented.
- J.G. - F...... brilliant.
- R.G. - everybody who sees it wants one.
- B.M. - can't live without it.
- G.C. - it's perfect.
- ...... and so on.
The Vocal Splicer was a highly praised device, but unfortunately it is no longer being manufactured in this age of digital editing.
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