Native Instruments Vocal Colors User manual

Brand: Native Instruments

Model: Vocal Colors

Type: User manual

VOCAL COLORS Manual

Table of Contents

1. Disclaimer ................................................................................................................... 1

2. Welcome to VOCAL COLORS .......................................................................................... 2

Document Conventions ............................................................................................... 3

3. Installation and Setup ................................................................................................... 4

Installing via Native Access .......................................................................................... 4

Loading VOCAL COLORS in KONTAKT ............................................................................ 4

4. VOCAL COLORS Overview .............................................................................................. 5

Instrument Areas ........................................................................................................ 5

Module Basics ........................................................................................................... 6

5. Browsers ..................................................................................................................... 8

Browser Overview ....................................................................................................... 8

Source Browsers for Layers .......................................................................................... 9

Modulation Source Browsers ...................................................................................... 10

Effect Browsers ........................................................................................................ 10

Using Favorites ........................................................................................................ 11

6. Snapshots ................................................................................................................. 12

Snapshots Overview .................................................................................................. 12

Loading a Snapshot .................................................................................................. 12

Saving a User Snapshot ............................................................................................. 13

Deleting a User Snapshot ........................................................................................... 14

7. Layer Pages ............................................................................................................... 15

Tone Pane ............................................................................................................... 16

Source Parameters ............................................................................................. 17

Waveform Display (Looped and Rhythmic Sources) ................................................. 19

Playback Direction (Looped Sources Only) ........................................................ 20

Mouse Interaction on the Waveform Display ..................................................... 20

Vibrato: Advanced Parameters .............................................................................. 20

Pitch Slide: Advanced Parameters ......................................................................... 21

Tune: Advanced Parameters ................................................................................. 22

Mod FX Pane ........................................................................................................... 22

Advanced Effect Parameters ................................................................................ 23

Channel FX Pane ...................................................................................................... 24

Channel Equalization ........................................................................................... 25

Adjusting the Frequency Bands and Response Curves ........................................ 25

Channel Compression ......................................................................................... 26

Space Area ........................................................................................................ 27

Convolution Reverb ....................................................................................... 28

Algorithmic Reverb ....................................................................................... 28

Plate Reverb ................................................................................................ 29

Replika Delay ............................................................................................... 30

Psyche Delay ............................................................................................... 35

Motion Pane ............................................................................................................ 36

Editing the Sequence Used as Modulation Source in the Layers .................................. 37

Conguring the Modulation Targets in the Layers ..................................................... 37

8. Particles Page ............................................................................................................ 39

Sources Pane ........................................................................................................... 40

Effects Pane ............................................................................................................ 41

Algorithm Pane ........................................................................................................ 42

Manually Adjusting the Shift Ranges ...................................................................... 43

Motion Pane ............................................................................................................ 44

Editing the Sequence Used as Modulation Source in the Particles Engine .................... 45

Conguring the Modulation Targets in the Particles Engine ....................................... 45

9. Arpeggiator Page ....................................................................................................... 47

Sequence Settings .................................................................................................... 47

Playback Settings ..................................................................................................... 49

Note Order Options ............................................................................................. 49

Velocity Range Settings ............................................................................................. 50

Step Editor ............................................................................................................... 51

Using the Step Editor Display ................................................................................ 51

Editing Commands ............................................................................................. 52

Selecting Step Modes .......................................................................................... 52

10. Global Page ............................................................................................................. 56

Equalization ............................................................................................................. 56

Adjusting the Frequency Bands and Response Curves .............................................. 57

Compression ........................................................................................................... 57

Settings .................................................................................................................. 58

11. Modulating Your Sound ............................................................................................. 60

Assigning Parameters to the Expression Knob ............................................................... 60

Removing an Assignment from the Expression Knob ................................................ 61

Modulating the Expression Knob ................................................................................. 61

Other Modulations Available ....................................................................................... 62

12. Credits .................................................................................................................... 63

1. Disclaimer

The information in this document is subject to change without notice and does not represent a

commitment on the part of Native Instruments GmbH. The software described by this document is

subject to a License Agreement and may not be copied to other media. No part of this publication

may be copied, reproduced or otherwise transmitted or recorded, for any purpose, without prior

written permission by Native Instruments GmbH, hereinafter referred to as Native Instruments.

“Native Instruments”, “NI” and associated logos are (registered) trademarks of Native Instruments

GmbH.

Mac, macOS, GarageBand, Logic and iTunes are registered trademarks of Apple Inc., registered in

the U.S. and other countries.

Windows and DirectSound are registered trademarks of Microsoft Corporation in the United States

and/or other countries.

All other trademarks are the property of their respective owners and use of them does not imply

any afliation with or endorsement by them.

Document authored by Nicolas Sidi

Software version: 1.0 (05/2023)

DISCLAIMER 1

2. Welcome to VOCAL COLORS

Combining a vast range of vocal expressions with an innovative engine, VOCAL COLORS explores

the synergy between speech and synthesis. Breathe motion, dynamics, and feeling into your music

with inventive sounds that push the boundaries of the voice. From cinematic compositions to

forward-thinking pop productions, VOCAL COLORS delivers hypnotic hues for igniting the initial

spark or nessing your nal brushstrokes.

Fluid, dynamic, and uniquely personal, the voice stands at the forefront of emotive instruments.

From gentle whispers to passionate shouts, VOCAL COLORS lets you shape and blend both

male and female voices. Humanize electronic parts with a varied collection of vocal expressions

that can be warped into evolving pads, basses, pulses, and grooves that strike balance between

ultramodern and naturalistic.

This document shows you how to install and setup VOCAL COLORS and describes all features in

detail, starting with the overview.

We hope you enjoy VOCAL COLORS!

WELCOME TO VOCAL COLORS 2

Document Conventions

In this document the following formatting is used to highlight useful information:

Italics Indicates paths to locations on your hard disk or other storage devices

Bold Highlights important names, concepts, and software interface elements.

[Brackets] References keys on a computer’s keyboard

Single item instructions are represented by a bullet icon.

Results in procedures are represented by an arrow icon.

The following three icons represent different types of information:

The light bulb icon indicates a useful tip, suggestion, or interesting fact.

The information icon highlights important information that is essential for the given

context.

The warning icon alerts you of serious issues and potential risks that require your full

attention.

WELCOME TO VOCAL COLORS 3

3. Installation and Setup

Before making music with VOCAL COLORS, you must install and set up the necessary software.

Follow these instructions to get started.

Installing via Native Access

Native Access is where you will install the software for VOCAL COLORS. If you are new to Native

Instruments, you will rst have to create your Native ID. To learn more about Native Access, visit

our support page.

1. Download and install Native Access here.

2. Create a Native ID if you do not yet have one.

3. Login to Native Access using your Native ID.

4. Click the Not installed tab.

5. Click INSTALL for the following products:

• VOCAL COLORS

• KONTAKT or KONTAKT PLAYER

→The software is installed automatically.

If the software is already installed, click the Available updates tab and check for new

updates before proceeding.

Loading VOCAL COLORS in KONTAKT

Once installed, you can start using VOCAL COLORS in KONTAKT. VOCAL COLORS is not an

independent plug-in, so you rst need to open an instance of KONTAKT or KONTAKT PLAYER:

1. Open KONTAKT as a plug-in in your host software (DAW) or as a stand-alone application.

2. Locate VOCAL COLORS in the Browser, on the left side of the user interface.

3. Click Instruments to open the product's content.

4. Double-click the Vocal Colors.nki le to load the instrument.

If you are new to KONTAKT and want more information, visit KONTAKT PLAYER and

KONTAKT.

INSTALLATION AND SETUP 4

4. VOCAL COLORS Overview

This chapter introduces the main concepts of VOCAL COLORS and its interface. You will also learn

how to quickly adjust the different modules.

Instrument Areas

When you rst open VOCAL COLORS, you see the main page of the interface:

The interface is split into four main parts:

1. Snapshot: The name of the loaded Snapshot is always visible. Snapshots are global presets

containing values for all parameters of the instrument. The name of the Snapshot currently

loaded is displayed here. Click the left and right arrows to cycle through Snapshots, or click

the name of the loaded Snapshot to open the Snapshot Browser and select another Snapshot

from the VOCAL COLORS factory library. For more information on the various Browsers found

in VOCAL COLORS, refer to Browsers.

2. Expression knob: The Expression knob is always visible. You can assign the Expression knob

to any number of parameters within VOCAL COLORS, which allows you to control these

parameters using the Expression knob. You can also modulate them all at once. For more

information, refer to Modulating Your Sound.

3. Module row: The Module row is always visible. VOCAL COLORS is based on three sound

generators: the Layer 1, Layer 2, and Particles modules. In addition, the Arpeggiator module

lets you create advanced sequences of notes playing automatically, and the Global module

adjusts the overall sound of your instrument. The main parameters of these modules are

available at any time in the Module row, at the bottom of the instrument. For more information,

refer to Module Basics.

VOCAL COLORS OVERVIEW 5

4. Central area: This is the biggest part of the instrument and it can display various pages of

parameters and Browsers. By default, it shows the main page: You see blossoms with various

colors and shapes, which represent the three different sound generators of VOCAL COLORS:

The magenta blossoms represent the Layer 1 module, the turquoise blossoms represent the

Layer 2 module, and the smaller white blossoms represent the Particles module. The main

controls of all these modules are found in the Module row underneath (3). The blossoms of

each type are closed if the corresponding module is deactivated, they are slightly open if the

module is active, and they open wider as the module is playing, following the module’s volume

level.

Module Basics

At the bottom of the VOCAL COLORS interface, the Module row is always visible. It lets you adjust

at any time the main parameters of the various modules available in VOCAL COLORS:

The Module row at the bottom of the instrument

• The modules in the middle are the sound generators:

• The Layer 1 and Layer 2 modules both offer the full range of recordings of VOCAL

COLORS, allowing you to precisely adjust two distinct sample sets with their own effects

and modulation, and play them together.

• On their right, the Particles module creates an additional cloud of notes based on a distinct

sample set.

• On the very left, the Arpeggiator module creates sequences of notes based on your playing.

You can choose which of the target modules (Layer 1 and Layer 2) should play these

sequences.

• On the very right, the Global module controls a few general settings for your instrument.

The controls in the Module row are similar for most modules, with slight differences:

1. Module On/Off (all modules except Global): Click to switch the module on or off. When off, the

other controls of the module are grayed out in the Module row.

2. Module name: Click to open or close the module page in the central area above. The module

page contains many more parameters, allowing you to ne-tune the module behavior. The

pages for all modules are described in detail in the following chapters of the manual.

VOCAL COLORS OVERVIEW 6

3. Preset name (Arpeggiator, Layer 1 and 2, Particles): Shows the name of the loaded preset.

The Arpeggiator, Layer 1 and 2, and Particles modules offer numerous presets. Click the

preset name to open the Preset Browser and select another preset for that module (for more

information, refer to Browsers). When you hover over the preset name, two arrows appear on

either side: Click them to quickly load the previous or next preset from the browser’s result list

without opening the browser.

4. Volume (all modules except Arpeggiator): Adjusts the volume level of the module. [Ctrl]-click

(on Windows) or [Cmd]-click (on Mac) to set the slider back to its default level (this works for

all sliders and knobs in the instrument). As you play, a pair of horizontal peak meters under

the slider show you the current level. Left of the slider, the little up and down arrows are

the modulation icon: Click and drag this icon vertically to assign the slider to the Expression

knob and modulate the module’s volume level (for more information, refer to Modulating Your

Sound).

5. Solo (Layer 1 and 2, Particles): If you hover left of the Module On/Off button (1), the Solo button

shows up to solo the corresponding module.

6. Target selector (Arpeggiator): Selects which module(s) should play the sequence created

in the Arpeggiator module. You can send the Arpeggiator sequence to the following target

modules: Layer 1 and Layer 2. Click the desired labels to switch each target on or off. Active

targets are lit, inactive targets are grayed out.

VOCAL COLORS OVERVIEW 7

5. Browsers

The VOCAL COLORS factory library provides hundreds of presets and sample sets for use in

various places and modules:

•Sample sets are used as sound sources in the Layer 1, Layer 2, and Particles modules.

•Presets store settings for specic parts of the instrument, for example: Arpeggiator presets,

Layer presets, Mod FX presets and Motion Source presets within the Layer modules, etc.

•Snapshots are global presets that store settings for the entire instrument.

In order to make these factory presets, Snapshots, and sample sets easy to nd, they are

organized into categories and tagged with labels describing their content. In the relevant places,

VOCAL COLORS provides Browsers to navigate through the factory library and nd the desired

objects.

You can also access factory Snapshots as well as your own custom Snapshots in

KONTAKT’s Instrument Header. Refer to Snapshots for more info.

Browser Overview

Although dealing with different kinds of objects, all Browsers offer a similar workow:

• In the VOCAL COLORS interface, wherever a sample or preset name appears, click that name to

open the relevant Browser.

• In the left part of the Browser, you can click the tags or the category describing the object(s)

that you are looking for.

• In the right part of the Browser, the result list shows the objects matching the tags or category

that you have selected.

For example the Snapshot Browser contains the following elements and controls:

BROWSERS 8

1. Snapshot, Preset , or Sample Name: Click this to open the Browser. This can appear in various

places of the VOCAL COLORS interface: Wherever a sample or preset name appears, click that

name to open the relevant Browser.

2. Tag Filter: Click the tags or the category describing the object(s) that you are looking for.

Darker tags indicate that no object will match your selection, resulting in an empty Result list

(3). At the top of the Tag Filter, a label (for example, SNAPSHOT in the picture above) reminds

you which type of objects you are currently browsing.

3. Result list: Shows objects corresponding to the tags you have selected in the Tag Filter (2)

on the left. You can further narrow the list using the Favorite feature (refer to below). Click

an object in the list once to pre-listen to it (it is temporarily loaded and you can try it on your

keyboard). Double-click an object to load it and close the Browser.

4. Load: Click this button to load the object selected in the Result list (3) and close the Browser.

This is the same as double-clicking the object in the list.

5. Close: Closes the Browser without loading anything. The pre-listened object is unloaded from

the memory and the instrument returns to its previous state.

Source Browsers for Layers

The Source Browsers for Layers feature unique functionality. In the leftmost column of the Tag

Filter, the various play types (One Shot, Sustain, Loop, etc.) are illustrated with little icons. These

icons also appear in front of each source in the Result list on the right, making it easier to quickly

recognize the play type of each source in the list.

BROWSERS 9

The play type icons in the Source Browsers for Layers

These play type icons are also mirrored in the Source Name elds of the Layer’s Tone Pane to

remind you the type of the source currently in use.

Modulation Source Browsers

The Modulation Source Browsers feature unique functionality. Between the Tag Filter on the

left and the Result list on the right, an additional Modulation Display provides a graphical

representation of the waveform or step sequence selected in the Result list.

The Modulation Display in the middle of the Modulation Source Browsers

Effect Browsers

The Effect Browsers feature unique functionality. Instead of lists of tags, the Tag Filter displays

icons for the nine effect categories available:

The nine effect categories in the left part of the Effect Browsers

BROW SER S 10

Using Favorites

The Result list features Favorites that enable you to highlight and collect your favorite entries.

Combined with the pre-listening feature, Favorites can be useful to build a preselection of

interesting presets, samples, etc., for later use.

Favorites in the Result list

▶To mark entries as Favorites, or remove them from the Favorites, click the star icon in front of

an entry in the Result list.

→Entries with highlighted stars are included in the Favorites, while entries with unlit stars are not

included in the Favorites.

▶To lter the Result list by Favorites, click the topmost star icon next to Presets .

→The Result list only shows your Favorites.

BROW SER S 11

6. Snapshots

Snapshots are KONTAKT's underlying le format for instruments presets. They offer a quick and

convenient way of browsing for new sounds and saving custom presets. When a User Snapshot

is saved, all parameter adjustments and instrument settings are stored within the preset. Using

Snapshots, you can create your own preset sounds, save them in the .nksn le format and use

them in other projects, across computers or even share them with other users.

Snapshots Overview

Snapshots contain the parameters and controls:

1. Load Snapshot: Opens the Snapshot menu where you can load a Snapshot from the Factory

or User library. For more information, refer to Loading a Snapshot.

2. Snapshot Name: Displays the name of the currently selected Snapshot.

3. Snapshot Previous/Next (<> icons): Allows you to quickly browse and load Snapshots.

Pressing an arrow icon will load the previous or next Snapshot in the selected category. If

no Snapshot is active, the rst Snapshot on the list will be loaded. For more information, refer

to Loading a Snapshot.

4. Save Snapshot (oppy disk icon): Allows you to save changes made to a sound. When a User

Snapshot is saved, the macros settings, parameter controls, and sequence are stored within it

and can be accessed at any time via the User library. For more information, refer to Saving a

User Snapshot.

5. Delete Snapshot (bin icon): Deletes the currently selected Snapshot from the User library. You

can only delete User Snapshots and not Factory Snapshots. For more information, refer to

Deleting a User Snapshot.

6. Snapshot View (camera icon): Provides access to the Snapshot features described above;

saving, loading, browsing, and deleting. When Snapshot View is selected, conguration

settings and features relating to the Info View are replaced in the display.

Loading a Snapshot

Snapshots are loaded from the drop-down menu in the top header of the instrument. You can also

use the arrows to the left of the oppy disk icon to load the previous or next preset.

To load and browse Snapshots using the arrow icons:

1. Click the Snapshot View (camera icon) to open Snapshot view.

SNAPSHOTS 12

2. Click the arrow icons (<>) in the Snapshot header to browse through the Snapshots list.

→The previous or next Snapshot will load immediately each time an arrow icon is clicked.

To load a Snapshot from the library:

1. Click the Snapshot View (camera icon) to open Snapshot view.

2. Click the arrow icon next to the Snapshot name eld to open the Snapshot menu.

3. Select the Factory category to load a Factory preset, or select the User category to load one of

your own Snapshots.

4. Select an instrument category, if available.

5. Select a Snapshot to load it.

→The loaded Snapshot is displayed in the instrument header.

The User category will not appear until you have rst saved a Snapshot.

Saving a User Snapshot

Snapshots can be saved at any time while you are working on them. When a Snapshot is saved, all

parameters and controls are also saved.

To save a Snapshot:

1. Click the Snapshot View button (camera icon) to open Snapshot view.

2. Click the Save button (oppy disk icon).

3. Enter a name for your new Snapshot in the Save dialog box.

4. Click Save to nish the process and close the dialog box.

→Your Snapshot .nksn le is saved to the User Snapshot Library. It appears in the User Snapshot

list.

SNAPSHOTS 13

To overwrite a Snapshot:

1. Click the Snapshot View button (camera icon) to open Snapshot view.

2. Click the Save button (oppy disk icon).

3. Click Overwrite to conrm the process.

→Your Snapshot .nksn le is saved to the User Snapshot Library, in replace of the old le.

Deleting a User Snapshot

Snapshots can be deleted using the bin icon in the instrument header. To delete a User Snapshot:

1. Click the Snapshot view (camera icon) to open Snapshot view.

2. Load the User Snapshot you wish to delete.

3. Click the Delete button (bin icon).

4. Conrm deletion of the Snapshot by selecting Yes in the dialog box.

→The User Snapshot .nksn le is deleted from the User Snapshot Library.

SNAPSHOTS 14

7. Layer Pages

On the Layer pages, you can congure the sound generated by the Layer 1 and Layer 2 modules.

Layer 1 and Layer 2 can be seen as the main two sound generators in VOCAL COLORS, on which

the Particles module will add its own, distinctive features.

▶Click LAYER I or LAYER II at the bottom of the instrument to open or close the desired Layer

page:

Each Layer page is split into two main parts:

1. Pane selector: Click a pane name to show its parameters for the Layer. An On/Off switch next

to the pane name lets you globally activate or deactivate that particular feature for the Layer.

2. Layer parameters: The parameters displayed depend on the pane selected.

The Layer pages provide the following panes:

• The Tone pane takes care of the basic sample playback. For detailed information, refer to Tone

Pane.

• The Mod FX pane adds up to four creative effects. For detailed information, refer to Mod FX

Pane.

• The Channel FX pane includes an equalizer, a compressor and a reverb/delay unit. For detailed

information, refer to Channel FX Pane.

• The Motion pane provides two internal modulation sources. For detailed information, refer to

Motion Pane.

LAYER PAGES 15

Tone Pane

The Tone pane of the Layer pages lets you select the sample sets used in the Layer and congure

its playback, thus dening the basic tone of each Layer.

▶To display the Tone pane, click TONE in the Pane selector of the Layer page:

Controls for Layer 1 and 2 are strictly the same. Controls for Layer 1 are described here, the

descriptions also apply to Layer 2.

The Tone pane contains the following elements:

1. Source Name: Displays the name of the sample set used in that Layer. The icon in front of

the name reminds you the type of source (one shot, sustain, loop, rhythm or reverse). Click

the source name to open the Source Browser and select another sample set for that Layer.

For more information on using the browsers, refer to Browsers. You can also click the arrow

icons (<>) near the source name to quickly load the previous or next source from the browser’s

Result list without opening the Source Browser.

2. Source parameters: Let you precisely adjust the sound of the loaded source. The available

parameters vary with the source. For a description of every parameter, see Source Parameters.

3. Envelope controls: The envelope controls let you adjust the various stages of the Layer’s

amplitude envelope: The Attack knob adjusts Layer’s attack time, the Decay knob adjusts its

decay time, the Sustain knob adjusts its sustain level, and the Release knob adjusts its release

time. If the source sound features release samples, an additional Sample button appears:

When you switch the Sample button on, the Release knob adjusts the level of these release

samples instead of the release time.

LAYER PAGES 16

4. Keyboard Display: The two horizontal lines above the keybed represent the sample sets for the

lower and higher voice types.

a. The upper line represents the higher voice type, the lower line represents the lower voice

type.

b. The key value indicates the split between both voices: Playing a key below will trigger the

lower voice type, playing a key above will trigger the higher voice type. You can drag the

divider under the key value with your mouse to adjust the split position.

c. For each voice type, the thicker segment represents the note range for which dedicated

samples have been recorded (corresponding to the voice’s tessitura). Notes outside these

ranges will use pitched samples.

d. For some sample sets, the lower segment contains a striped part. This part is displayed

if the source is using subharmonic samples. This is a special singing technique where the

singer can reach even lower notes.

Source Parameters

This section describes all parameters available for the various sources in the Tone pane of the

Layer pages. Note that some parameters will be available only for specic sources, depending on

the source type (one shot, loop, etc.) or on other characteristics of the sources.

Looped and rhythmic sources also provide a Waveform Display that lets you adjust

the section of the sample to be played.

•Track menu: Selects from various recording modes:

•Doubletrack: Samples from two different recordings are panned to the left and right

channels, resulting in a fuller sound.

•Singletrack: Samples are from one single recording.

•Singlespread: Samples are from one recording but they are panned in the stereo eld

depending on the played key: Lower notes will be panned to the left, higher notes to the

right.

•Octave menu: Transposes the voices one or two octaves upwards/downwards.

•Tight: Shortens the attack at the beginning of the samples. This way, the samples are playable

tightly. This can be useful when using two sources as it reduces am effects (“double attacks”)

between both sources. Deactivate the Tight button for a more natural feeling of the source

sound.

•Round Robin: When active, different samples of the same note are triggered in a random

manner each time the note is played. This makes the voice sound more human.

•Link Position: When active, if a sample is already playing, the playback position of new samples

will be linked to that of the rst sample. This can be useful e.g. for rhythmic sources to ensure

that each new note stay in sync with the notes already playing.

•Mono: Switches the source to mono.

•Dyn Morph: For each note, different samples (called velocity samples) were recorded in order

to better reproduce softer and louder sounds. When Dyn Morph is off, these velocity samples

are triggered according to the key velocity of the played notes. When Dyn Morph is on, these

velocity samples are controlled by the Expression knob instead of the key velocity.

•One Shot: When active, the source is played once instead of beeing looped.

LAYER PAGES 17

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