Manual TC Helicon Voicelive (page 51 of 59) (English)

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HARMONY AND TUNING

Black = Lead & Grey = Harmony

You might have noticed that each harmony

note can cover more than one input note, or

that each input note doesn’t necessarily have

a unique harmony note. For instance, C and D

both have E as the 3rd above, E and F share

G, and so on. This gives a more stepped

sound to the harmony as the changes are both

greater in magnitude and less frequent than

when using other harmony methods (shift

mode for example). The benefit of this method

is that it is very easy to integrate vocal har-

monies into your songs if you already know

their chord progressions! The following lists the

chords available with respect to the root of “C”:

Scale (Scalic) mode

Harmonies use key and scale information to

create musically correct, diatonic harmonies.

Most popular music uses a single scale, so

you usually only have to input the information

at the beginning of your song. “Scalic” har-

monies are more dynamic than the chordal

harmonies because there are unique harmony

notes for each input note. The subsequent

illustration shows the harmony notes for the C

major scale with a voicing selection of a C

major scale and a single “third above” harmo-

ny voice. You can see from the next diagram

that the “Scalic” harmonies are intelligent and

closely follow your lead voice for a tighter

sound.

Black = Lead & Grey = Harmony

Under the Harmony Edit Screen HA2, is a

parameter called SMOOTHING. When set to

100% the harmony voices follow your input

pitch, errors and all, but when set to 0% the

harmonies will jump directly to the scalic har-

mony notes, kind of like a hard pitch correction

on the harmony voice. Setting the SMOOTHING

parameter between 0 and 100

% is like having

variable amounts of pitch correction on the har-

monies. VoiceLive has six preprogrammed har-

mony scales: three major, three minor and one

custom per preset. To create a custom scale or

pitch map see the "Custom Voice Mapping"

section in the "Preset Edit Screens" part of this

manual.

It is also tricky to pick out the key in some

songs. An example is “Sweet Home Alabama”.

Listening, you might think this song is in the

key of “D”, as that’s the first chord, but the har-

monies actually work best in the key of “G” --

try running the song through VoiceLive to hear

for yourself.

Setting the scale can also take a bit of practice:

for songs centered around the third or root of

the scale it might not sound like there’s any

noticeable differences between the three major

or three minor scales. This is because your

song doesn’t hit any of the scale’s altered

notes. A melody centered around the fifth of the

scale, (such as B in the key of E), highlights

the differences between the scales. Try the

“Sha Lala Lala ...La Tee Daa” chorus of Van

Morrison’s “Brown Eyed Girl” (key: E, scale:

major, 3rd above voicing) with each major

scale to hear the audible difference between

them. For the minor scales, Santana’s “Evil

Ways” (key: G, scale: minor, 3rd above voicing)

highlights the differences between the three

minor scales.

The following table illustrates the third and fifth

above for a given input note to illustrate the dif-

ferences between the six different scales. “nc”

means no change, in that the harmony voice

will simply keep its previous pitch until the lead

voice pitch changes to a non “nc” note.

Maj C E G

Maj6 C E G A

Maj7 C E G B

Maj7sus4 C F G B

Min C Eb G

Min6 C Eb G A

Min7 C Eb G Bb

Min7b5 C Eb Gb Bb

Dim C Eb Gb

Dim7 C Eb Gb Bbb

(equiv. to A)

Dom7 C E G Bb

Dom7b5 C E Gb Bb

Aug C E G#

Aug7 C E G# Bb

Sus C F G

Sus2 C D G

Sus7 C F G Bb

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