Top 10 Best Vocal Autotune Pedals On The Market (May 2020)
We have found ten great vocal processors that we think you should take a closer look at. These machines are designed to help amplify your vocal abilities. When all is said and done, the way you sound if the most important thing. Therefore we think you should take a look at our list, we hope it helps.
Boss VE-500 Vocal Performer
- ✔ 5 Year Warranty
- ✔ Boss have a history of high quality products
- ✔ Editor software is on both Mac and PC
- ✖ Small screen size
For those who aren’t particularly familiar with the brand Boss, they’re one of the leading manufacturers of effects pedal in the world, and are a subsidiary of the Roland Corporation. Founded in 1973, having over 46 years of experience in building industry leading effects pedals for bass, guitar & vox. This has resulted in the quality of their products consistently being high quality.
We’ve organized this best vocal autotune pedals review, in such a way as to not only gives the opportunity to clearly display its features, but the article also includes pros and cons to give you a quick and easy to digest overview of the product.
- All-in-one Vocal Effects Unit, with multiple vocal effects to choose from
- Vocal Harmony, Pitch Correction, Vocoder, Looper, Compressor, De-Esser, EQ, Reverb, Delay, Filtering, etc
- Guitar Input for optional harmony, pitch and vocoder control
- Also includes Thru output for sending unprocessed guitar signal to guitar pedal/amps
- MIDI input and USB-Midi for optionally guiding harmony, pitch correction from MIDI keyboard or DAW backing tracks
- XLR Microphone input with phantom power & adjustable sensitivity
- Boss DSP Engine for processing up to 9 effects simultaneously
- 99 user programmable preset patches
- Built to last with durable, strong die-cast metal casing
- Stereo XLR Outputs
- USB connection for editor/pedal programming and firmware updates
- Three assignable footswitches for real-time performance control
- Supports 2 external footswitches or an expression pedal
- Three assignable knobs for quick access to essential parameters (great whilst performing)
- Editor software (suitable for Mac/PC) for sound editing and patch management via USB
- 5-Year Warranty on Boss Pedals*
Each of the UI’s menus has micro-controls, where you can adjust every aspect of an effect, for example in the screenshot, you can see there are multiple types of Vocoder effects that can be chosen, including Standard, Vintage & Talk Box, and then levels, octaves, tones, attack, release, sensitivity settings can then be further modified to help define your sound.
Not only do you have this functionality, but you also have the ability to add up to 99 user programmable patches.
As for the physical unit, there are three assignable footswitches, for real-time performance control, including individual effects enabling/disabling, patch selection, looper & harmony functions and a whole lot more. Not to mention, the unit can support an expression pedal or two external footswitches, so it’s extremely adaptable.
From left to right, it has an Instrument Input & Thru, for those who want to plug their guitar in and control harmony and vocoder effects with their guitar (similar to a MIDI controller), with the Thru output allowing the unaffected guitar signal to be passed to your other effects pedals or amp.
It also includes a Microphone input, which has optional phantom power and sensitivity controls, great for condenser microphones which are more demanding.
Additionally, the VE-500 has stereo (L & R) output, a MIDI input, USB input (For editor programming and firmware updates) and a DC power input.
With the fact that it provides, harmony, reverb, pitch correction, delay, compression, EQ and even more, all in a strong, well build unit. It’s definitely an option you have to consider.
One of the aspects that we particularly like about the unit, is the editor, where you can go about making subtle or drastic configuration changes to your VE-500’s presets, and with room for a massive 99 custom presets, you’ll be able to store all your favourite combinations with ease.
Combining this with the 3 user-assignable footswitches, and 3 assignable toggle knobs, it’s certainly versatile.
However, the one downside to this unit has a small sized screen, which makes sound editing on the device, a rather difficult process. However this can all be done through the supplied PC/Mac editing software.
Overall, it provides incredible value for money, and with any of Boss’s Pedals, you get the company standard 5-year warranty.
Tascam TA1VP Vocal Producer
- ✔ A generous collection of integrated signal processing
- ✔ The unique Auto‑Tune and mic modelling algorithms
- ✔ Valve emulation
- ✖ Wall-wart PSU and no power switch
This vocal processor is kind of a one-trick pony. It’s great for autotune, and you can select whether you want autotune for all the notes, or a particular note, maybe that high note that you always struggle with. You can also choose which scale you’re singing in, which will make it easier for it to know which note you’re aiming for.
Although it doesn’t contain a mic preamp, there is a surprisingly large amount of fun technology! It starts with Antares’ mic modelling and valve emulation, followed by Auto-Tune real-time pitch correction. Then there is a variable-knee compressor, an expander/gate, a tuneable de-esser, a two-band equaliser (which is far more flexible than it sounds), and an automatic double-tracking facility (using Auto-Tune to create the second voice). Most parameters can be accessed and adjusted with only a couple of button presses, and the whole shebang is fully programmable. It is also equipped with a broad range of factory presets designed to complement particular instruments and voices, as well as different musical styles. These serve as excellent starting points for inveterate twiddlers, and offer pretty good instant solutions for those who would rather get on with the music making. Most parameters can be controlled via MIDI continuous controllers too, for automation from a sequencer.
There are two MIDI sockets (In and Out) for remote control and user data transfers, and a quarter-inch footswitch socket, again for remote control of various functions. The AVP1 is clever enough to detect whether the footswitch is of the normally-closed or normally-open type when it powers up, and behaves appropriately thereafter.
The mic modeller is based on the company’s previous AMM1 stand-alone unit, but offers a diminished collection of source and modelled microphone types. There are a handful of specific source mics which include common stage and budget studio mics with denoted models from Shure, Audio Technica, Rode and CAD. There is also a variety of generic source mics such as handheld and studio dynamics, small- and large-diaphragm condensers, and wireless mics. The modelled options are all generic and include handheld and studio dynamics, two small- and three large-diaphragm condensers, a trio of drum mics and a telephone emulation. High-pass filtering options are provided for both source and modelled mics to allow adjustment of proximity effects.
The Compressor/Gate section provides a variable-knee compressor with dedicated buttons to access directly the attack and release time-constants, and the slope of the knee. The threshold, ratio and gain make-up parameters are found by pressing the Comp button, and pressing this a second time recalls the detailed gain-reduction meter to the LCD window. The Expander/Gate section is accessed from a dedicated button which provides ratio and threshold controls. Another lozenge display indicates the total amount of gain reduction applied by both the compressor and expander/gate.
The Auto-Tune is fast and easy to use and can save the day with a vocalist (and some instrumentalists for that matter) who occasionally drifts out of tune. The handbook suggests setting the footswitch to bypass the processing until needed on the odd duff note — a handy trick which helps to minimise the processing side effects. And yes, it will also do the Cher warble if that is your thing…
There is no doubt that this is ideally suited to stage use, and mainly with vocals, helping to create a more impressive and well-controlled sound from the typical stage dynamic microphone, while also tidying up any tuning inaccuracies. However, it would also be handy to tidy up fretless or upright basses and other freely pitched instruments. It is reasonably easy to set up and operate, and the provision of a number of preconfigured starting points helps a lot. It would have been nice if there had been a separate set of user program memories, rather than having to overwrite the factory presets, but this is only a small gripe.
Roland Voice Transformer VT-4
- ✔ Features Modern and retro vocal effects
- ✔ Able to layer multiple effects at once or chain them together
- ✔ instant control over both pitch and formant
- ✔ Roland VT-4 is an easy-to-use effective voice transformer
Once upon a time there was a vocal processor from Boss called the VT1 and it provided a convenient toolset of voice effects, from gender reassignment to Metal Mickey robotics. By performing its few tasks well and with minimum fuss, it gained something of a cult following. Joining Roland’s Aira range as the junior member is the VT4, an updated version of the VT1, but built for the same instant gratification as its predecessor.
Roland’s BOSS VT-1 Voice Transformer has been used on hit tunes and albums by major acts including The Knife and Air. The VT-4 is unmistakably an AIRA product. It has the same solid build quality, sleek looks, green lights, brushed black aluminium front panel, black plastic case and green day-glo trim as its TR-8 and TB-3 siblings and it’s also very compact too.
The VT-4 doesn’t stray far from the VT-1’s concept in terms of functionality and the hardware itself – in fact it’s strikingly similar if you compare the two, though thankfully the garish orange and blue colour scheme has departed!
Plug and play is the order of the day and having connected my AKG D130 mic, it was just a case of adjusting the sensitivity of the input, keeping a wary eye on the peak LED, then letting rip. The central encoder’s 10 positions each select a different processing algorithm and just three user memories are provided to store your favourite combinations of the front panel controls. This is considerably less generous than the VT1 and since one potential role for the VT4 is for voice‑over work, more memories would have been much appreciated. Fortunately, the VT4 is very hands‑on so this limitation may not prove too irksome.
If you have a spare sustain pedal it can be used to toggle the bypass status, and in one of only a handful of configuration options, you can change its polarity to suit the type of pedal you have. Finally, if you don’t look carefully, you might miss the mini‑jack headphone socket and additional mic input under the panel at the front. Using the pitch and formant levers together generates a wide variety of pretty transparent vocal modifications. It’s never been easier to morph from Barry White to Barry Gibb! Certainly the results are cleaner than earlier Roland technology, such as Variphrase, and with the robot button always handy, Direct might be all the processing you ever need.
The next two options are Auto Pitch 1 & 2. Described as pitch‑correction, their attempts at following the frequency of my incoming voice were met with mixed success. Admittedly, it’s been many decades since I was in my vocal prime and time hasn’t been kind to my vocal cords. When I trotted out a rusty bit of Palestrina, the VT3 struggled to identify the pitch, let alone follow it reliably. In contrast, I plugged in my theremin instead of the mic and, perhaps due to the consistency of delivery and tone, the process worked far more reliably.
Auto Pitch 2 is instantly more artificial, its electronic artifacts not unlike those of Variphrase. As my latin motet renditions slipped effortlessly into Cher (not a phrase I thought I’d ever need), the blatant Auto‑Tune character became more unruly than ever. Auto Pitch 2’s response to vibrato was to glitch wildly and I never fully gained control over the tuning. I suspect that to get the best out of either of these modes, you need a voice that’s already pretty good and I got my most interesting output by abandoning the voice altogether and using other sources, such as a drum machine.
In use, the VT-4 is great fun just like the old VT-1 and in particular, the new Synth, Bass and Lead modes (that turn your voice into a synth, bass or lead sound) are great for anyone who wants to record or perform synth lines but that can’t play a keyboard. Then there’s the Scatter effect which is great for real-time chopping and twisting of audio and beats, plus the onboard reverb sounds great on all sources, though it’s a shame you can’t alter the time, size or type. The VT-4 is in its element when you start pitching up or down beats/instruments and samples or when you want to harmonize with yourself, plus the effects such as Radio and Megaphone though clichéd, are handy to have on tap.
To sum up, the VT-4 is a mixed bag. It’s certainly fun messing with your voice, it’s a great box for voice-over artists and the built-in USB Audio interface is a real bonus. However, for pitch-challenged singers (like us), the Autopitch and Vocoder presets are a little disappointing compared to the competition. This is an easy one to sum up: the VT4 is much prettier than the VT1 and considering its price, accessibility and bundled audio interface. I predict this is one of the best vocal harmonizer pedals available and will make a lot of vocalists very happy.
- ✔ Fixes the pitch in real time and can sound artificial or natural
- ✔ Includes a harmoniser
- ✔ Includes a looper
- ✔ Durable, and very intuitive
The Boss VE-30 will fix your pitch, subtly or drastically, it’s entirely up to you , depending on your needs. It’s very simple to use and just like the Mic Mechanic, you switch it on with a simple and swift stamp. Pitch-correcting is a popular feature of this pedal however it also has the ability to create harmonies, add reverb and even loop on command. The more creative you are the more you’ll appreciate the customization of this machine.
The BOSS VE 30 Vocal Performer isn’t primarily a vocal pitch correction pedal, it’s actually an All-in-One vocal effects processor solution, and being designed and produced by Boss, you know it’s high quality. Weighing 1.6kg it’s not the lightest pedal in the world, but it more than makes up for it in its ability to add layers of vocal harmonies, whilst adding creative vocal effects such as radio effect, distortion and strobe effect.
It allows artists to also use real-time pitch-correction, something that is highly important, to make sure the vocal harmonies are in tune with the lead vocal. Also allowing 38 seconds (mono) of looped recording, which is useful for singer-songwriters looking for a creative, innovative way to build up their song’s live instrumentation, layer by later, directly in front of their crowd.
The pedal also includes Phantom Power, so it is able to power condenser microphones, such as the Rode NT2A.
Boss VE-30 Vocal Performer is a great option for musicians who not only sing but plays musical instruments as well. It’s a vocal effect processor pedal that’s easy to use and suits all amateur and beginners musicians.
This foot pedal is high-quality and is sturdy and well-built. The two big effects processor pedals make it user-friendly and you won’t have to worry about missing the vocal effect processor pedal with your foot. We really like the red color, it looks really cool.
This vocal processor features double-tracking, harmonies and pitch correction. There is a lot of things you can use it for, and it’s very versatile. Reverb? Not an issue ? Loop station? It’s all included!
This is the perfect vocal effects processor for the musician who finds himself reading through these reviews thinking ‘How on earth am I ever going to make a decision?’. This vocal effect processor pedal works well for everything and works for most musicians!
TC Electronic Ditto Mic Looper
- ✔ Simple to use
- ✖ No storage space to store loops
- ✖ Limited functionality due to it's simplicity
The thing that separates Ditto pedals from the competition is their minimalist style. Many looper pedal manufacturers attempt to cram in so many features that they end up having more dials and buttons than the computer console from the original Star Trek series. In contrast, Ditto pedals are simple, well-presented and compact. The Ditto Miclooper follows this aesthetic down to a tee, with just two footswitches and a single dial on the face of the 5.4 by 3.5 inch (140 by 90 mm) unit. Throw in the typically sleek Ditto look and the result looks polished, professional and inviting.
The Ditto Mic looper, like the original Ditto, doesn’t have much of a feature-set. The undo/redo function is pretty much all you get aside from the very basics of looping. This is a great feature, allowing you to erase and replace any mistakes you make on the last overdub, and even opening up the songwriting potential of the looper. You could add backing vocals for the chorus, for example, remove it for the verse and then have it ready to bring back in for the next chorus. Both these are controlled by holding the “Loop” footswitch in the down position for a few of seconds.
The two footswitches control core looping functions (recording, playing back and overdubbing) along with stopping your loop, undoing (or redoing) your last overdub, and clearing the current loop. In practice, this means you hit the right switch – rugged and metallic so you don’t have to worry about breaking anything mid-performance – and start singing, beatboxing or playing your instrument, and then hit it again to play back what you’ve just done. The loop continues playing for as long as you want, and you can add additional layers of sound by pressing the pedal again and recording an overdub.
The only catch is that there isn’t anything else on the Ditto Mic looper. The Ditto X2, for example, added reverse and half-speed to the basic Ditto blueprint, but there are no vocal effects built into the Ditto Mix. Similarly, the Ditto X2, X4 and Ditto Stereo all had a single slot to store your loop – as well as remembering whatever you’re currently working on, like the Ditto Mix does – but this is missing from the Mic too. If they’d provided that option, you could have used the USB port to backup your stored loops to your computer, or to import a backing track to sing along too.
If you’ve never tried a looper before, the above may seem confusing, yet it doesn’t take a long time to get to up to speed with the pedal. The Ditto series is great for newcomers, because it strips away all the extra stuff that can overcomplicate things and just does the core task of looping really well. One footswitch handles the looping features, and the other stops and clears the loop.
The big question is whether the Ditto Mic looper does enough for vocalists, singer-songwriters and multi-instrumentalists. When you get right down to it, the Ditto offers a fairly limited collection of looping functions and has XLR inputs and outputs. The cherries on the top of this unimpressive feature set are the minimalist , cool style of the pedal and it’s decision to prioritize ease-of-use. One thing you can’t take away from it is that everything it offers is executed expertly, and it’s a great option for anybody just getting into looping thanks to its simplicity.
The problem for the Ditto Mic looper is that a lot of other loopers can do this stuff. The RC-202 and the bigger RC-505 from Boss come to mind, since they were designed with vocalists in mind, but even guitar-focused Jamman Stereo or the RC-30 have XLR jacks and can be used for vocal looping if that’s what you’re looking for. The Ditto Mic pulls off the basic looping features with elegance and style, but other pedals can do so much more if you really want to get into looping.
The upshot is that the Ditto Mic looper is a great pedal for what it is. It opens up the iconic simplicity and high-fidelity of the Ditto series to a larger group of musicians, and it executes everything just as well as you’d expect TC Electronic to do. It’s priced competitively, and if you’re just looking for something to practice with and have fun with, it’s a great looper that you should seriously consider. But if you want more from your looping experience and have a bit more money to spend, you should definitely think about sacrificing a little bit of simplicity in return for vast improvements in capability.
TC Helicon Mic Mechanic 2
- ✔ Compact, easy to use, can be simply controlled with your feet.
- ✔ Offers almost the same professional level of delay and reverb as a studio setup.
- ✔ Affordable and easy to use live.
- ✖ Harmonizing is not an option on this model.
The Mic Mechanic is a versatile little vocal processor with an amazing amount of features. There are reverbs, delays, auto tune options and you can also apply compression, a noise gate and EQ settings. The TC Helicon Mic Mechanic 2 subtly corrects any sharp or flat notes to the closest suitable pitch, this pedal suits an artist who wants to maintain a sound that’s as natural as possible. It’s ideal for singer-songwriters who play musical instruments such as the guitar or bass, as it looks and functions as a traditional stompbox pedal.
TC Helicon VoiceLive Play
- ✔ All-in-one vocal solution
- ✔ A great option for someone looking for a single pedal
- ✔ Over 200 vocal presets
- ✔ Not battery operated
Boss VE-8 Acoustic Singer
- ✔ All-in-one preamp and effects solution
- ✔ Includes a vocal doubling effect
- ✔ Portable
- ✔ Very user friendly
More than just a vocal effects pedal, infact the Boss VE-8 Acoustic Singer is an all-in-one effects and preamp provider for acoustic guitars and vocals. It’s not a secret that Boss has a strong reputation when discussing and comparing guitar effects pedals. Their VE-8 Acoustic Singer is certainly a contender for most versatile harmonizers on the market at this moment. If you’re in the market for a pedal that’s a bit more complex than the usual stuff, this vocal harmonizer pedal should have your full attention.
It starts off with dedicated preamps for instrument and mic, both of which come with completely independent effects, of which the microphone side component stands out due to it’s myriad of features. This includes fundamental effects like smart harmony and reverb, while also including developmental effects such as distortion, robot and more electronic effect types.
When Boss set out to make VE-8, they didn’t just want to build a solid vocal harmonizer. They went a bit further than that. VE-8 features a wide double stack body that brings a lot of that classic Boss reliability. It’s rock solid and inspires enough confidence to be used on just about any stage out there.
The top panel is where all the major controls can be found, and they are not short on numbers. Boss VE-8 packs a very impressive vocal harmonizer effect along with a looper and a chorus. Additionally there is a reverb available for both the guitar channel and vocals channel. In terms of I/O options, you’re given the standard microphone and instrument lines with optional Phantom Power, not forgetting stereo modes. Boss included a USB port, allowing users to connect VE-8 to a laptop/computer. Controls might seem confusing, but after a little while, they become very intuitive. The control interface is split into four areas. At the top, you have the instrument cluster, vocals cluster, and standard output section. In the lower area of the pedal you’ll find the foot switches. Depending on how you press them, these switches will initiate memory mode, or activate the on board tuner.
While focusing on the guitar element of the pedal we find it’s just as packed, with built in effects, such as delay and an interesting acoustic resonance that enhances the sound of piezo equipped acoustic-electric guitars. It’s an amazing all-in-one vocal harmonizer pedal, and it’s recommended for both traditional and adventurous singer-guitarists.
When it comes to ‘End Product’ , Boss VE-8 is a real powerhouse. What is most interesting is the quality of the available effects. Often times when you get a ‘jack of all trades’ type pedal like this one, it is usually strong in some areas, but mediocre in others. VE-8 doesn’t have that issue. On the contrary, the sound is very natural, especially when used as intended with acoustic instruments. Having 50 different Memory slots also helps a lot. You can basically dial in a setting you want, save it, and pull it out of the library later on.
While it gets most of the thumbs up from its quality mic harmonies and reverb, it also impressed many of guitarists. There are a few who were not satisfied with some of the extra effects, but still loved the Boss VE-8 overall. Boss VE-8 pretty much nails what every acoustic guitarist needs while up on stage. The features alone make this a great tool to have available in any studio or on any stage . To summarize, it’s one of the best vocal harmonizer all-in-one pedals you can get on the market today.
TC Helicon VoiceTone Harmony-G XT
- ✔ Listens to guitar and Voice to create the correct harmony parts
- ✔ Natural play guitar-controlled harmony algorithm
- ✔ 6 reverb/delay combinations
- ✔ 10 presets, each with A/B options
There was time when it was only guitarists who used stompboxes, but lately vocalists have been getting in on the act with specialised pedals that can generate harmonies, add reverb and even correct their out of tune warblings. TC Helicon’s pedals always go above and beyond. One look at TC Helicon’s VoiceTone Harmony-G XT proves that. Speaking of VoiceTone, it’s one of the best vocal harmonizer pedals you can get right now. Today we’re going to take a closer look and show you what it has to offer.
This could be considered the little brother of the VoiceLive Play GTX, as they both use the same harmony algorithm. Great, automatic vocal tone-shaping, with five different settings. The doubling on this unit is VERY nice; very human-like.
The very core of VoiceTone Harmony-G XT is the all new TC Helicon processor. It is the best they have to offer, and it is every bit as good as you would expect. The pedal is a double wide design that features a rugged body and great build quality. When you pick it up, it has some weight to it which definitely inspires confidence. The layout of controls and inputs is simple and to the point.
The Harmony-G XT is the successor to TC-Helicon’s Harmony-G vocal effect and takes some features from the more upmarket VoiceLive 2. It’s designed to provide a variety of effects to enhance any singing performance including, among others, harmony generation, doubling effects, reverb, delay, compression and automatic chromatic frequency correction.
It always amazes us how TC Helicon makes their controls simple to work with. Instead of layering multiple rows of knobs, they pretty much-reduced everything to the bare minimum. Top of the interface features four knobs. There’s Input level knob, Guitar, FX, and Harmony. Underneath those, there is a number of stealthy buttons which don’t stand out all that much. These are used to select presets, store presets, chooseeffects and more.
Operation of the Harmony-G XT revolves around 10 programmable presets arranged in five banks as variations A and B. You can step through the banks with the preset button and switch between the A or B variations with the left footswitch. Each preset can be built up from several elements.
Even though it’s pretty cool to look at, TC Helicon’s VoiceTone Harmony-G XT is even more interesting when actually used. Being a guitar controlled harmonizer with a fairly powerful processor, we were interested to see how well it tracks and anticipates changes in the melody. Needless to say, its performance was stellar in this regard. Not only can you feel trust in the pedal to do its job, but you don’t even have to hook in a microphone for it to work. The idea is that you play your guitar to generate vocal harmonies, although there’s also manual selection of scale and key for singers without an instrument or horn players. You can also use a guitar to manually set a key by playing a chord and holding both footswitches down.
TC Helicon did a great job with this pedal. It might not have the fancy features like some other pedals do, but it covers the core stuff flawlessly. If you’re looking for a no nonsense harmonizer that packs a little extra flavor, this is the one to pay attention to. This pedal offers creative possibilities for vocalists and may be particularly suited to solo acts that want to add a little interest to their music or just present a bigger sound to their audience. Bear in mind, though, that this type of pedal demands to be used with caution, vocal pitchshifting technology isn’t without odd-sounding artefacts and a shift of just a few semitones can appear unnatural if mixed too high in relation to the main vocal.
TC Helicon VoiceTone C1
- ✔ Entirely dedicated to Pitch Correction/Autotune
- ✔ Quick On/Off footswitch
- ✔ Can be integrated with TC-Helicon MP-75 microphone
- ✔ Cannot save specific presets
The TC Helicon VoiceTone C1 is part of the voice tone range, which consists of Vocal Harmonizer Pedals such as the VoiceTone H1 and Vocal Reverb Pedals such as the Voicetone R1. The VoiceTone C1 is dedicated entirely to vocal pitch correction. The TC Helicon live autotune pedal has three rotary knobs on the front, controlling the ‘key’, ‘severity of tuning’ and ‘gender’.
The key refers to the musical key that the song is being performed in. The VoiceTone C1 also provides a CH option, which allows the user to plug a guitar/piano in (via 1/4” jack) and dictate the vocal key from the secondary input.
This is especially useful for songs which include key changes, since a song may change from key C to D, this means that the C1 would pick up the key change from the chords of the secondary instrument and make the appropriate pitch correction adjustments.
Finally, the C1 can be integrated with the TC-Helicon MP-75/76 microphone, the advantage of using this microphone is that it has a built-in control switch button, which remotely turns the VoiceTone effect pedals on/off. This means that you’re not restricted to one area of the stage, which is excellent for singers who are playing without an instrument.
What Does a Vocal Effects Processor Do?
A vocal effects processor is an electronic tool that creates effects like echo, voice doubling, and reverb to assist your vocals when you sing. It allows you to change the character of your vocals on the go, with a simple touch of a button. It also permits you to adjust the sound of your voice. The vocal effects processor corrects the pitch of your voice immediately. The majority of them feature a harmonizer function that includes pre-recorded, harmonies, and loops to give depth to your voice.
The thing is, all these happen in real time as you execute. It sits between your microphone making use of the XLR input and, via its very own input and an additional XLR cord, it sends out signals to the mixing board or the PA system. The sent out voice signal is processed prior to it being sent out to the PA system. The gadget enables you to obtain that polished vocal quality you would obtain only in a recording studio.
Among its greatest advantages is that it permits you to improve your vocals in real time. If you are a solo performer, the vocal effects processor is a godsend. It can be used to imitate a backup vocalist or an audio engineer.
Who Needs a Vocal Effects Processor?
Anybody who performs live can make great use of a vocal autotune pedal. Purists might be up in arms at anything that would electronically alter a vocalist’s voice. Lots even feel like it is cheating, although, plenty of famous, successful vocalists would have different viewpoints. You can make use of the vocal effects processor without you needing to seem like a robot or making your vocals sound digital.