![]() If Vochlea’s mic isn’t hooked up, an idiot‑proof setup wizard configures Dubler for use with your mic. Vochlea recommend their own mic, which was used when refining their algorithms and is automatically recognised by Dubler 2 when connected, but any dynamic mic with a ‘professional’ audio interface (for Windows, that means one with an ASIO driver) will work. It’s available in the Studio Kit 2 or, new in version 2, as software only. Significant enough, in fact, that I’m now using it quite often to ‘sing in’ ideas, not least if I want to experiment with adding strings and the like to my rock/pop arrangements - I can just sing, hum or whistle simple parts very easily. The beat‑boxing was particularly reliable, but the voice tracking was, if anything, too precise I’m sure skilled vocalists coaxed better results from it, but I tended to find that my own, slightly pitchy efforts too often triggered bum notes or unwanted bends, and there was only limited scope in the single‑screen interface to hone its response to compensate for my lack of vocal control.Īvailable for Mac OS and Windows, Dubler 2 is a significant step forward for people like me. Compared with most real‑time pitch‑to‑MIDI systems I’ve used, it was impressive in many ways, and it was undeniably fun to play with. It’s worth starting with a quick summary of my experiences with Dubler 1, which was available only in the Studio Kit, comprising the Dubler 1 software and Vochlea’s USB dynamic mic. So I contacted Vochlea, who sent me their Studio Kit 1 for evaluation, while asking if I might review their more ambitious Dubler 2, the release of which was near. Better still, it claimed to track not only the pitch and level, but to include a dedicated beat‑boxing facility, to trigger chords and, best of all, to create MIDI data from different vowel sounds. ![]() Several months ago, I found myself contemplating Vochlea’s Dubler, which promised to turn my voice into expressive MIDI performances, in real time, with low latency. I’ve tried various audio‑to‑MIDI systems over the years - both real‑time and offline types - but, as much as I’ve enjoyed exploring them, I’d not hit upon a single program that made it easy until very recently. It’s not purely laziness, either: the human voice is a uniquely expressive ‘instrument’ and most of us have a decent degree of control over it. There are various alternative controller options, not least for guitarists like me, but I’ve long been interested in the idea of using my voice to control instruments and effects. Making music with computers can be frustrating if, like me, you’re not a great keyboard player. Not everyone can play keys or guitar, so how about contolling virtual instruments with nothing but your voice? The Play view, which is where you’ll spend most of your time once you’ve set everything up to taste.
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