11/25/2023 0 Comments Native instruments maschine vocals![]() ![]() You’ll quickly hear all the aliasing and achieve the stuttering, metallic sound we’re talking about. Then you can simply change the length of the loop and click on a marker on the sample to stretch it out as long as you like. To achieve this you will need to select the ‘Tones’ warp mode. However for this technique, we’re not looking for pristine vocal processing that you don’t notice, we want to achieve the opposite, we want this to be all about the sound of the processing itself and not the sound of the vocal. In Ableton Live, if you were going to warp a vocal sample, you would usually reach straight for the ‘Pro-Complex’ setting to ensure that it sounds as natural and unprocessed as possible. But for us to get anything approaching this Jungle time stretch effect, we’re going to have to deliberately circumvent the innovations of the last 20 years, and try to achieve an un-natural vocal sound.Īs with many sampling techniques, there are often several methods of achieving the same end, and it’s the same with this so we’re going to supply some of the most straightforward methods to get results quickly. ![]() ![]() Audio warping and time-stretching software now aims to eliminate any audible artefacts to maintain sonic integrity and the original characteristics of the sound, particularly for vocals. As the BPMs and complexity in Jungle steadily rose, so did the demands on the Akai’s time-stretching functions, and that distinctive robotic, shimmering sound was the lucky result.Īudio technology has of course vastly improved since the birth of Jungle and all DAWs now come with time-stretching and warping abilities that allow users to change the pitch and tempo over a vast range, with little if any noticeable degradation to the original sound. The technique was actually the sound of the time-stretch algorithm from the Akai S series samplers, being pushed way beyond its normal limits and producing audible ‘artefacts’. Just like many other audio innovations in dance music, the Jungle time-stretch vocal was the result of a piece of studio equipment being stretched beyond its own capabilities. UK Garage was also happy to adopt it, notably on Armand Van Helden’s Remix of ‘Spin Spin Sugar’ and Double 99’s massive ‘RIP Groove’ from 2001. It also became popular in house music and featured in many records, including Josh Wink’s acid banger ‘Higher State of Consciousness’. It’s a very distinctive sound and instantly recognisable, where a vocal sample is stretched out and in the process gains a stuttering, metallic sheen which sounds futuristic and robotic.ĭead Dred’s ‘ Dred Bass’ on Suburban Bass is usually acknowledged as the first Jungle record to feature the time-stretched vocal effect, and you can hear it in countless other Jungle tunes from the likes of Shy Fx, Origin Unknown, DJ Hype, Remarc and so on. One of the many studio innovations that Jungle bought was the introduction of a brand new sonic texture to the producer’s toolbox, that of the time-stretched vocal. This was particularly noticeable in the Jungle genre, as junglist producers embraced the idea of the studio as a lab and their role as that of sonic scientist, and it seemed that each new release raised the bar with the cut-up and fractured breaks manipulated to new levels of poly-rhythmic intensity. It was a hugely fertile and productive time for dance music, as the price of decent home equipment dropped and producers delved deep into the submenus of their kit to shape their sounds to their precise desires. Drum and bass was born from Jungle, which first developed out of hardcore breakbeat rave music in the early to mid-90s. The frenetic beats and earth-quaking sub-bass of drum and bass have become a global-dominating sound and the genre continues to develop in new and interesting ways. In this article from our ‘Classic Techniques’ series, we’re examining one of the most distinctive sample techniques to emerge in the 1990s – the timestretched jungle vocal. ![]()
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