LeCoqRoti
Beatmakers, electronic producers and sound designers who reach for vocal loops and chops tend to work fast: a sound is either right or it is not. VOXCRAFT is built for that speed. It does not attempt to repair a flawed recording; it takes a workable vocal sample and pulls its character in an entirely new direction — higher, deeper, doubled, harmonised or alien.
One-click randomisation: sparking new vocal ideas instantly
- Shaping pitch and tone on vocal loops, one-shots and chops
- Creating instant vocal stacks with the multiplication engine
- Randomising presets with a single click to spark new ideas
- Running inside Ableton Live, Logic Pro, Pro Tools, FL Studio, Cubase, Studio One, Bitwig, Reaper and Reason
Broad-stroke transformation: not a surgical editor
- Designed for creative transformation, not corrective editing
- Works with pre-recorded vocal material rather than live tracking
- Formant shifting and pitch correction are broad-stroke tools — surgical precision lives elsewhere
A lo-fi producer’s scenario: character from a single breath
A bedroom beatmaker working on a lo-fi hip-hop track drops a short vocal ad-lib into the timeline — two syllables, slightly flat, recorded on a phone. It is the right phrase but the wrong texture. The producer opens VOXCRAFT on the channel, dials the formant down a semitone and lets the pitch correction settle the tuning. A second voice, pitched an octave lower with a touch of slow-attack dynamics, makes the phrase feel doubled and unhurried. The filtering module cuts the top end to sit the result behind a dusty piano loop. What was a disposable take becomes the hook’s anchor — and the whole process took under three minutes.
Apple Silicon support: faster scans and lower CPU
Version 1.1 brought Apple Silicon support natively, which meant sessions on M-series machines stopped requiring Rosetta translation. The practical result: faster plugin scans in Logic Pro and noticeably lower CPU when stacking multiple VOXCRAFT instances across a vocal arrangement. Updates through 1.1.1 focused on stability inside AU2 hosts and on preset recall reliability when reopening projects in Ableton Live — small fixes that matter when a session contains fifteen vocal layers, each with a different multiplication and filter combination, and the producer expects everything to return exactly as they left it.
Reshaping a polite disco chop: from insert to attitude
A producer opens a half-finished house track in Bitwig and pulls up a vocal chop they sampled from an old disco record. The phrase is clean but too polite.
Step one: VOXCRAFT is loaded as an insert effect on the vocal channel. The producer selects a preset called “Glass Shards” from the library — it adds a bright, crystalline doubling and a rhythmic chop pattern, but the delay tail feels too long for the track’s tempo.
Step two: They adjust the delay module’s time to an eighth-note triplet and reduce the feedback until only a single faint echo remains. The filtering module is switched from band-pass to a gentle high-shelf cut, pulling back the brittle top end without losing the sense of sparkle.
Step three: The character module is cycled through its six modes. Mode four — a grainy, mid-forward saturation — gives the vocal enough grit to cut through a dense synth pad. The dynamics module is set with a fast attack to tame the initial transient of each chop, making the rhythm feel smoother.
Step four: The producer clicks the random preset button twice: the first result is unusably chaotic, but the second suggests a harmonised minor-third layer they had not considered. They keep the harmony voices, revert the other parameters to the previous state, and save a user preset called “Disco Glass” for the next session.
In short: a single vocal phrase, four intentional moves, and a sound that belongs to the track rather than to the sample library it came from.
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