The vocal doesn’t have to be sung (though it can be)-even a spoken word recording is fine-the pitches come from the instrument or synth. The effect requires two signals-the instrument or synthesizer, which provides the tone and music-chords and/or melody-and the vocal, which articulates the words. Blue Sky” (middle and end), and The Cars’ “Dangerous Type” (at the very end). This is where a vocal is superimposed on an instrument, so it sounds like the instrument is singing-some classic examples of this particular effect are ELO’s “Mr.
But the classic Vocoder synthetic voice effect is the “singing instrument” or “singing synthesizer”. Vocoders are capable of quite a number of effects, from harsh, metallic Robot Voices (Cylons), to a quantized pitch effect similar to the Auto-Tune effect. More recently, Vocoder effects have been incorporated into music by various artists, ranging from Coldplay to Daft Punk. The Vocoder has been around for a long time-originally developed in the 1930s (!), and used for voice synthesis and even encryption (in WWII), it was adapted for musical use (by Bob Moog, among others) in the ’60s and ’70s, where its range of effects was heard on recordings by artists like Kraftwerk, Wendy Carlos (the Clockwork Orange score), ELO (“Mr Blue Sky”), Styx (“Mr Roboto”), and even Doctor Who (at least one version of the theme music).
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