A hypermodern vocal processor

Evoke is an audio effect plugin built on vocal resynthesis. It analyzes the input signal and uses that information to synthesize a completely new sound based off of the original. This lets you transform your vocal’s character and create never-before-heard sounds while preserving the nuances that make each voice unique.

While Evoke shares similarities with traditional pitch correction and vocoding effects, it differs in some key ways: it requires no additional routing, does not rely on classic techniques such as envelope followers or filter banks, and outputs a completely new signal rather than a processed version of the input.

Learn more about vocal resynthesis: What is Resynthesis?

Sound design playground

In addition to the core resynthesis engine, Evoke includes a flexible effects rack ideal for both enhancement and creative processing. Eight swappable effects are included, such as multi-band compression, frequency shifting, reverb, distortion, and more.

Evoke also includes the powerful modulation system that is shared with our flagship products Current and Rift. Modulate any parameter with sequencers, envelope followers, and LFOs to add movement and depth.

Built for everyone

Although deeply technical under the hood, Evoke prioritizes fast, user-friendly workflows to inspire endless hours of music-making. Explore an expertly crafted library of more than 300 presets, or dive deep and create your own custom patches.

Thank you for purchasing Evoke by Minimal Audio.

This manual covers the features, workflow, and philosophy behind Evoke, a powerful and inspiring vocal resynthesis plugin that helps vocalists and creative producers of all levels create stunning new vocal effects.

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Operating Systems

• macOS 10.11 or later (native Apple silicon supported)

• Windows 10 or later

Plug-in Formats

Evoke is an audio effect plugin and supports the following formats:

• VST2

• VST3

• AU (macOS)

• AAX (Pro Tools)

To use Evoke, you must have a 64-bit digital audio workstation (DAW) that supports third-party plugins in at least one of these formats.

If you already use automatic tuning or harmonization tools, many of Evoke’s core concepts and workflows will feel familiar. Beyond that, Evoke adds comprehensive Resynthesis controls to create a wide range of vocal characters and transform your sound in new ways. Of course, you can also access these capabilities immediately through Evoke’s preset library.

When you open a new instance, it’s important to set up Evoke to match your input. This provides the information it needs for optimal pitch tracking and harmonization.

Evoke’s pitch tracking is intended for monophonic sources. A vocal is typical, but any pitched sound works. If you’d like to use Evoke on non-pitched or polyphonic sources, , such as MIDI Instrument and External, can be used to bypass pitch tracking.

1. Set the scale. In the Keyboard Panel (bottom-right), choose Root Note and Scale Type

Use the scale and tuning controls to ensure Evoke only plays notes relevant to your input material. We recommend that you set these whenever loading a new instance to improve detection and enable scale-aware processing (e.g., diatonic harmonization).

Evoke’s Keyboard lets you enable or disable specific notes in your scale. Click any key to toggle it.

It also provides visual feedback: the currently playing note, the currently detected note, and which notes are included in the scale.

Scale Root. Choose the root note for the selected scale. Changing the root will transpose all scale notes accordingly.

Scale Type. Select a preset scale for pitch tracking and harmonization. You can further customize it by toggling individual keys on the Keyboard.

By default, Evoke uses the standard concert pitch A4 = 440 Hz. Change Global Tune to match sources tuned differently (e.g., A4 = 432 Hz).

When Preset Locking is on, all

Evoke includes a wide selection of Character Modes that shape the personality of the resynthesized output. Each mode uses a distinct internal process, so one may produce lush unison and choral textures while another creates futuristic, robotic effects.

On a technical level, these modes determine the timbre and harmonic structure used during resynthesis. They do not change the fundamental pitch or the spectral envelope; those are set by the retuning and vocal modeling stages, respectively.

Character Modes are grouped into three categories:

• Natural. Produce organic results that complement the human voice.

To get the latest installers, log in to your minimal.audio account and open the page. Locate Evoke and download the installer for your operating system.

Note that when connected to the internet, Evoke will notify you if an update is available, and you can download it directly from within the plugin.

Before installing, make sure to save and quit any projects that are currently open. This ensures the update installs correctly.

Open the installer: Evoke.pkg (macOS) or Evoke.exe (Windows).

The installer will guide you through setup. You can choose to install the VST2, VST3, AU (macOS), and AAX (Pro Tools) plugin formats.

After installation, open your DAW and locate Evoke in your audio plug-ins folder.

Note you may need to restart your computer before the plugin appears. If it still doesn’t show up, try rescanning plugins in your DAW or contact our support team for assistance.

Filter is a multi-mode morphing filter with multiple slope options and stereo control. It can handle simple filtering, but it really shines when combined with modulation to create dynamic filter movement, making it a powerful tool for sound design, mixing, and performance.

The Effect Dropdown lets you remove or swap the effect and load or save sub-presets. See for dropdown options and detailed descriptions.

The Filter Order determines how quickly frequencies are attenuated beyond the cutoff point. You can toggle between 12 dB/octave and 24 dB/octave modes:

• 12 dB/octave. Produces a gentler roll-off for a more natural, subtle effect.

Use the Input and Pitch Range controls to clean up the input before any processing and to define how pitch detection operates across frequency ranges.

These settings help optimize Evoke for your input, but they typically don’t require frequent adjustment.

Set the input level before any pitch detection or processing. This is useful for gain staging or driving a preset. Raising the level of very quiet signals can improve pitch detection, although this is not usually necessary.

Set the amount of gating applied to the input signal before any pitch detection or processing. This helps remove unwanted noise that can cause unstable pitch detection and other artifacts.

Two Gate Speed options are included:

• Fast. Reacts quickly to level changes. Ideal for dynamic sources.

Chorus creates lush unison effects by layering up to 4 time and pitch-modulated copies of the input, mimicking multi-voice ensembles to add density and stereo width. It ranges from smooth and natural to over-the-top detuned feedback.

The Effect Dropdown lets you remove or swap the effect and load or save sub-presets. See for dropdown options and detailed descriptions.

Sets the number of modulated delay voices (up to 4). More voices create a denser, more complex modulation.

Shows the number of active voices and visualizes their stereo delay times as you adjust parameters.

Size. Sets the modulation delay-time range. Larger values increase detuning and separation from the dry signal; smaller values produce a tighter sound with more audible phase cancellation.

Feedback. Feeds a portion of the modulated signal back into the input, adding resonant, detuned delay effects.

Width. Controls the stereo spread of the modulated voices. Higher values widen the chorus’s stereo image; lower values preserve the original stereo image. Disabled when Evoke’s output is mono.

Evoke’s Harmonizer Voices provide up to four resynthesized voices with individual tuning and mix controls, enabling rich, layered harmonies and other creative effects.

Each of the four voices can be accessed and enabled using the tab buttons at the top of the Harmonizer Voices area.

The current tuning settings are also displayed on these tabs, making it easier to see which voice is responsible for each harmony layer. Values are shown in semitones in Chromatic mode and in scale degrees in non-chromatic Scale Types.

Use each voice’s tuning controls to create multi-voice harmonies and transposition effects.

Interval. Sets the interval offset of the voice relative to the base retuned pitch. It is set in semitones in Chromatic mode and in scale degrees in non-chromatic Scale Types.

Octave. Shifts the voice up or down in octaves. This provides a wider pitch range and the possibility of easy octave stacking.

Each voice can use one of two tuning modes:

Delay adds echoes, rhythmic patterns, and spacious textures. It includes a band-pass filter, ducking, and stereo width controls, making it suitable for everything from tight slapback effects to evolving ambient trails.

The Effect Dropdown lets you remove or swap the effect and load or save sub-presets. See for dropdown options and detailed descriptions.

These controls affect the variable-width band-pass filter placed within the delay’s feedback line. Use them to focus on specific frequencies, reduce low end, or produce warmer effects.

These settings can also be adjusted by switching the Display Tabs to reveal the draggable Filter Display.

Filter Frequency. Sets the center frequency of the band-pass filter where the delay is most pronounced.

Filter Width. Adjusts the bandwidth around the center. Narrow settings isolate the delay to a small band; wider settings let more of the original signal through, producing a wider frequency response.

The Delay Display visualizes stereo delay times and feedback in real time as you adjust parameters.

Evoke includes over 300 presets organized into 8 themed Packs, each exploring a different style or use case. Browse and filter with descriptive Tags to find exactly what you need, and mark Favorites so your go-to sounds are always within reach.

Click the preset name in the center of the plugin’s Top Bar to open the . This view provides access to the included preset library, user presets, and future expansion packs.

Two ways to browse are available: the Packs tab displays themed Packs for different use cases, while the Tags tab filters all presets at once based on descriptive tags.

Click the save icon on the right side of the plugin’s Top Bar to open the . This view provides essential preset-saving functionality, including the ability to add tags to your presets, making it easy to manage and organize your sounds.

The Follower modulator is an envelope follower that converts the plugin’s input signal into a smoothable modulation source, letting you apply dynamic movement anywhere in your preset. Use it to make parameters react to your input level for organic results.

Attack Time. Sets how long it takes the envelope follower to rise to the input’s level.

Release Time. Sets how long it takes the envelope follower to fall when the input gets quieter.

Sync. Enables BPM sync for the follower’s attack and release.

Level. Attenuates the follower’s output. This affects any parameter it modulates.

Invert. Inverts the follower for easier ducking effects.

Shows the current modulation signal in real time based on the control settings.

This plugin supports native MIDI Learn, letting you map the knobs and sliders on your MIDI controller directly to plugin parameters with no DAW configuration required.

Mappings are saved with the plugin instance, so they recall with your project and persist across preset changes. You can also save them to a file for reuse, and set a default map that loads automatically with every new instance.

1. Right-click the knob or slider you want to control and select Learn MIDI.

2. Move a control on your MIDI controller. The parameter is now mapped and follows your hardware.

3. Repeat for any other parameters you want to map.

All parameters in Minimal Audio plugins can be locked between presets. When a parameter is locked, its value remains unchanged as you load different presets.

To enable parameter locking, right-click a knob or slider and select Lock.

Common uses include locking an effect’s dry/wet mix, as well as macros or gain controls.

Overview

This section covers additional settings that customize how the plugin behaves and integrates with your production environment, including graphics settings, key commands, MIDI support, and more.

Global Settings

The Global Settings dropdown in Evoke’s Top Bar includes useful options for initializing the preset, setting the plugin window size, adjusting how Evoke responds to your DAW, and more.

Key Commands

Learn about additional Key Commands that can be used to access additional functionality or speed up your workflow.

MIDI Learn

Use MIDI Learn to map the knobs and sliders on your MIDI controller directly to Evoke’s controls, and save or load MIDI maps.

MIDI Effect Routing

See MIDI Effect Routing to learn how to route MIDI to Evoke in your DAW.

Parameter Locking

Use Parameter Locking to preserve any parameter’s setting when switching presets. A common use is locking the dry/wet mix so it stays the same while auditioning presets.

Overview

Compressor is a flexible dynamics processor for single or multi-band operation. With up to 3 bands of upward and downward compression, it provides precise control across the spectrum, from subtle enhancement to over-the-top effects.

1. Effect Dropdown

The Effect Dropdown lets you remove or swap the effect and load or save sub-presets. See Shared Settings for dropdown options and detailed descriptions.

2. Compressor Bands

Selects the number of compression bands.

• 1-Band. Traditional full-spectrum compression that affects all frequencies equally.

• 2-Band. Splits the signal into low and high bands for targeted control.

• 3-Band. Splits the signal into low, mid, and high bands for full-spectrum shaping.

The Compressor Display lets you adjust crossover frequencies and per-band threshold and ratio settings.

The display provides the following controls:

• Crossover Frequencies. Drag the vertical handles to set the crossover points between bands and target specific frequency ranges.

• Downward Threshold. Drag the upper wide horizontal line on each band to set its downward compression threshold. Downward compression reduces gain when the signal exceeds this level.

• Downward Ratio. Drag the band’s stacked lines to set the downward compression ratio. Higher ratios apply more gain reduction; 1:1 applies none.

• Upward Threshold. Drag the lower wide horizontal line on each band to set its upward compression threshold. Upward compression adds gain when the signal falls below this level.

Per-Band Makeup Gain. Sets the output gain of each compressor band individually. This is useful for balancing the level of each band after applying the desired amount of compression.

Attack. Controls how quickly the compressor responds once the signal exceeds the threshold. Faster settings will more tightly control transients, while slower settings provide punchier and more transparent leveling.

Release. Determines how quickly compression eases off after the signal drops below the threshold. Faster settings will product louder pumping effects while slower settings are more transparent but result in more overall gain reduction.

Depth. Scales the intensity of compression across all bands. 0% applies no compression; 200% exaggerates the per-band settings. This can be thought of as increasing or decreasing the ratio of all compressors at the same time.

In. Sets the level of the input signal before the effect. This can be used to change the level before compression is applied, producing a more or less intense effect.

Out. Sets the final level after processing and dry/wet mixing. This can be used to apply makeup gain across all bands at once.

Mix. Blends the unprocessed (dry) and processed (wet) signals. This can be used for parallel compression effects, allowing you to compress more aggressively while still letting some of the dry signal through.

Overview

Evoke’s Spectrum Filter provides additional shaping of the resynthesized signal through spectral filtering. Filter shapes can be drawn directly on the Resynth Response in the center of the Resynth View. After creating a shape, further manipulate it using the Spectrum Controls in the bottom-right.

Use this for tonal adjustments in place of a traditional EQ, or design complex filter curves that can be modulated for creative movement.

Spectrum Filter Response

The Resynth Response displays the current spectral envelope and can also be used to create custom filter shapes.

1. Spectrum Filter Response

Hover over the Resynth Response to highlight the current (unmodulated) Spectrum Filter shape. Click and drag to edit the shape and create your own filter responses.

2. Spectrum Control Bar

Hover over the Resynth Response to reveal the Spectrum Control Bar in the top-right. Use it to perform actions such as generating and resetting the filter response.

Randomize. Click the dice icon to generate a random filter shape for inspiration and unexpected tonal shaping.

Options Dropdown. Click the wrench icon to view additional actions:

• Reset. Reset the filter shape so no processing occurs.

• Low Pass. Generate a centered low-pass filter that can be adjusted with the Spectrum Controls.

• High Pass. Generate a centered high-pass filter that can be adjusted with the Spectrum Controls.

• Band Pass. Generate a centered band-pass filter that can be adjusted with the Spectrum Controls

The Spectrum Filter Controls let you manipulate the entire filter response at once. Use them to tune the overall response or create movement when combined with modulation.

Hover over this area to highlight the affected filter response on the Resynth Response, including any modulation.

1. Bypass. Click the spectrum icon to enable or disable the Spectrum Filter.

2. Spectrum Controls. Additional spectrum shaping is controlled by three parameters:

Tilt. Adjusts the balance between low and high frequencies, tilting the filter toward brighter or darker sounds.

Shift. Moves the entire filter up or down in frequency, similar to a standard filter’s cutoff control.

Scale. Controls the intensity of the filter’s gain changes. At 0% the filter has no effect, while at 200% it exaggerates the response, pushing it toward extremes.

Overview

Evoke’s Keyboard Panel contains controls for the global scale, pitch detection, and input processing. Start here after loading a new instance of Evoke to ensure the plugin is optimized for your incoming audio.

1. Input Controls

The Input Controls provide tools for gain staging and cleaning up the input signal. These adjustments occur before any other processing.

2. Pitch Range

The Pitch Range setting provides a way to limit Evoke’s pitch detection to a specific frequency range. Matching this setting to your input material can help stabilize pitch tracking.

3. Keyboard

Evoke’s Keyboard can be used to enable or disable notes in the current scale and provides visual feedback on pitch detection, such as the currently detected note.

4. Scale Settings

Use the Scale Settings to set the root note, choose the preset scale type, and adjust Global Tune. These settings ensure Evoke matches your project, especially when using multi-voice harmonization.

Overview

The Distortion effect is an analog-inspired harmonic processor that can produce everything from warm saturation to broken tube-style distortion. It also includes filtering and tone controls for precise control of the effect’s color and frequency range.

1. Effect Dropdown

The Effect Dropdown lets you remove or swap the effect and load or save sub-presets. See Shared Settings for dropdown options and detailed descriptions.

2. Filter Controls

These controls affect the variable-width band-pass filter placed before the distortion stage. Use them to focus on specific frequencies, reduce low end, or produce warmer effects.

These settings can also be adjusted by switching the Display Tabs to reveal the draggable Filter Display.

Filter Frequency. Sets the center frequency of the band-pass filter where the distortion is most pronounced.

Filter Width. Adjusts the bandwidth around the center. Narrow settings isolate the distortion to a small band; wider settings let more of the original signal through, producing more harmonic content.

3. Distortion Display

The Distortion Display visualizes the distortion’s response in real time as you adjust parameters.

Switch the Display Tabs to reveal the Filter Display, which provides a draggable filter response for adjusting the distortion’s filter settings.

Drive. Adjusts the amount of gain applied before distortion. Lower values produce more subtle saturation, while higher values produce more intense distortion. Drive also interacts with both Crush and Bias in interesting ways.

Crush. Introduces additional nonlinear processing that can cause dropouts and additional compression. Higher settings can produce unpredictable effects, especially when combined with higher Drive and Bias.

Bias. Applies asymmetry to the distortion curve, adding more even-order harmonics similar to analog tubes. Ideal for warmer saturation at lower Drive settings or overdriven-tube behavior at higher Drive settings.

Tone. Tilts the frequency balance toward higher or lower frequencies to adjust the harmonic balance and color of the distortion.

In. Sets the level of the wet signal path before processing. Use it to drive the distortion harder or softer.

Out. Sets the final level after processing and dry/wet mixing. Use for additional gain compensation if needed.

Mix. Blends the unprocessed (dry) and processed (wet) signals. Use for parallel distortion effects.

Overview

Reverb provides reverberation effects ranging from natural rooms to endless ambient spaces, adding depth and dimensionality to your sound. Flexible tonal shaping and dynamic controls help it sit in a mix, and it can also serve as a creative tool for spatial effects.

1. Effect Dropdown

The Effect Dropdown lets you remove or swap the effect and load or save sub-presets. See Shared Settings for dropdown options and detailed descriptions.

2. Filter Controls

These controls affect the variable-width band-pass filter applied to the reverb’s input. Use them to focus on specific frequencies, reduce low end, or produce warmer effects.

These settings can also be adjusted by switching the Display Tabs to reveal the draggable Filter Display.

Filter Frequency. Sets the center frequency of the band-pass filter where the reverb is most pronounced.

Filter Width. Adjusts the bandwidth around the center. Narrow settings isolate the reverb to a small band; wider settings let more of the original signal through, producing a wider frequency response.

3. Reverb Display

The Reverb Display visualizes reverb size and decay in real time as you adjust parameters.

Switch the Display Tabs to reveal the Filter Display, which provides a draggable filter response for adjusting the reverb’s filter settings.

Size. Controls the perceived size of the virtual space’s early reflections. Smaller values simulate intimate rooms; larger values simulate large halls and provide material for ambient textures.

Decay. Determines how long the reverb tail lasts. Short decays are tight and subtle. Long decays create lush, evolving spaces.

Modulation. Applies subtle movement to the reverb reflections, adding richness and depth. Useful for creating dreamy or slightly detuned effects.

The Reverb’s built-in ducking lowers the reverb signal when the input is present, preventing the input from being masked by the effect and reducing clutter within the mix.

Depth. Adjusts how much ducking is applied to the reverb signal. 0% results in no ducking.

Time. Sets how quickly ducking engages after the input plays. Short times produce immediate reductions; longer times yield smoother, more gradual transitions.

In. Sets the level of the wet signal path before processing. Use it as a reverb send control.

Out. Sets the final level after processing and dry/wet mixing.

Mix. Blends the unprocessed (dry) and processed (wet) signals.

Overview

Equalizer is an essential parametric EQ with up to four flexible filters to balance and enhance the input signal. Advanced tools like Solo and Adaptive Q streamline workflow and expand creative possibilities.

1. Effect Dropdown

The Effect Dropdown lets you remove or swap the effect and load or save sub-presets. See Shared Settings for dropdown options and detailed descriptions.

2. Equalizer Settings

Solo. Solos the currently selected filter so you can hear its effect in isolation for precise adjustment.

Adapt Q. When active, each filter’s internal Q setting is automatically adjusted based on its Gain setting: boosts and cuts become narrower at higher levels and wider at lower levels for more musical results.

3. Equalizer Display

The Equalizer Display provides an easy way to select and adjust EQ filters while viewing the EQ’s frequency response and its effect on the input signal.

Click and drag a circular indicator to select and adjust an individual filter. The controls to the right of the display always apply to the currently selected filter.

4. Equalizer Controls

All controls to the right of the Equalizer Display affect the currently selected filter.

Filter Bypass. Enable or disable the currently selected filter.

Filter Type. Each filter can be set to one of the following types:

• Low Pass. Cuts high frequencies; allows lows through.

• High Pass. Cuts low frequencies; allows highs through.

• Band Pass. Emphasizes a narrow frequency band while attenuating others.

• Notch. Removes a narrow frequency range; useful for eliminating resonances.

Frequency. Sets the filter’s center or cutoff frequency.

Gain. Adjusts the level of the peak or shelf filter to apply boosts or cuts to the selected range.

Q. Controls the bandwidth and resonance of the filter. Lower values produce wider responses; higher values result in narrower, more surgical responses.

In. Sets the level of the wet signal path before processing. Use it for gain staging the processed path without affecting the dry signal.

Out. Sets the final level after processing and dry/wet mixing.

Mix. Blends the unprocessed (dry) and processed (wet) signals.

Overview

If you already use automatic tuning tools, the Retune Controls will feel familiar. Use them to set how Evoke retunes the detected pitch used for resynthesis, from transparent pitch tracking to ultra-hard tuning.

The detected pitch is first snapped to the current Scale, then corrected based on Retune Amount and Retune Speed. The Tuning Display shows the corrected note and its deviation from the target so you can visualize the effect of these settings.

1. Tuning Display

The Tuning Display shows the current retuned note after pitch correction is applied.

The center shows the current note name. On either side, indicators show how far the note is from target pitch within a ±100-cent range. Use this to visualize how the Retune Controls affect the sound.

2. Retune Controls

Retune Amount. Controls how much pitch correction is applied. At 100%, notes are corrected to their target pitch. At 0%, there is no correction and the original pitch passes through. The applied amount is then smoothed by Retune Speed, so Retune Amount will have little effect at slow speed settings.

Retune Speed. Adjusts how quickly pitch correction is applied. Slower settings result in more gradual correction, allowing more of the original pitch to pass through at note onsets. Very fast settings produce hard-tuning effects.

Glide Mode. When enabled, Retune Speed is replaced by Retune Glide Time, which adds synthetic portamento between notes, similar to a traditional synthesizer. Longer times produce more pronounced glides, while shorter times keep transitions tight.

Overview

The following key commands are available in Evoke and across our other software products, unless otherwise noted. Use these commands to speed up your workflow or access hidden actions.

Evoke Resynth Response

• Double-click a band to reset it to 0 dB.

• Command-click (macOS) or Ctrl-click (Windows) and drag to edit only odd bands.

• Command-Option-click (macOS) or Ctrl-Alt-click (Windows) and drag to edit only even bands.

Knobs, Sliders, and Text Sliders

• Double-click a knob or slider to reset it to its default value.

• Shift-click and drag a knob or slider to fine-tune the parameter’s value.

• Command-click (macOS) or Ctrl-click (Windows) to open the modulation matrix for the selected parameter (when supported).

• Right-click to open a context menu with options to open the modulation matrix, modify modulation connections, reset the parameter, or lock it so it maintains its value between presets.

• Right-click a modulator to open a context menu with options to access the modulation matrix, modify modulation connections, and reset the modulator to its default state.

• Command-click (macOS) or Ctrl-click (Windows) a modulator to open the relevant modulation matrix.

• Option-drag (macOS) or Alt-drag (Windows) a modulator to copy it to another modulator slot.

• Option-drag (macOS) or Alt-drag (Windows) an effect’s drag handle to copy it to another slot.

• Shift-click a point to add it to the selection.

• Command-click (macOS) or Ctrl-click (Windows) a point to toggle its selection.

• Drag any selected point to move all selected points together.

• Click an empty area of the editor to clear the selection.

Overview

Evoke’s Global Mode setting configures how the resynthesis engine operates and how it responds to additional inputs such as MIDI and sidechain audio routed into the plugin.

While not required for standard use, these modes offer additional ways to integrate Evoke into your project, unlocking greater musical flexibility and creative sound-design possibilities.

Global Mode

Clicking on the Global Mode dropdown will reveal the following options:

• Pitch Track. Detects the input’s pitch, then applies retuning and harmonization based on the scale set on the Keyboard Panel. Ideal for auto-tuning workflows because it only requires an audio input and no additional routing. This is the default mode.

• MIDI Track. Functions identically to Pitch Track, but the scale is defined by external MIDI notes routed into the plugin. This lets you merge Evoke’s pitch detection with external chord progressions, mapping the original melody onto chords or other sequences. Results can be striking. Try this mode to reharmonize a repeating vocal so it follows a longer progression, or to drive harmonies from a MIDI clip or keyboard.

• MIDI Instrument. Bypasses internal pitch tracking and harmonization, using incoming MIDI notes to set the resynthesis pitch. Use it to specify exact notes from a MIDI clip or keyboard or to play Evoke like a standard synthesizer or vocoder. In this mode, all scale settings are ignored. This mode supports up to eight voices of polyphony.

• External. Bypasses all internal pitch tracking and sound generation and uses the external sidechain input instead. Evoke applies its vocal modeling to that signal, enabling vocoder-like processing and a wide range of sound design applications. In this mode, scale settings and MIDI have no effect.

Overview

Shifter provides stereo frequency shifting, ring modulation, and amplitude modulation with feedback and FM. It can create inharmonic, robotic effects, distinctive harmonic distortion, barber-pole phasing, auto-pan, and more.

1. Effect Dropdown

The Effect Dropdown lets you remove or swap the effect and load or save sub-presets. See Shared Settings for dropdown options and detailed descriptions.

2. Shifter Mode

Freq Shift. Applies linear frequency shifting to the signal. At higher shift amounts, it moves the sound up or down in frequency but also alters harmonic relationships, often producing inharmonic results. At lower amounts, mixing with the dry signal can create barber-pole phasing.

Ring Mod. Multiplies the input signal by a sine oscillator, generating sidebands above and below the original frequencies. At higher frequencies, this produces complex, often inharmonic tones useful for metallic or bell-like effects. At lower frequencies, it can produce tremolo or auto-panning, though amplitude modulation is often better suited for these tasks.

Amp Mod. Modulates the signal’s amplitude with an internal oscillator, generating sidebands above and below the original frequencies while preserving more of the original input than ring modulation. At higher frequencies, it produces rich harmonic effects. At lower frequencies, it can create tremolo or auto-panning.

3. Shifter Display

The Shifter Display visualizes stereo frequency shifting, phase, and feedback as you adjust parameters in real time, providing a clear view of changes.

Frequency. Sets the internal modulation oscillator frequency. Higher values (positive or negative) produce more intense shifting and harmonic effects, while values near zero produce slower phaser, tremolo, and auto-pan effects.

Frequency BPM Sync. Click the button to the right of Frequency to toggle between frequency and BPM-synced values.

Feedback. Feeds a portion of the output signal back into the input path. It increases resonance, intensifies harmonic distortion, and can lead to chaotic, noisy textures at high settings.

FM. Sets how much the input signal frequency-modulates the internal oscillator, introducing additional harmonic complexity. Lower values produce saturation-like sounds, while higher values can result in full-on harmonic destruction.

Phase. Offsets the stereo phase of the internal oscillator. While it can always be used to widen the stereo image, the effect is most pronounced at lower Frequency settings, where it can create stereo phasing and auto-pan effects. Disabled when Evoke’s output is mono.

In. Sets the level of the wet signal path before processing. Use it to drive the effect harder when using FM.

Out. Sets the final level after processing and dry/wet mixing.

Mix. Blends the unprocessed (dry) and processed (wet) signals. In Freq Shift mode, set this to 50% to produce a barber-pole phasing effect at low Frequencies.

Overview

Evoke’s Effects Rack includes 8 studio-grade effects you can load into up to 12 freely assignable slots. Once loaded, effects can be rearranged, swapped, or removed.

The included effects are ideal for creating mix-ready presets, as well as creative sound design applications.

1. Effect Rack Tab

Open the Effects Rack by clicking the Effects tab at the top of the plugin window.

This tab also includes a Rack Bypass button. Toggle it to switch the entire rack on or off and quickly compare the resynthesized signal with and without Effects Rack processing from any view.

2. Effect Slots

Each Effect Slot can host any of the 8 included effects, providing a building block to enhance and further shape your sound.

Effect slots support sub-presets and can be reordered, bypassed, and duplicated. See Shared Settings for details.

3. Effect Selector

The Effect Selector lists all available effects. Click an effect to load it into the rack.

The following effects are included:

• Add rich unison, stereo enhancement, and detuned feedback.

• Shape dynamics with up to three bands of dual compression.

• Create echoes, slapbacks, and tempo-synced rhythmic patterns.

• Add smooth saturation, tube distortion, or full-blown destruction.

Overview

The Modulation Control Bar provides an overview of Evoke’s six freely assignable modulators. It also lets you assign modulation, swap or copy modulator types, and open each modulator’s panel for editing.

1. Modulator Preview

Each modulator shows a preview of its output once it’s assigned to one or more controls.

Hover over this area to highlight all related modulation connections in yellow. Click to open the modulator’s panel for further editing.

You can also assign modulation by clicking and dragging from the preview area onto a control.

Right-click the preview to open a menu with the following options:

• View in Mod Matrix. Open the Mod Matrix pop-up for this modulator to view and edit all of its connections at once.

• Bypass destination. Enable or disable any of the related modulation connections.

• Remove destination. Remove any of the related modulation connections.

• Reset modulator. Reset the modulator to its default settings while preserving all connections.

Each modulator includes a circular icon dedicated to assigning modulation via drag and drop. Click and drag the icon, then drop it on the desired control.

When you add a modulation assignment, the relevant modulator panel opens automatically when possible.

Click a modulator’s name to change its type (, , ). All modulation assignments remain intact, making it easy to experiment with different movement throughout the preset.

Overview

The LFO is a flexible, multi-purpose modulation source that can change shape in multiple ways and inject random movement into your presets.

Morph between four classic waveforms. Each shape can be randomized to create smooth random motion, sample-and-hold steps, and more. MIDI trigger modes and fade controls let it function as a one-shot attack-decay envelope or as a freely looping random source.

1. Main Controls

Rate. Adjust the LFO rate in Hz or in BPM-synced values.

Rate Mode. Choose whether Rate is set as a raw frequency or as BPM-synced divisions.

Randomize. Set the amount of LFO randomization. Each waveform randomizes in a unique way.

Level. Attenuates and/or inverts the LFO’s output. This affects every assignment that uses the LFO.

LFO Shape. Choose sine, triangle, downward ramp, or square. With Snap off, shapes can be morphed continuously.

Shape Snap. Enable snapping between LFO shapes. When off, the LFO shape morphs smoothly.

Choose how the LFO responds to incoming MIDI notes:

• Timeline. Always synced to the DAW’s timeline position and does not respond to MIDI.

• MIDI → Trigger. Resets on incoming MIDI, then loops continuously.

• MIDI → One-Shot. Resets on incoming MIDI and plays through once per note.

Shows the real-time LFO position and shape based on the current settings.

Phase. Adjusts the LFO’s phase offset. In Timeline mode, it offsets the phase relative to the DAW’s timeline position. In Trigger or One-Shot mode, it sets the starting point when the LFO is triggered.

Fade In. Sets how quickly the LFO fades in or out when triggered by MIDI notes. This is available only in Trigger or One-Shot modes. A value of 0 disables fading.

Overview

All effect types share some core settings and controls that can be used to customize the Effects Rack and speed up your workflow.

1. Effect Bypass

Toggle an effect on or off with the Effect Bypass button in the top left. Use it to audition and understand the effect’s impact on the current preset.

2. Drag Handle

Click and drag the Drag Handle to quickly reorder effects. Changing the effect order can yield interesting variations.

3. Effect Dropdown

Click the effect name to view key options for changing the effect slot and loading effect presets.

• Factory. Browse factory presets created by our team.

• User. Access the Default preset and other presets you have saved.

• Save preset… Save the current settings as a new preset for easy recall.

• Show presets. Reveal the effect’s preset folder on your computer. Once open you can delete presets, or organize existing presets into multiple folders.

• Remove effect. Remove the selected effect from the chain, clear all of its settings.

• Swap effect. Replace the current effect with another effect type.

Each effect includes a real-time display that shows how it is processing the signal. Most displays are interactive, letting you adjust parameters directly.

Some effects include multiple display tabs. For example, Delay, Distortion, and Reverb provide an effect-specific display and additional filter controls. See the corresponding effect pages for details.

Each effect includes utility controls for parallel processing and gain staging.

• In. Sets the input level before the effect for optimal processing or to drive level-dependent effects. It can also be used as a send control for time-based effects such as Reverb and Delay.

• Out. Sets the level after processing to apply any required gain compensation.

• Mix. Blends the unprocessed (dry) and processed (wet) signal to find the ideal balance.

Overview

The Global Settings popup lets you customize your setup and perform common actions, including adjusting the plugin window size, managing presets, learning about the plugin, and more.

To open it, click the gear icon on the right side of Evoke’s Top Bar.

Presets

Initialize preset. Reset the current settings by loading the Default preset.

The Presets submenu contains:

Show user presets. Open the folder containing Evoke’s user presets. From here you can organize and customize your packs. Be sure to rescan preset folders after making any changes.

Rescan Preset Folders. Refreshes the preset browser so it shows up-to-date packs, descriptions, and tags. This is useful when you're creating packs or reorganizing your presets. It runs automatically each time you load the plugin, so you rarely need it for everyday use.

Documentation

View manual. Open Evoke’s online manual in your default browser.

Walkthrough. Launch Evoke’s onboarding walkthrough, which is presented after activating the plugin for the first time.

Get help. Open our online in your default browser.

Collect support info. Use this option to collect all relevant information that might be helpful for our support team when tracking down possible bugs. The .zip file it creates contains the plugin’s logs, current preset, license file, and global settings file.

View logs. Reveal the log files stored on disk. Our support team may request these when diagnosing an issue.

Log settings. A submenu with logging options. Log crash reports adds OS crash reports to the logs; turn this on only when troubleshooting a crash with our support team. Below it, choose the level of detail in Evoke’s logging (Trace, Debug, Info, Warning, Error). Normally there’s no need to change this unless requested by support.

Internal BPM. Scales the internal tempo to 0.25x, 0.5x, 2x, or 4x of the DAW’s tempo. Select Off to follow the DAW’s tempo. Applies to all BPM-synced values (e.g., LFO rate). This is an instance-specific setting and does not change when loading presets.

MIDI pitch bend range. Sets the pitch bend range (in semitones) used in . This setting is saved with presets.

Playback Behavior. Reset on start and Reset on stop clear any effect tails whenever the transport starts and/or stops, so playback always starts completely clean.

MIDI map. Save, load, and manage the MIDI controller mappings created with . Use Save MIDI map… and Load MIDI map… to store mappings in a file, Clear MIDI map to remove all mappings, Set default map to use the current mappings in every new instance, and Restore default map to reload that default.

Window size. Set the default plugin window size. This setting is shared across all plugin instances.

Frame rate. Adjust how often Evoke’s animations update. A higher frame rate improves visuals but may consume more resources. This setting is shared across all plugin instances.

Enable OpenGL. When enabled, graphics are rendered using OpenGL. This can reduce graphical issues on some systems, particularly on Windows. This setting is shared across all plugin instances.

Overview

The Preset Save View lets you save the current plugin settings for later recall. Use existing or custom tags to organize your library by sonic character, use case, instrument, and more, making it easy to find your sounds.

1. Preset Name

Enter your preset’s name here. If you’re resaving a preset, its name will be filled in automatically.

2. Save Preset

Click the Save button when you’re ready to save your preset.

If saving would overwrite an existing preset, a warning will appear. You can overwrite the preset or rename it and try again.

3. Create New Tag

Use this text entry field to create a new tag to be saved with your preset. Press the Return key to add it.

Note that once a tag has been saved to a preset, there is no way to remove it other than resaving the preset.

4. Selected Tags

All currently selected tags that will be applied to the preset are visible here. Clicking a tag will deselect it, and the Clear all button can be used to clear the entire selection at once.

5. Unselected Tags

All unselected tags are visible here. Click a tag to select it for saving with the preset.

Overview

Evoke’s powerful modulation system can be used to add movement and depth to presets. It includes macros, LFOs, curve sequencers, and envelope followers, which you can assign to any parameter to create rhythmic motion, sequences, and more.

Assign modulation via drag and drop, or edit it in detail in the Mod Matrix. Swap modulator types for fast, creative experimentation. A color-coded highlight system keeps the selected modulator and its connections in focus.

1. Modulation Matrix

The Matrix button opens the Mod Matrix pop-up. Here you can edit all modulation assignments at once or focus on the connections for a single control or modulator.

You can also open the Mod Matrix pop-up for any control or modulator. Command-click (macOS) or Ctrl-click (Windows) a control or modulator, or use the right-click menu.

2. Macro Knobs

Two macro knobs can be used to control multiple parameters at once. All factory presets have these knobs preassigned for immediate, high-impact control, making them a great place to start when you load a new preset.

3. Modulation Control Bar

The Modulation Control Bar is the central hub for modulation. Use it to preview each modulator’s activity, assign modulation sources, open modulator panels for editing, and swap modulator types.

4. Modulator Panel

Each modulator has a dedicated panel for in-depth editing. Open a panel by clicking the modulator in the Modulation Control Bar.

Overview

The Top Bar offers quick access to essential controls and settings, including account information, notifications, settings, and options for loading and saving presets.

1. Tooltips

Click to enable in-app tooltips. Once enabled, hover over any control to learn more about its function.

2. Account Info

Click to view your Minimal Audio account and license information. You can also log out of the plugin from this panel to free up a seat for use on another computer.

3. Notifications

Click to view active messages or alerts, such as available updates or missing preset warnings. A red dot appears over the bell icon when there are notifications to check.

4. Preset Browser

Click the current preset name to open the preset popup and browse all preset packs.

Use the arrows on either side of the preset name to step to the previous or next preset. To load a random preset, open the preset popup and click the shuffle button next to the search bar.

5. Save Preset

Click to open the Save Preset popup and save your current preset to a user pack of your choice.

6. Plugin Settings

Click to view additional settings and actions such as initializing the preset and setting the plugin’s window size.

7. Output Gain

Use the Output Gain slider to adjust the plugin’s final output level.

Click the Limiter button next to the slider to choose between two limiter modes. Purple applies gentle limiting and saturation, helping prevent clipping while maintaining a smooth sound. Red applies more aggressive, punchier soft clipping.

The core of Evoke is its resynthesis processing. This process captures key features from the input signal, lets you manipulate those elements with the built-in controls, and then uses them to reconstruct a new version of the sound.

The Resynth View provides access to this resynthesis process, including creative character modes, detailed vocal modeling, auto-tuning, harmonization, and spectral shaping. Designed to blur the line between real and imaginary, it preserves the expressive nuances that make each voice unique and unlocks new possibilities for lead, backing, and textural vocal performances.

Resynthesis is the process of analyzing a sound to capture its core elements, then reconstructing it with a synthesizer using that information. While the final result may sound similar to the input, it is an entirely new signal.

By breaking sounds down into the building blocks of pitch, spectral envelope, and timbre, each of these elements can be manipulated independently before being used to resynthesize the input.

This allows you to transform a sound in ways that aren’t possible with traditional processing, replacing or reshaping certain aspects of the signal while preserving others.

In Evoke, the input’s pitch is automatically detected and retuned, similar to traditional auto-tuning effects, unlocking everything from natural enhancement to hard-tuning and complex harmonies.

This section introduces Evoke’s interface and the purpose of each area. You’ll learn how to navigate the plugin and what core features each area provides.

The is where you load and save presets, view notifications, and access additional settings.

Global output gain and limiter controls are on the right side of the Top Bar. Use them to control Evoke’s final output level.

The tabs in the top-left of the plugin window open Evoke’s two main views: and .

The Effects tab also includes a bypass button to quickly toggle the entire effects rack on and off.

The dropdown in the top-right corner configures Evoke’s overall behavior and how it responds to external inputs.

It includes the default Pitch Track mode, which works using only the main input signal, as well as advanced modes that integrate external MIDI or sidechain audio.

Overview

The Curve modulator lets you create custom modulation shapes using a variety of draw tools and precise editing features. It’s versatile enough for both sequencing and LFO-style tasks. Use the shape tools to build rhythmic patterns, generate random shapes, and save sub-presets.

1. Curve Presets

The Curve modulator supports sub-presets you can save and load from the top-left bar of the panel. Plenty of presets are included, and you can easily save and reuse your favorite modulation shapes.

Click Shuffle on the left side of the preset bar to load a random preset.

2. Trigger Modes

Choose how the Curve responds to incoming MIDI notes:

• Timeline. Locks the Curve to your DAW's timeline, keeping playback synchronized with the project position and tempo.

• Trigger. Resets on incoming MIDI, then loops continuously.

• One-Shot. Resets on incoming MIDI and plays through once per note.

• Scrub. disables playback rate and lets you scan through the held Curve using the Phase control. This is useful for driving the Curve with another modulator or for remapping modulation behavior.

Rate. Adjust the Curve modulator’s rate in Hz or BPM-synced values.

Sync. Enable or disable BPM synchronization for Rate.

Phase. Sets the phase offset of the Curve, determining where the modulation cycle begins. In Timeline mode, it offsets the phase relative to the DAW's timeline position.

Snap. When active, the Phase offset snaps to the Curve's horizontal grid divisions.

Level. Attenuate or invert the modulator’s output. This affects every assignment that uses the Curve.

Undo. Undo the last change made in the Curve editor.

Redo. Redo the last undone change.

Horizontal Grid Division. Choose how the editor is rhythmically divided:

• Standard. Divisions by two.

• Triplet. Triplet-based divisions.

• Odd. Non-standard divisions that are neither standard nor triplet.

Vertical Grid Division. Set how the editor’s modulation level is divided. Useful for snapping the Curve to precise values.

Clear Curve. Click the Eraser icon to reset the current Curve shape.

Snap to Grid. Click the Magnet icon to enable or disable snapping to the grid when dragging.

Randomize Curve. Generate modulation shapes that fit into the current Grid Division settings.

Use the Curve Editor to create custom modulation shapes.

With the Mouse tool selected, click and drag across the editor to select multiple points. Only the points inside the selection box are selected.

• Add to Selection. Shift-click a point.

• Toggle Selection. Command-click (macOS) or Ctrl-click (Windows) a point.

• Move Selection. Drag any selected point to move all selected points together.

• Clear Selection. Click an empty area of the editor.

On the right side of the editor are the draw-tool buttons. The Mouse tool allows manual drawing and editing; other tools create shapes based on the current grid settings.

Slope. Adjust the curvature of the selected draw tool.

Invert. Invert the tool’s shape for additional variations.

Overview

Evoke’s Mod Matrix provides a dedicated space for detailed modulation editing. It can be opened from multiple contexts to fit a variety of workflows.

It supports two modes:

1. Global. View and edit all modulation assignments in the preset at once, with optional filtering. This is a clear way to see how modulation is set up across the preset.

2. Focused. Inspect and edit the connections for a single parameter or modulator. This lets you adjust a single source or destination in detail without interrupting your workflow.

Global Mod Matrix

This view provides a classic modulation-matrix layout where all connections can be viewed and edited in one place. It’s useful for understanding modulation throughout a preset and quickly locating specific connections.

Click the Matrix button to the left of the Modulation Control Bar to open the global Mod Matrix and view all modulation connections at once. This opens a full pop-up over the main window.

Once the Mod Matrix is open, click any modulator in the Modulation Control Bar to view its connections.

Use the filters in the top-left of the Global Mod Matrix to choose which modulators (sources) and destinations (parameters) are shown. This can be used to locate specific connections in complex presets.

A Bypass button lets you toggle filtering on or off quickly.

Use the Focused Mod Matrix when you want to work only on the connections for a specific parameter or modulator. This pop-up shows just the relevant sources and destinations, making it easy to view, create, and edit connections without scanning the entire matrix.

Open it by Command-clicking (macOS) or Ctrl-clicking (Windows) a control or modulator, or by opening the right-click menu and selecting View in Mod Matrix.

To open the pop-up for an individual control or modulator, Command-click (macOS) or Ctrl-click (Windows) a control or modulator in the Modulation Control Bar. Alternatively, right-click and select View in Mod Matrix.

Note that there are a few exceptions for what can be modulated, with mode dropdowns being the most common example.

Additional filtering is not available in the Focused Mod Matrix. The top-left displays the selected parameter or modulator name, along with an icon indicating its type.

Regardless of which type of Mod Matrix you’re using, it will consist of one of more rows which represent a modulation connection and it can be edited in detail.

Toggle the modulation connection on or off. Useful for auditioning the connection without removing it.

Choose the modulator (source) that affects the destination.

Switch between bipolar and unipolar modulation. Bipolar modulation moves above and below the current setting; unipolar moves in one direction only.

Apply a shaping curve to the modulator signal. Drag to bias it toward lower or higher values in unipolar mode, or toward inner or outer ranges in bipolar mode. Double-click to reset to no shaping.

Select the parameter (destination) to be modulated by the chosen source.

Set how much the modulation source affects the selected parameter. This is independent of any Depth Modulation. Text entry is supported for precise value input.

Choose the modulator (depth-mod source) that controls the primary Modulation Amount.

Set how much the depth-mod source affects the Modulation Amount. Text entry is supported for precise value input.

Evoke’s Preset Browser lets you quickly locate and recall presets in two views:

1. Packs. Presets are organized into themed packs, each exploring a different style or use case.

2. Tags. Filter the entire library with descriptive tags to drill into specific combinations of character and use case, or explore presets you might have missed in the Packs view.

The top of the browser also includes a search field and a shuffle button, which work in both views.

The Pack Browser are the default view for viewing presets. Access it by clicking the Packs tab at the top of the

Overview

Evoke uses MIDI to control the current scale or notes via Global Modes, and to trigger modulators so they respond to note-on messages—enabling deeper, performance-driven interactions within the plugin.

Routing MIDI to an effect varies by DAW. Steps for common DAWs are outlined below. For detailed instructions, consult your DAW’s manual.

Ableton Live

1. Insert Evoke on the audio source track (the vocal/melody).

1. Create a MIDI track and program or play notes (clip or keyboard).

1. In the MIDI track’s MIDI To section, select the audio track that hosts Evoke.

1. Set Evoke to MIDI Track / MIDI Instrument in the Global Mode. Enable Monitor: In on the MIDI track if playing live.

1. Play the source melody to hear it react to the incoming MIDI.

For more information on MIDI routing in Ableton, visit

1. Route Evoke to the audio source track (e.g., the vocal or melody).

1. Set Evoke to MIDI Track / MIDI Instrument in the Global Mode.

1. Create a MIDI track and program or play notes (using a clip or keyboard).

1. Set the MIDI track’s output to the audio source track.

1. Play or sequence MIDI to control Evoke.

For more information on MIDI routing in FL Studio, see

1. Create a Software Instrument track and load Evoke in the Instrument slot.

1. Create an Audio track and place or record the audio signal (vocal/melody) there.

1. In the Evoke window, set the Side Chain (top-right) to the audio source track.

1. In Evoke, select MIDI Track / MIDI Instrument in the Global Mode.

1. Play, or program MIDI notes on the Evoke track to hear the audio react.

For more information on MIDI routing in Logic Pro, visit the

1. Add your audio source track in Pro Tools and insert Evoke on it as an insert effect.

1. Create a MIDI track with the notes you want to use.

1. In Evoke, switch to MIDI Track / MIDI Instrument in the Global Mode.

1. On the MIDI track’s Output selector, choose the audio source track where Evoke is inserted.

1. Play or sequence MIDI to control Evoke.

For more information on MIDI routing in Pro Tools, check the

1. On your audio source track, insert Evoke as an audio effect.

1. Create a new Instrument track. In its OUT routing option, set the destination to your audio source track (the one with Evoke on it).

1. Inside Evoke, set the Global Mode to MIDI Track / MIDI Instrument.

1. Play a MIDI clip or perform on your MIDI keyboard. The MIDI will now be routed through Evoke and processed by your audio source.

For more information on MIDI routing in Bitwig Studio, visit the .

1. Insert Evoke on the audio track that contains your source sound.

1. Switch Evoke to MIDI Track / MIDI Instrument mode in the Global Mode so that it can react to incoming MIDI.

1. Create a new MIDI track, record or play the notes you want to send to Evoke.

1. Route the MIDI track’s output to the audio track hosting Evoke (set the output of the MIDI track so it targets the audio track).

1. Play back the audio source Evoke will process it and respond to the incoming MIDI notes in real time.

For more information on Midi routing in Cubase, visit the

The Resynthesis Controls provide access to Evoke’s core resynthesis engine. Use them to sculpt timbre, pitch, and the spectral envelope, which together define the sound’s overall tone and identity.

1. Character Modes

Character Modes select the timbre and harmonic structure Evoke will use when resynthesizing the input. They also define how Shape and Color behave. See the Character Modes page for more details.

2. Utility Controls

These controls are minimally impacted by the current Character Mode and they can be used to adjust the level of realism in the resynthesized output.

Detune. Introduces slight pitch variations to each resynthesized voice. Use it to create thicker, more natural-sounding tuning and harmonization.

Breath. Controls the amount of noise injected into the resynthesized signal during unpitched sections such as breaths and plosives. At 100%, only noise is used, which produces the most realistic effect. At 0%, no noise is added, and only the tuned signal is used, which has a much more synthetic sound.

3. Character Controls

These controls affect the timbre and tone of the resynthesized output, and the specifics of how they work are determined by the current Character Mode. See the Character Modes page to learn how each mode impacts these controls.

Shape. The primary control for the resynthesized character. Often adjusts the harmonic structure of the sound.

Color. The secondary control for the resynthesized character. Often brightens or darkens the tone, or introduces natural detuning.

Width. Controls the stereo width of the resynthesized signal. This widening occurs before the per-voice panning in Harmonizer Voices. Disabled when Evoke’s output is mono.

Pitch. The central Pitch knob adjusts the overall pitch shift applied to the resynthesized signal. It is measured in semitones in Chromatic mode and in scale degrees in non-chromatic Scale Types.

Pitch Hold. When enabled, changes to Pitch and per-voice tuning controls take effect only when the retuned note changes. This helps preserve the original melodic contour while allowing pitches to be manipulated in real time.

These controls affect the spectral envelope used in the resynthesized output. Use them to shape the vocal’s identity so it sounds lower or higher, closer to the original voice or more like a synthesizer.

These controls are visualized in the Resynth Response, making it clearer how each one affects the overall sound.

Resolution. Controls the fidelity and detail of the vocal model. At 100%, the original spectral envelope is reproduced almost perfectly, while at 0% the output sounds more like a synthesizer than a vocal. 50% is generally a good setting for sounds reminiscent of classic vocoders.

Formant. Shifts the spectral envelope up or down in frequency so it sounds higher or lower in character without changing pitch, similar to how different singers can sound different while singing the same part.

Blur. Smears the spectral envelope over time. The effect is similar to time stretching, but low and high frequencies smear differently. At 100%, the envelope is essentially held. At 0–50%, it often sounds more organic and can create a unique doubling effect when blended with the dry signal.

Use these controls to freeze the analysis of the input signal, holding the current pitch and spectral envelope to produce sustained vowels and other effects.

Because only the analysis is frozen, all of Evoke’s controls continue to function, letting you create evolving soundscapes, and more.

Freeze. Toggle to capture and hold the current input’s pitch and spectral envelope.

Retrigger. When enabled, a new freeze is captured at the interval set by Rate.

• Rate. Sets how often the freeze is retriggered.

• Sync. Synchronizes retriggering to tempo-based note values.

Overview

Evoke supports multiple ways of assigning modulation. Once a modulator is connected to a control, most settings can be adjusted directly on the control (knob or slider). Additional options can be edited in the Mod Matrix or by right-clicking the control.

Assigning Modulation

There are multiple ways to assign modulation:

• Drag a Modulator Assignment Icon from the Modulation Control Bar onto a control.

• Open the Mod Matrix and select the modulation source and destination.

• Right-click a control and select Add modulator.

Once you assign modulation, a circular Modulation Slider appears next to the control. Drag it to adjust the amount of modulation applied to that parameter. If multiple modulators are assigned to a control, the currently highlighted modulator’s slider appears in yellow.

You can also drag another modulator onto the Modulation Slider to modulate the first modulator’s depth. More on this below.

When multiple modulators are assigned to a parameter, a Modulation Assignment Dropdown icon appears next to the control. Click it to choose which Modulation Slider to display and edit.

Selecting a modulator highlights its connections throughout the plugin and opens its panel when possible.

You can also choose View in Mod Matrix to edit all connections for that control at once.

Depth Modulation refers to using a second modulator to automate the amount of modulation being applied by the initially assigned modulator (the depth of another modulation connection).

A common application is using a macro knob to apply Depth Modulation to an existing LFO assignment, so the macro controls how much LFO modulation is applied.

You can create a depth modulation connection by dragging and dropping any modulator onto an existing Modulation Slider, using the Mod Matrix, or right-clicking a Modulation Slider and selecting Add depth mod.

Once assigned, an inner ring appears within the Modulation Slider to represent the Depth Modulation amount.

Drag the Modulation Slider to set the depth modulation amount. To adjust the original modulation as if no Depth Modulation were assigned, hold Shift and drag the slider.

Right-click a Modulation Slider to open a menu with the following options:

• Set bipolar / Set unipolar. Toggle bipolar or unipolar behavior. Bipolar modulation moves above and below the current setting; unipolar moves only in one direction, depending on how the assignment is set.

• Set bypassed / Set active. Enable or disable the modulation assignment. Useful for checking the effect of the modulator without removing it.

• View in Mod Matrix. Open the Mod Matrix for the connected control to view all its connections at once.

• Remove: modulator name. Remove the modulation assignment. The item shows the name of the assigned modulator.