Fandango: arrange the pitch and delay voices around the phrase

Decide whether the extra voice follows or answers

A vocal double needs a different timing relationship from a harmony that answers the last word. A guitar interval needs a different register from a wide keyboard texture. Fandango provides pitch and delay building blocks that can serve all of these roles, but the musical arrangement should determine the routing.

Begin with a sparse phrase and a clear direct reference. Hear the extra voices quietly before making them large and wide. If the original line stops being understandable, changing the interval or delay relationship may help more than another tonal adjustment.

Build from the actual blocks

The processor provides two pitch voices, two delay paths and a modular graph with additional filtering and ambience possibilities. Four Soft Keys provide a direct surface for assigned changes; their purpose follows the loaded configuration. Read those assignments before automating a knob whose name is intentionally generic.

Diatonic operation needs the intended key and scale. It is not automatic recognition of every chord change in the source. The active processing path also has conversion behaviour, so a fully dry setting within an active configuration is a different comparison from host bypass.

Workflow one: a supporting vocal double

Use a sung line with clear consonants and a held vowel. Both reveal whether the new voice supports or obscures the delivery.

1. Start with a simple pitch-and-delay configuration and keep the direct vocal as the anchor.
2. Choose small pitch differences for the added voices and a short timing separation appropriate to the phrase.
3. Balance the two added voices so width does not pull attention away from the centre.
4. Use the available filtering to keep repeated consonants and low body from becoming a second competing lead.
5. Compare the complete line in stereo and mono.

Listen to the beginning of words. A double can feel spacious on a held vowel yet make fast consonants untidy. If the words lose definition, reduce the added level or reconsider timing before increasing the pitch difference. Keep the direct singer's rhythm in charge.

Workflow two: an answering harmony on guitar or keys

Choose a short melodic phrase whose harmony is already established. A simple line makes the relationship between notes and added intervals easier to hear.

1. Select the desired pitch intervals, using the correct key and scale if the chosen operation is diatonic.
2. Set the delay so the harmony arrives as an answer or a supporting overlap rather than an accidental echo.
3. Use the patch routing to establish the intended order of pitch, delay and any filtering.
4. Check every note of the phrase against the chord progression, especially when the underlying harmony changes.

A fixed scale cannot decide the arrangement for you. If one note creates an unwanted clash, change the musical phrase, automate the relevant choice or use a separate printed treatment for that moment. Avoid solving a harmonic problem by burying the entire return in reverb.

A creative use: one phrase becomes a descending response

Feed a selected word, guitar harmonic or synth stab into a pitch-and-delay configuration and let it supply a short, deliberately altered answer. Use modest feedback while choosing the interval, timing and filtering. The first repeat and the later repeats can have different musical roles.

Control the input or return in the host so the effect appears only where the arrangement has space. Hear the last repeat before the next line enters. A striking texture becomes more useful when its duration and register are part of the composition.

Keep routing and performance controls readable

After the sound works, identify what each Soft Key changes and save a configuration whose controls remain understandable in the session. A macro that changes several relationships can be expressive, but it deserves a full-phrase audition.

Return to the direct source and compare the final blend at a sensible level. Keep the pitch and delay treatment when it contributes a specific double, harmony or response rather than simply adding more voices around every note.