How to Build a Hardcore Vocalist With AI

Last week, I broke down the process of creating our new Female Vintage Jazz model. This time, we’re cranking the dial all the way over to the opposite side of the musical spectrum: punk and hardcore. Born out of the political and social unrest of the 1970s, this genre was a rebellious response to the excesses of mainstream rock. Influenced by garage rock from the 1960’s and early protopunk bands like The Stooges and The Velvet Underground, punk emerged as a raw, energetic, stripped-down style of music. The beauty of punk rock? Literally anyone could pick up a guitar, scream into a mic, and start a band–zero music theory needed. 

But how do you capture that chaotic, in-your-face energy in an AI voice model? That’s what I was after. Embracing the aggressive nature of this genre required a bit more of an outside the box approach.

The Vocal Creation Process

Using our Male Strained Rock dataset as my foundation, I tried a couple directions before landing on the one that seemed to capture the vibe I was after to create Male Overdrive Rock.

Use an Amplifier

Knowing that I wanted to completely transform the original dataset, I ran the original vocals through my 60’s Silvertone 1482 amp. Yep, the kind you’d order from a Sears catalog next to your toaster. Known for its gritty, overdriven sound, this amp was the key to getting that garage-band, DIY punk attitude. 

Using The Right Mic

Using a “tried and true” Shure SM57 to mic the cabinet, these microphones love guitars and are great for emphasizing that mid-forward punch. It’s like they were born to capture the grit. 

Preamp and EQ

From there, I fed the signal into an Electrodyne 500 series preamp and EQ–my secret sauce for both guitars and bass. The Electrondyne’s have the ability to bring out tonal richness in ways you wouldn’t expect. Not many people are boosting 500 Hz on guitar amps, but trust me, this EQ works magic in that range.  Pro tip: If you’re thinking about getting into analog processing, start with a 500 series lunchbox. It’s a great way to dive in without dropping a fortune on rack gear. I cut my teeth on an API 6 slot lunchbox, and the portability is a game-changer. Perfect for those impromptu sessions in your buddy’s basement. 

Next stop: the Bereich03 Density. Some subtle saturation and a bit more eq manipulation with the “Vintage” setting engaged, it just hits right.

Smooth Over Frequency Peaks

Then I ran it through the UBK Fatso for some compression and a gentle roll-off on the top end to keep those peaks in check. Nothing too heavy-handed–just enough to keep the energy alive without it spiraling out of control. 

Finally, I topped it all off with the Chandler Limited Germanium Tone Control. This beast is discontinued now, but it’s one of my go-to EQ’s. Layering saturation and distortion, especially with vocals, can sometimes create some spikey midrange resonance. I used the Chandler to attenuate some 3k and cleaned up some muddy low-mids at 320 Hz. It’s all about keeping that aggression sharp, without letting things get too spikey or harsh. 

Check out the transformation for yourself:

Original.mp3

New.mp3

While plugins are definitely more convenient, analog gear brings a different vibe to the table. The beauty of analog is its limitations–no endless presets, just you and your ears making the calls. It forces you to listen instead of relying on what you see on a screen. I’m not about to go full tape machine mode, but I’ve seen too many producers get trapped by visuals. You don’t need a wall of analog gear to get great results, but just remember to trust your ears.

-SK

Sam Kearney is a producer, composer, and sound designer based in Evergreen, CO.