Shevannai by

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Need a beautiful dreamy female voice that is controlled through your keyboard? Maybe Shevannai is just what you’re looking for. Find out more in this review.

by A. Arsov, Nov. 2013

This is a voice library, at the moment – the best one on which you can spend your money. A beautiful dreamy female voice is controlled through your keyboard. With a little programming effort (if you are not a skilled keyboard player) you could safely offer 149 € to anyone who can recognize that you haven’t recorded your song with top notch lady vocalist. I’m cooperating with several different vocalists, even with one opera diva, but having the luxury to have one at the reach of the hand, operating it and not cooperating is a special bonus. Library is intended to appeal mainly to movie composers, but it is very handy addition to any dance, trance or pop composers arsenal, adding a human voice to your instrumentals.

The library is divided into three main sections: The Voice, Phrases and Soundscapes. Legato, the first patch in Voice section, contains five different legatos switchable through the lower keys, each of these legatos, which use different vowels, is also offered with 33 different words that you can combine with those essential legato vowels. Maybe “word” is a bad term (although it is used in the manual) for those samples. Those are mainly syllables finished with vowel. Mee, Sha, Ra and so forth. So, they are not aimed for building actual sentences, but they greatly build the atmosphere using a voice like an instrument. This is not so uncommon a practice in modern production, so nobody will notice that something non organic, virtually compiled lies beneath the voice line. 

The only problem is that you will need some additional practice to master voice programming as the omen est nomen – those patches are legato, meaning that they sound best when they are played legato, overlapping the notes, and if you want to change the syllable you should interrupt legato playing, as overlapped notes can’t have a different syllable between them. (Nope, it is not Eduardo’s fault, it is the nature of legato technique) and secondly whenever you release the note reserved for those syllables, default legato vowel overtook the command, so playing the lead vocal line with this library is like playing the old Organ, constantly changing the registers on the fly. It is a bit tricky, and at first I couldn’t figure how to deal with that (except recording it in loop, lead line first and then “words”). So, I took my time watching over and over the video clip that is on Bestservice site, to figure how Tarilonte did that, and after few minutes of practice I finally came close getting some decent results. (You should consider that I’m a guitar player, playing keyboard like an old monkey). All in all, it is not so hard and the end results are quite rewarding. I should admit that my first song with this library was made just with basic vowels and even using only that basic voice. The vocal line sounded impressive and absolutely realistic. I forgot to mention that vibrato and expressions work like a charm. No objections.

The next patch is a Staccato, where we got have sets of syllables, short and longer ones along with crescendo. As you can presume, there are no legato problems, so everything is as it should be. Same results as legato: ultra realistic and quite impressive. In combination with legato patch, it is a win-win situation.

The last patch in Voice section is inhales and releases – so real that the sound is a bit creepy. When I tried the library, my kids left the studio during the inhales and releases as it was too scary for them. It is not the general intention of that patch to scare people, but when someone who is not in a room with you breaths all around you, it can be a bit uncomfortable. I think that Eduardo surpassed himself with this one.

The Phrases section contains several patches: Melodic phrases in different keys, Spoken phrases, Whispered phrases and Short whispered phrases. In combination with voice section you can make wonders, all phrases are on a same, very high level. Everything is spoken and sungd in a nonexistent language, but thanks to Lara Ausensi, who gave her voice to this library, every phrase is so persuasive that you can trust to every word you hear, no matter that you don’t understand what she says. That is how it goes in an Elf world.

The last section contains a nice selection of soundscapes that offer you mystique: a set of voices, a few out of this world pads and two or three Hammond in heaven-like instruments. Anyone who knows Tarilonte’s previous work, knows that he is quite proud on his pads and atmospheres, and to tell the truth, he has every right to be proud of them. Every preset sounds so airy, full and dynamically versatile that we should take our hats off when we step into this holy soundscape space.

The Finale

All in all, this library costs as much as any average virtual instrument, but for that money you get your personal live vocalist. To me, this is priceless. Shevannai brings a real human voice in your production, it is not one of those “sounds almost like” or “pretty damn close” sort of libraries. It is as real as a recorded real vocalist could be real. It sounds as if your work was done by one of the best worlds recording magicians. So, it is just a matter of question whether you need such thing or not. I definitively need it. I even plan to use it along with my vocalists. Human voice was and will ever be the most impressive instrument known to the human race.

149 € / 159 $ and 2.5 GB of your hard disk is all you need. More info, one video clip and many audio clips you can find at

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