This Master’s thesis investigates the role of the human voice in studio-based music production—not merely as a sound source to be documented, but as a compositional and architectural element to be shaped, layered, and transformed. The project examines how production tools themselves—loopers, vocoders, harmonizers, and spatial mixing environments—can become generative forces in the creation of new vocal music. These tools offer new methods of writing, shaping, and imagining vocal textures that may serve composers and performers across genres, from classical choral contexts to experimental pop and avant-garde performance. The results of my research indicate that there is signiAicant potential in uniting these two worlds: studio-based vocal production and live classical vocal performance. A practical and artistic dialogue between them can offer composers, producers, and performers new tools for vocal creation. This mutual relationship opens possibilities for hybrid practices. For example, new choral compositions can begin through studio experiments with vocoders and loopers, and later be formalized as traditional scores for ensembles. Conversely, existing choral works can be interpreted in solo studio setups—homophonic textures reimagined with vocoder harmony, and polyphonic scores interpreted using multi-track loopers.