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  1. Someone else already posted this in the "new releases" section, but I hope it's still allowed for me (being the artist) to post it here by myself? If it isn't the mods can delete it Imagine: a tad sad song about love-that-could-have-been disguised as an acid-track sung in a probably incomprehensable language (Dutch) by a way too happy vocoder-voice over a bouncy electrobeat.... What's missing? That's right: a hand-drawn videoclip! So here you have it. Released today for your pleasure (or whatever emotion it triggers). I added subtitles in pretty bad English but it should be enough to understand the lyrics Limited edition 7" available through 030303 Records, Clone Records and selected recordstores worldwide A-side: Binarizer - Ik Zag Je Dansen B-side: Splitradix - Cross connection
  2. https://soundcloud.com/zhaozhou/zhaozhous-vocoder-test-14-nov-2014 it was designed to perform super well with super low saw waves like that one song in Syro *thanks Richard* it uses the same frequencies as a bode vocoder i spent the past four days actually coding this because i wasnt happy with any other vocoders. theres still room for improvement, lots of optimisation, etc and the code, for use in ReaJS //Vocoder 14 nov 2014 Thanks SaulT and Amateur Tools DSP //This plugin contains ideas and code techniques by RBJ, SaulT, Moog, Bode, Loser, etc. //USE AT OWN RISK. This plugin could turn you into a human centipede. ////////////////////////////////////////////////////////////////////// desc:Zhaozhou's Vocoder - carrier chans 1+2, modulator chans 3+4 slider1:0<-50,1000,0.5>Frequency Base Shift (hz) slider6:0<-24,24,1>Carrier Amt slider8:0<-24,24,1>Mod Amt slider14:-90<-120,6,1>Threshold (db) slider16:20<1,100,1>Fadein (ms) slider18:20<1,100,1>Fadeout (ms) slider20:20<1,100,1> RMS smoothing (ms) slider60:-120<-120,6,0.01>Dry Mod Signal slider62:7000<104.5,20000,1>Dry Mod Highpass Filter slider64:0<-120,6,0.01> Main Out Amp @init // Freqs from Bode Vocoder (centered) \ f1=104.5; f2=179.5; f3=226; f4=284.5; f5=358.5; f6=452; f7=569.5; f8=717.5; f9=904; f10=1139; f11=1435; f12=1808; f13=2260; f14=2852; f15=3616; f16=4556; // Q's aka 'damp' for bandpass filters q1=0.008; q2=0.05; q3=0.02; q4=0.03; q5=0.03; q6=0.03; q7=0.03; q8=0.04; q9=0.04; q10=0.04; q11=0.04; q12=0.04; q13=.03; q14=0.05; q15=0.05; q16=0.05; q17=0.3; // PCB trimpots for adjusting carriers after filters trim1=0.2; trim2=0.2; trim3=0.01; trim4=0.4; trim5=0.4; trim6=0.4; trim7=0.5; trim8=0.5; trim9=0.6; trim10=0.6; trim11=0.7; trim12=0.7; trim13=0.8; trim14=0.8; trim15=0.9; trim16=0.9; // PCB trimpots for adjusting modulators after filters // trim17=1.25; trim18=0.25; trim19=0.35; trim20=0.35; // trim21=0.45; trim22=0.45; trim23=0.6; trim24=0.65; // trim25=0.8; trim26=0.9; trim27=1; trim28=1.25; // trim29=1.5; trim30=1.5; trim31=2; trim32=2; // PCB trimpots for adjusting modulators after filters trim17=49; trim18=3; trim19=100; trim20=4; trim21=6; trim22=9; trim23=12; trim24=12; trim25=15; trim26=25; trim27=30; trim28=40; trim29=55; trim30=60; trim31=90; trim32=110; // used by rbj filter cDcAdd = 10^-30; cDenorm = 10^-30; // bandpass filter function bp(in,freq,damp) instance(c,a,fa,fb,fk,damp,d,fd,fc) ( damp=damp*0.999 + 0.001; c = ( 1 / tan( $pi*freq / srate ) ); a = 1 + c*(c+damp); fa = 2 * (1 - c*c) / a; fb = (1 + c*(c-damp)) / a; fk = c*damp / a; d = fk*in - (fa*fd + fb*fc); in = d - fc; fc = fd; fd = d; ); // lowpass for c1,m1 function lp(in,freq) instance(in,freq,a9,s9,q9,w09,cosw09,sin209,alpha9,sinw09,b09,b19,b29,a09,a19,a29,b09,b19,b29,old,x19,x29,y19,y29) ( a9 = 1; s9 = 2; q9 = 1 / (sqrt((a9 + 1/a9)*(1/s9 - 1) + 2)); w09 = 2 * $pi * freq/srate; cosw09 = cos(w09); sinw09 = sin(w09); alpha9 = sinw09 / (2 * q9); b09 = (1 - cosw09)/2; b19 = (1 - cosw09); b29 = (1 - cosw09)/2; a09 = 1 + alpha9; a19 = -2 * cosw09; a29 = 1 - alpha9; b09 /= a09; b19 /= a09; b29 /= a09; a19 /= a09; a29 /= a09; old = in; in = b09 * in + b19 * x19 + b29 * x29 - a19 * y19 - a29 * y29; x29 = x19; x19 = old; y29 = y19; y19 = in; ); //highpass filter rbj function hp(in,freq) instance(in,hp_f,a0,s0,q0,cosw00,sinw00,alpha0,b00,b10,b20,a00,a10,a20,x10,x20,y20,y10,old_in) ( hp_f = 2 * $pi * freq/srate; a0 = 1; //start coeffs s0 = 1; q0 = 1 / (sqrt((a0 + 1/a0)*(1/s0 - 1) + 2)); cosw00 = cos(hp_f); sinw00 = sin(hp_f); alpha0 = sinw00 / (2 * q0); b00 = (1 + cosw00)/2; b10 = -(1 + cosw00); b20 = (1 + cosw00)/2; a00 = 1 + alpha0; a10 = -2 * cosw00; a20 = 1 - alpha0; b00 /= a00; b10 /= a00; b20 /= a00; a10 /= a00; a20 /= a00; hp_f != 0 ? ( //start hp filter old_in = in; in = b00 * in + b10 * x10 + b20 * x20 - a10 * y10 - a20 * y20; x20 = x10; x10 = old_in; y20 = y10; y10 = abs(in) < cDenorm ? 0 : in; ); ); function g(in) // gate instance(a,silentcnt,seekto,g8) //fadein and out are global ( a=abs(in) > thresh; a ? ( silentcnt=0; seekto=1; ) : ( (silentcnt+=1) > 2205 ? seekto=0; ); seekto > 0.5 ? ( g8=g8*fadein + (1-fadein); ) : ( g8=g8*fadeout); in*=g8; ); // smoothing out the audio rate stuff function rms(in) instance(rms_s,in) ( rms_coeff = exp(-1/(slider20 * srate * 0.001)); rms_s = (rms_s * rms_coeff) + ((1 - rms_coeff) * in * in); sqrt(rms_s); ); @slider //freqs and freq adjust f1=104.5+slider1; f2=179.5+slider1; f3=226+slider1; f4=284.5+slider1; f5=358.5+slider1; f6=452+slider1; f7=569.5+slider1; f8=717.5+slider1; f9=904+slider1; f10=1139+slider1; f11=1435+slider1; f12=1808+slider1; f13=2260+slider1; f14=2852+slider1; f15=3616+slider1; f16=4556+slider1; //gate thresh = 2 ^ (slider14/6); fadein = 1/pow(10,1/(srate*slider16/1000)); fadeout = 1/pow(10,1/(srate*slider18/1000)); //rms rms_coeff = exp(-1/(slider20 * srate * 0.001)); // gain amps c_amt = 10^(slider6/20); //Carrier amt m_amt = 10^(slider8/20); //Modulator amt d_amt = 10^(slider60/20); //Dry Mod amt o_amt = 10^(slider64/20); //main out @sample // dc fix, denormals spl0 += cDcAdd; spl1 += cDcAdd; c_in=((spl0+spl1)*0.5)*c_amt; m_in=((spl2+spl3)*0.5;)*m_amt; dry_m=m_in; //carrier filter array \\\\\\\\ c1= c1_lp.lp( c_in,f1 ) *trim1; c2=c2_.hp( c2_bp.bp( c_in,f2,q2 ) ,f2 )*trim2; c3=c3_.hp( c3_bp.bp( c_in,f3,q3 ) ,f3 )*trim3; c4=c4_.hp( c4_bp.bp( c_in,f4,q4 ) ,f4 )*trim4; c5=c5_.hp( c5_bp.bp( c_in,f5,q5 ) ,f5 )*trim5; c6=c6_.hp( c6_bp.bp( c_in,f6,q6 ) ,f6 )*trim6; c7=c7_.hp( c7_bp.bp( c_in,f7,q7 ) ,f7 )*trim7; c8=c8_.hp( c8_bp.bp( c_in,f8,q8 ) ,f8 )*trim8; c9=c9_.hp( c9_bp.bp( c_in,f9,q9 ) ,f9 )*trim9; c10=c10_.hp( c10_bp.bp( c_in,f10,q10 ),f10 )*trim10; c11=c11_.hp( c11_bp.bp( c_in,f11,q11 ),f11 )*trim11; c12=c12_.hp( c12_bp.bp( c_in,f12,q12 ),f12 )*trim12; c13=c13_.hp( c13_bp.bp( c_in,f13,q13 ),f13 )*trim13; c14=c14_.hp( c14_bp.bp( c_in,f14,q14 ),f14 )*trim14; c15=c15_.hp( c15_bp.bp( c_in,f15,q15 ),f15 )*trim15; c16=c16_.hp( c16_bp.bp( c_in,f16,q16 ),f16 )*trim16; //Modu Sig Chain m1=m1.rms( m1_g.g( m1_lp.lp( m_in,f1 ))) *trim17; m2=m2.rms(m2_.hp( m2_g.g( m2_bp.bp( m_in,f2,q2 )),f2 )) *trim18; m3=m3.rms(m3_.hp( m3_g.g( m3_bp.bp( m_in,f3,q3 )),f3 )) *trim19; m4=m4.rms(m4_.hp( m4_g.g( m4_bp.bp( m_in,f4,q4 )),f4 )) *trim20; m5=m5.rms(m5_.hp( m5_g.g( m5_bp.bp( m_in,f5,q5 )),f5 )) *trim21; m6=m6.rms(m6_.hp( m6_g.g( m6_bp.bp( m_in,f6,q6 )),f6 )) *trim22; m7=m7.rms(m7_.hp( m7_g.g( m7_bp.bp( m_in,f7,q7 )),f7 )) *trim23; m8=m8.rms(m8_.hp( m8_g.g( m8_bp.bp( m_in,f8,q8 )),f8 )) *trim24; m9=m9.rms(m9_.hp( m9_g.g( m9_bp.bp( m_in,f9,q9 )),f9 )) *trim25; m10=m10.rms(m10_.hp( m10_g.g( m10_bp.bp( m_in,f10,q10 )),f10 )) *trim26; m11=m11.rms(m11_.hp( m11_g.g( m11_bp.bp( m_in,f11,q11 )),f11 )) *trim27; m12=m12.rms(m12_.hp( m12_g.g( m12_bp.bp( m_in,f12,q12 )),f12 )) *trim28; m13=m13.rms(m13_.hp( m13_g.g( m13_bp.bp( m_in,f13,q13 )),f13 )) *trim29; m14=m14.rms(m14_.hp( m14_g.g( m14_bp.bp( m_in,f14,q14 )),f14 )) *trim30; m15=m15.rms(m15_.hp( m15_g.g( m15_bp.bp( m_in,f15,q15 )),f15 )) *trim31; m16=m16.rms(m16_.hp( m16_g.g( m16_bp.bp( m_in,f16,q16 )),f16 )) *trim32; // Modulation Block c1*=m1; c2*=m2; c3*=m3; c4*=m4; c5*=m5; c6*=m6; c7*=m7; c8*=m8; c9*=m9; c10*=m10; c11*=m11; c12*=m12; c13*=m13; c14*=m14; c15*=m15; c16*=m16; //the final summing and amp section dry_m=(dry.hp(dry.bp((g(dry_m)),9000,q17),5080)*d_amt); spl1=(c1+c2+c3+c4+c5+c6+c7+c8+c9+c10+c11+c12+c13+c14+c15+c16+dry_m)*o_amt; //spl1=(m1+m2+m3+m4+m5+m6+m7+m8+m9+m10+m11+m12+m13+m14+m15+m16+dry_m)*o_amt; //spl1=(m16)*o_amt; spl0=spl1;
  3. New podcast: INTERRUPTIONS #13 The inhuman voice, curated by Genís Segarra Since the late eighteenth century, speech therapists, linguists, entrepreneurs, artists and musicians have nurtured the dream of emulating human speech. In this mix, Genís Segarra offers a personal overview of a subject that fascinates him, with the story of voice synthesis as a narrative thread. Link: http://rwm.macba.cat/en/curatorial/genis_segarra_inhuman_voice/capsula Text and playlist: http://rwm.macba.cat/uploads/20130626/13Interruptions_eng.0.pdf Summary There is a long history of mankind's attempts to build a machine capable of reproducing human speech. Some of the inventors who embarked on this quest where driven by curiosity – speech therapists and linguists interested for scientific purposes, for example –, while others were entrepreneurs with an eye to business opportunities. The first talking machines date from the late eighteenth century, and many theoretical advances were made during the nineteenth century. But the turning point came with the emergence of electronics in the twentieth century. You can hear an example at 20'35'' of this selection: a demonstration of the Voder (Voice Operator Demonstrator) at the 1939 New York World's Fair. The arrival of computers and microchips led to speech synthesis machines being marketed by companies like Bell Systems, Votrax, General Instrument, IBM and SAM, who developed them with the aim of replacing human beings in communications. At 27'38'' you can hear the first computer that ordered a pizza by phone. 'Domino? I want to order a pizza, a large pizza, pepperoni and mushrooms', the machine says. Although it is fair to point out that the experiment failed, given that the Domino employee hung up on the computer. At 31'17'' you can hear the first videogame that included a synthesised voice: an arcade shoot 'em up called Stratovox. The mix includes several examples of talking software and microchips, but I've also thrown in songs that have used similar technology creatively: from German group Kraftwerk to the Japanese phenomenon of virtual singers. You will also hear songs that use a vocoder, an instrument that does not generate a human voice but can analyse the harmonics of a voice and then modulate it in another sound. This means that it can make any source of sound 'talk' or 'sing'. The vocoder was invented with the same aim in mind: to synthesise the human voice. Although it has now been superseded by chips that can generate vowels and consonants, artists and musicians have developed and used the vocoder in order to stand in for human beings. One of the first machines that achieved this effect was the Sonovox, which Disney used in 1941 as the voice of Casey Jr., the train engine in Dumbo. In this mix you can hear Casey's cheery 'All aboard!' at 17'01'' and listen to him chant 'I think I can' as he struggles to climb uphill at 27'01''. The Sonovox was first used on a record in 1947, in the children's book Sparky's Magic Piano, in which a little boy discovers that his piano can talk and play itself. The voice of the piano was created with a Sonovox that transformed piano notes into a human voice. At 13'59'' you can hear the fragment in which Sparky discovers that his piano can talk. At the other extreme in terms of time and technology, the situation is much the same: at 13'18'' you can hear a grand piano being 'played' by a computer-controlled mechanical system which manages to make the piano recite the Declaration of the International Environmental Criminal Court, a work created by the composer Peter Ablinger with the help of a software programme that assigns vowels and consonants to different combinations of piano keys. Throughout the mix, you will hear vocoders and computers talking and singing. I've included several examples in which I've used vocoders or speech synthesisers in my own works with the groups Astrud and Hidrogenesse. There are also samples taken from a voice synthesiser competition held at the 2007 INTERSPEECH Conferences, in which participants had to make their programmes sing 'The Synthesizer Song'. Several universities and companies participated in the competition and demonstrated their systems. Previous installments of this series: http://rwm.macba.cat/en/interruptions-tag/
  4. Anyone know how to get a similar vocoder tone to the one in BoC's "In a beautiful place out in the country''?. It's such a fantastic, gritty raw sound, but everytime I try to emulate it with software vocoders I end up with something more akin to daft punk (albeit a lot shittier). I have a feeling that it might be the carrier synth I'm using that's the problem, any ideas what I could use for it? http://www.youtube.com/watch?v=zVWcptE6UAI for anyone that hasn't heard it before, god forbid.
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