![]() The way the 8000 reacts to different input signals can be pretty cool. That song is mostly just one take, though we did do a few additional takes, hitting the 8000 differently each time, cranking up the output to hit it harder. You can hear Justin on his own with the Messina in ‘715’. Hi all, Ive just released a new bundle of four plugins based on the Phase Vocoder in SoundHack and redesigned for real-time use. It does this by extracting amplitude and phase information for from 8 to 4096 frequency bands with a bank of filters. soundfile convolution, ring modulation, the phase vocoder. But a lot of the distortion is Justin and the Messina, with the H8000 doing what it does to the signal. This process allows one to change pitch without changing the length of the soundfile or to change length without changing pitch. SoundHack includes soundfile type conversion, spectral mutation, spectral dynamics processing. We removed some of those clicking noises, but as also left many in, because we liked them. When you’re switching keys on the MIDI keyboard it automatically creates this kind of clicking noises as it’s changing whatever harmonies it’s creating. A lot of the distortion on the album comes from this, because the H8000 program naturally creates a lot of artifacts. This article attempts to explain the operation of the phase vocoder in terms accessible. ![]() such as physical modeling, phase vocoding, linear predictive coding and. We’d then use a combination of the dry signal, tuned signal, tonic signal and the harmony created by the H8000 to make the ‘Messina’ sound. In this article, the intention with SoundHack has been to make. When using Csound, the first step is to create two text files: an orchestra and. It involves a degree of randomisation, so you don’t know exactly what you’re going to get. “Justin can play the white keys of a MIDI keyboard at the same time, and the H8000 receives the Auto-Tune tonic input, sometimes a dry input, and the input of the MIDI keyboard, and the H8000 generates up to four notes based on what’s played. Is sent to an Eventide H8000, which is set to a MIDI harmony program. The first just tunes the vocal, in the way Justin has always done it, and the second plug-in creates just a single note, the tonic of the key of the phrase that is sung or played, and that then The input signal goes into Ableton Live where it is treated by two Auto-Tune plug-ins. minor, and consist of different headers, and varying scale factors for amplitude. So instead we developed this thing which basically is a glorified vocoder. the phase vocoder exist, notably in Csound, the CDPsystem (based on the CARL implementation (Moore/Dolson)), Soundhack (Tom Erbe), and the Princeton-hosted PVC package (Paul Koonce). The character of whatever input signal we used, whether a voice or a saxophone. ![]() Like a vocoder, which was not exactly what we wanted. “Inspired by what Francis did, Justin and I got together and we tried every single vocoder that was listed, but they all sounded Messina elaborates on how he devised the Messina. BTW, I have purchased a very interesting article from SoS about the making of Bon Iver’s latest album, and I thought I might copy/paste here the part specifically related to the “Messina”
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