But the process is significantly different from vocoding. You begin to get that robotic vocoder-esque sound when you push it hard so that the pitch jumps abruptly from note to note. Random thought: What would happen if you Vocode a Vocoded signal?Īuto-Tune is designed to sort of quantize a vocal signal to the closest pitch or scale degree. In software, vocoders can usually function as inserts on an audio track, as an instrument on a virtual instrument track using a sidechained input from another audio track or a live external source, or in the case of devices like Vocal Synth 2, either as an audio insert effect or virtual instrument. In other words, only the frequencies that are present in the modulating signal are retained in the carrier signal after the envelope is applied. Commercial vocoders used as musical instruments consist of a keyboard synthesizer (for playing the carrier sounds) and a microphone for picking up the voice of the performer (to extract the modulation envelope). Then the modulator may be a voice, and the carrier may be any spectrally rich sound such as wind, rain, creaking noises, flute, or other musical instrument sounds. Let’s call the first signal the `modulating’ signal, and the other the ’carrier’ signal.
A typical example is to impress speech on various natural sounds, such as ‘talking wind.’ Vocoding is a form of Cross Synthesis, which is nicely described here by Julius Smith:Ĭross-synthesis is the technique of impressing the spectral envelope of one sound on the flattened spectrum of another. There is some confusion regarding the difference between these processes which should be cleared up first: For a brief history of the Vocoder and some of the artists that have used them, see Ian Vargo’s excellent article here.Īuto-Tune vs. The word itself is derived from combining the words VOice and enCODER. You can control the intensity of this distortion with the Tracking parameter.Vocoders have been around since the method was used first to synthesize a human voice in the 1930s. When Robotize is enabled, Vocal Transformer can augment or diminish the melody. This doubling of voices is quite effective, with levels easily controlled by the Mix parameter. Both will sing with the same voice, in a choir of two. Tip: If you set Pitch to 0 semitones, Mix to 50%, and Formant to +1 (with Robotize turned off ), you can effectively place a singer (with a smaller head) next to the original singer. By altering the parameter downward, you can achieve vocals reminiscent of Darth Vader. If you set this parameter to positive values, the singer sounds like Mickey Mouse. The Formant parameter shifts the formants, while maintaining-or independently altering-the pitch. If you set negative Pitch values for a female soprano voice, you can turn it into an alto voice without changing the specific character of the singer's voice. The Pitch parameter is expressly used to change the pitch of a voice, not its character. Formants are responsible for the specific timbre of a given human voice. They are static and do not change with pitch.
Formants are characteristic emphases of certain frequency ranges. Transpositions of a fifth upward (Pitch = +7), a fourth downward (Pitch = −5), or by an octave (Pitch = ☑2) are the most useful, harmonically.Īs you alter the Pitch parameter, you might notice that the formants don't change. Incoming pitches are indicated by a vertical line below the Pitch Base field. Use the Vocal Transformer's Pitch parameter to transpose the pitch of the signal upward or downward. Setting Vocal Transformer Pitch and Formant Parameters
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