Pitch Correction and Auto-Tune
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Florian Heesch Voicing the Technological Body Some Musicological Reflections on Combinations of Voice and Technology in Popular Music ABSTRACT The article deals with interrelations of voice, body and technology in popular music from a musicological perspective. It is an attempt to outline a systematic approach to the history of music technology with regard to aesthetic aspects, taking the iden- tity of the singing subject as a main point of departure for a hermeneutic reading of popular song. Although the argumentation is based largely on musicological research, it is also inspired by the notion of presentness as developed by theologian and media scholar Walter Ong. The variety of the relationships between voice, body, and technology with regard to musical representations of identity, in particular gender and race, is systematized alongside the following cagories: (1) the “absence of the body,” that starts with the establishment of phonography; (2) “amplified presence,” as a signifier for uses of the microphone to enhance low sounds in certain manners; and (3) “hybridity,” including vocal identities that blend human body sounds and technological processing, where- by special focus is laid on uses of the vocoder and similar technologies. KEYWORDS recorded popular song, gender in music, hybrid identities, race in music, presence/ absence, disembodied voices BIOGRAPHY Dr. Florian Heesch is professor of popular music and gender studies at the University of Siegen, Germany. He holds a PhD in musicology from the University of Gothenburg, Sweden. He published several books and articles on music and Norse mythology, mu- sic and gender and on diverse aspects of heavy metal studies. -
The End of the Loudness War?
The End Of The Loudness War? By Hugh Robjohns As the nails are being hammered firmly into the coffin of competitive loudness processing, we consider the implications for those who make, mix and master music. In a surprising announcement made at last Autumn's AES convention in New York, the well-known American mastering engineer Bob Katz declared in a press release that "The loudness wars are over.” That's quite a provocative statement — but while the reality is probably not quite as straightforward as Katz would have us believe (especially outside the USA), there are good grounds to think he may be proved right over the next few years. In essence, the idea is that if all music is played back at the same perceived volume, there's no longer an incentive for mix or mastering engineers to compete in these 'loudness wars'. Katz's declaration of victory is rooted in the recent adoption by the audio and broadcast industries of a new standard measure of loudness and, more recently still, the inclusion of automatic loudness-normalisation facilities in both broadcast and consumer playback systems. In this article, I'll explain what the new standards entail, and explore what the practical implications of all this will be for the way artists, mixing and mastering engineers — from bedroom producers publishing their tracks online to full-time music-industry and broadcast professionals — create and shape music in the years to come. Some new technologies are involved and some new terminology too, so I'll also explore those elements, as well as suggesting ways of moving forward in the brave new world of loudness normalisation. -
Looking for Vocal Effects Plug-Ins?
VOCAL PITCH AND HARMONY PROCESSORS 119 BOSS VE-20 VOCAL PERFORMER Designed from TC-HELICON VOICELIVE 2 VOCAL the ground up for vocalists, using some of the finest HARMONY AND EFFECTS PEDAL SYSTEM technology available, this easy-to-use pedal will help A floor-based vocal processor with an easy-to- you create vocals that are out of this world! Real-time use, completely re-designed interface. Great for pitch correction and 3-part diatonic harmonies can creative live performances. Features a “wizard” be combined with 38 seconds of looping and special button to help you find the right preset quickly, stompbox access to 6 effect blocks, effects such as Distortion, Radio, and Strobe for unique 1-button access to global tone, pitch, and guitar effects menus. Up to 8 voices with performances. Provides phantom power for use with condenser microphones and is MIDI keyboard control or 4 doubled harmonies. Control harmonies with guitar, MIDI, powered by an AC adapter or (6) AA batteries. Accepts ¼” or XLR input connections or MP3 input. Has a new effects section that includes separate harmony, doubling via the rear panel combo jack and offers L/R XLR and ¼” phone/line outputs. blocks, reverb, and tap delay. Also has a special effects block for more extreme ITEM DESCRIPTION PRICE effects such as “T-Pain”, megaphone and distortion. Global effects include tone, VE20.......................... Vocal performer pedal ................................................................. 279.00 pitch correction, and guitar effects. Adaptive gate reduces mic input when you're not singing and use your feet for digital mic gain. All effects may be used simultane- NEW! ously. -
BOSS' Ultimate 16-Track Studio
BR-1600CD Digital Recording Studio BOSS’ Ultimate 16-Track Studio. .......................................................................... .......................................................................... The BR-1600CD Digital Recording Studio combines BOSS’ famous, easy-to-use interface Easy Multitrack Recording Build Your Own Backing Tracks with eight XLR inputs for recording eight tracks simultaneously. This affordable 16-track .......................................................................... .......................................................................... recorder comes loaded with effects for guitars and vocals—including COSM® The BR-1600CD includes eight sweet-sounding XLR microphone The BR-1600CD now includes separate Drum, Bass and Loop Overdrive/Distortion, Amp Modeling and a new Vocal Tool Box—plus convenient PCM inputs with phantom power. Use them to mic up a drum set or to Phrase tracks for creating complete backing arrangements. The record your entire band in a single pass. Recording eight tracks Drum and Bass tracks come with high-quality PCM sounds. The drum and bass tracks, a 40GB hard drive, CD-R/RW drive and USB port. It’s the perfect at once is easy, thanks to a new “Multi-Track” recording mode— Loop Phrase track can be loaded with user samples, or you can way to record your band. just pick your inputs and start recording while taking advantage choose from a collection of loop phrases pre-loaded onto the of powerful channel effects like a compressor, 3-band EQ and hard disk. Using these -
Sunday Edition
day three edition | map and exhibitor listings begin on page 20 day3 From the editors of Pro Sound News & Pro Audio Review sunday edition the AES SERVING THE 131STDA AES CONVENTION • october 20-23, I 2011 jacob k. LY javits convention center new york, ny Analog AES State Tools Still Of Mind By Clive Young While the AES Convention has always attracted audio professionals from Rule On around the country—and increasingly, the world—when the show lands in New York City, it naturally draws more visi- The Floor tors from the East Coast. That, in turn, By Strother Bullins is a benefit for both exhibitors looking Though “in the box” (ITB), fully to reach specific markets that call the digital audio production is increas- Big Apple home, and regional audio ingly the rule rather than the excep- pros who want to take advantage of the tion, the creative professionals show’s proximity. The end result is a attending the Convention are clearly win-win situation for everyone involved. seeking out analog hardware, built Back by popular demand, yesterday the P&E Wing presented a “AES is a good way for us to meet to (and, in many cases, beyond) the second iteration of “Sonic Imprints: Songs That Changed My Life” different types of dealers and custom- now-classic standards of the 1960s, that explored the sounds that have inspired and shaped careers of ers that we don’t normally meet, as we ‘70s and ‘80s, as these types of prod- influencers in the field. The event featured a diverse, New York- have five different product lines and ucts largely populate our exhibition centric, group of panelists including producers/engineers (from left): five different customer groups, so it’s a floor. -
Pitch-Shifting Algorithm Design and Applications in Music
DEGREE PROJECT IN ELECTRICAL ENGINEERING, SECOND CYCLE, 30 CREDITS STOCKHOLM, SWEDEN 2019 Pitch-shifting algorithm design and applications in music THÉO ROYER KTH ROYAL INSTITUTE OF TECHNOLOGY SCHOOL OF ELECTRICAL ENGINEERING AND COMPUTER SCIENCE ii Abstract Pitch-shifting lowers or increases the pitch of an audio recording. This technique has been used in recording studios since the 1960s, many Beatles tracks being produced using analog pitch-shifting effects. With the advent of the first digital pitch-shifting hardware in the 1970s, this technique became essential in music production. Nowa- days, it is massively used in popular music for pitch correction or other creative pur- poses. With the improvement of mixing and mastering processes, the recent focus in the audio industry has been placed on the high quality of pitch-shifting tools. As a consequence, current state-of-the-art literature algorithms are often outperformed by the best commercial algorithms. Unfortunately, these commercial algorithms are ”black boxes” which are very complicated to reverse engineer. In this master thesis, state-of-the-art pitch-shifting techniques found in the liter- ature are evaluated, attaching great importance to audio quality on musical signals. Time domain and frequency domain methods are studied and tested on a wide range of audio signals. Two offline implementations of the most promising algorithms are proposed with novel features. Pitch Synchronous Overlap and Add (PSOLA), a sim- ple time domain algorithm, is used to create pitch-shifting, formant-shifting, pitch correction and chorus effects on voice and monophonic signals. Phase vocoder, a more complex frequency domain algorithm, is combined with high quality spec- tral envelope estimation and harmonic-percussive separation to design a polyvalent pitch-shifting and formant-shifting algorithm. -
English Version
ENGLISH VERSION Table of Contents Introduction .................................................... page 4 Using & Understanding the Effect ..............page 22 Quick Start .......................................................page 6 Using the Effects ............................................page 23 Adaptive Shape EQ ......................................................page 23 Using Two VoiceTone Pedals ....................... page 12 Adaptive Compression ...............................................page 24 De-ess ..................................................................................page 25 Front & Back Panel Descriptions ............... page 13 Pitch Correction .............................................................page 26 Understanding Live Engineer Effects .........page 27 Setup Configurations ....................................page 16 Phantom Power ..............................................................page 16 Understanding Pitch Correction ................page 31 Standard Setup ................................................................page 17 Main/Monitor ...................................................................page 18 Sound Engineer Setup .................................................page 19 FAQ & Troubleshooting ...............................page 33 Advanced Setup .............................................................page 2 Specifications ..................................................page 35 TC Helicon Vocal Technologies Ltd. Manual revision 1.0 – SW – V 1.0 | Prod. -
Understanding the Loudness Penalty
How To kick into overdrive back then, and by the end of the decade was soon a regular topic of discussion in online mastering forums. There was so much interest in the topic that in 2010 I decided to set up Dynamic Range Day — an online event to further raise awareness of the issue. People loved it, and it got a lot of support from engineers like Bob Ludwig, Steve Lillywhite and Guy Massey plus manufacturers such as SSL, TC Electronic, Bowers & Wilkins and NAD. But it didn’t work. Like the TurnMeUp initiative before it, the event was mostly preaching to the choir, while other engineers felt either unfairly criticised for honing their skills to achieve “loud but good” results, or trapped by their clients’ constant demands to be louder than the next act. The Loudness Unit At the same time though, the world of loudness was changing in three important ways. Firstly, the tireless efforts of Florian Camerer, Thomas Lund, Eelco Grimm and many others helped achieve the official adoption of the Loudness Unit (LU, or LUFS). Loudness standards for TV and radio broadcast were quick to follow, since sudden changes in loudness are the main Understanding the source of complaints from listeners and users. Secondly, online streaming began to gain significant traction. I wrote back in 2009 about Spotify’s decision to include loudness Loudness Penalty normalisation from the beginning, and sometime in 2014 YouTube followed suit, with TIDAL and Deezer soon afterwards. And How to make your mix sound good on Spotify — crucially, people noticed. This is the third IAN SHEPHERD explains the loudness disarmament process important change I mentioned — people were paying attention. -
User Manual Last Updated on 04/18/2018 Melodyne 4 Editor
user manual Last updated on 04/18/2018 Melodyne 4 editor The Melodyne Help Center and this PDF document This PDF document was generated automatically from the contents of the Melodyne Help Center. It contains what, on the date indicated on the front page, were the latest versions of the text and images. You will find the comprehensive and invariably up-to-date Melodyne Help Center along with numerous films and inspiring tutorials, as well naturally as the latest version of this PDF document, on our web site. Why not take a look? Just follow the link at the foot of each page of this PDF. Editing Transferring audio (plug-in) How Melodyne works • Transferring audio to the plug-in implementation of Melodyne • Replace Ranges Working with ARA Track Mode • Clip Mode • Switching from Track Mode to Clip Mode and from clip to clip • Local playback in Melodyne • Tempo and tempo adjustment with ARA integration • Tempo and the Time Grid • Quantizing notes • Copying and pasting notes • The Compare switch Loading and saving audio (stand-alone) Tempo adjustment when audio files are loaded • Loading files from the menu • Loading files by drag 'n' drop • The File Browser • Saving audio: the Export window • The 'Replace Audio' command Recording audio (stand-alone) Audio and recording preferences • Handling the tempo and the metronome • Enabling, starting and stopping recording © Celemony Software GmbH 2018 • Last updated on 18.04.2018 • Help Center • www.celemony.com 2 Melodyne 4 editor Audio characteristics and algorithms The detection process • The Melodic -
PDF (111 Seiten, 1,5
ELASTIC AUDIO Die digitale Manipulation von Tonhöhen- und Zeitstrukturen Magisterarbeit Leuphana Universität Lüneburg Angewandte Kulturwissenschaften Musik Erstgutachter: Prof. Dr. Rolf Großmann Zweitgutachter: Dirk Zuther Vorgelegt von: Philip von Beesten Hamburg, 10.11.2009 Danksagung Mein Dank gilt allen, die mir bei der Erstellung dieser Arbeit geholfen haben Meinen Eltern für die Unterstützung meines Studiums Rolf Großmann für die Gestaltung von lehrreichen und interessanten Seminaren während meines gesamten Studiums sowie die intensive Betreuung bei allen Prüfungen und der Ma- gisterarbeit Dorothea End, Gernot von Beesten und Jörn Kux für wertvolle Anregungen Allen Mitarbeitern des Projekts Ästhetische Strategien ((audio)) für gute Zusammenarbeit und inspirierenden Austausch, der mein Studium bereichert hat Inhaltsverzeichnis 1. Einleitung.............................................................................................................. 1 2. Analoge Manipulation von Tonhöhen- und Zeitstrukturen .................................. 3 2.1 Technikgeschichte der Phonographie ........................................................... 4 2.1.1 Schallplatte............................................................................................ 4 2.1.2 Magnetton ............................................................................................. 6 2.2 Klangmanipulation mit Schallplatte und Magnetband ................................. 7 2.2.1 Abspielgeschwindigkeit und Tonhöhe................................................. -
What Is a Sequencer − Defined
What Is A Sequencer − Defined By Peter Lawrence Alexander / August 16, 2008 This article gives a simplified explanation of what a MIDI sequencer is. A sequencer today is a software program that records MIDI data of a musical performance from a MIDI Controller. A MIDI controller can be a MIDI keyboard, a guitar controller, a violin controller (as produced by Zeta), a MIDI wind instrument (often called an EWI), or a MIDI brass instrument. When music is recorded in tempo or “live” it’s called real time recording. If a hardware MIDI controller isn’t available, a sequencing program enables the user to literally key punch (data entry) music information into the program. This is called step-time. Sequencers also give tools to edit and correct performances. Sequencers are also found in MIDI keyboards and some are still available as separate hardware units. Modern software sequencers do more than record data. These programs are now complete music production suites which include: • a sequencer with editing features • a music notation program • an audio engine for digital recording • an internal “virtual” mixing board • a complete audio effects rack containing reverb, EQ, compressors, chorus, delays, limiters, expanders, flangers, phasers, guitar and bass amp modeling, vocal editing software (de-essers and pitch correction), gain, and more • fully programmable virtual synthesizers (software versions of hardware MIDI keyboards) • virtual samplers • virtual drum machines • loop patterns Pricing of these programs ranges from free (GarageBand which is included in every new Mac), to $495US and up. The main sequencing programs include Cubase (Mac and PC), Digital Performer (Mac only), Logic (Mac only), and Sonar (PC only). -
Column by Renzo Van Riemsdijk (Masterenzo): Dynamics!
Column by Renzo van Riemsdijk (Masterenzo): Dynamics! Dynamics are a strange thing. When we look at the sixties and seventies our view on dynamics nowadays has changed dramatically. Our hearing has become used to listening to compressed music. This is a process that gradually evolved over the years. By the end of the nineties the loudness war added an extra dimension to our hearing experience by introducing a phenomenon called hypercompression. Because of this dreadful war music was mastered at continuously higher levels and contained less and less dynamics. Imagine being in a closed room that’s slowly filled with water. The ceiling is getting closer and your sense of space is reduced greatly. By the turn of the century and the following years the dynamic range (difference between the loudest and softest passages) was reduced greatly. Have a listen to the Metallica album ‘Death Magnetic’, released in 2008. Listen to a vinyl record coming from the seventies after the Metallica album. You can also listen to these albums on Spotify but you have to make sure that loudness normalization is turned off (advanced settings: something like ‘equal playback volume for every track’). You’ll probably notice a couple of differences in sound between the two albums. The first thing you’ll notice is a huge difference in volume, followed by differences in energy, impact and placement of vocals and instruments. Pay attention to the space every instrument has and in particular the snare drum. Limiting, a technique used by mastering engineers to make tracks louder, can cause a change in the impact a song has.