Pitch-Shifting Algorithm Design and Applications in Music
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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. -
Pitch Shifting with the Commercially Available Eventide Eclipse: Intended and Unintended Changes to the Speech Signal
JSLHR Research Note Pitch Shifting With the Commercially Available Eventide Eclipse: Intended and Unintended Changes to the Speech Signal Elizabeth S. Heller Murray,a Ashling A. Lupiani,a Katharine R. Kolin,a Roxanne K. Segina,a and Cara E. Steppa,b,c Purpose: This study details the intended and unintended 5.9% and 21.7% less than expected, based on the portion consequences of pitch shifting with the commercially of shift selected for measurement. The delay between input available Eventide Eclipse. and output signals was an average of 11.1 ms. Trials Method: Ten vocally healthy participants (M = 22.0 years; shifted +100 cents had a longer delay than trials shifted 6 cisgender females, 4 cisgender males) produced a sustained −100 or 0 cents. The first 2 formants (F1, F2) shifted in the /ɑ/, creating an input signal. This input signal was processed direction of the pitch shift, with F1 shifting 6.5% and F2 in near real time by the Eventide Eclipse to create an output shifting 6.0%. signal that was either not shifted (0 cents), shifted +100 cents, Conclusions: The Eventide Eclipse is an accurate pitch- or shifted −100 cents. Shifts occurred either throughout the shifting hardware that can be used to explore voice and entire vocalization or for a 200-ms period after vocal onset. vocal motor control. The pitch-shifting algorithm shifts all Results: Input signals were compared to output signals to frequencies, resulting in a subsequent change in F1 and F2 examine potential changes. Average pitch-shift magnitudes during pitch-shifted trials. Researchers using this device were within 1 cent of the intended pitch shift. -
3-D Audio Using Loudspeakers
3-D Audio Using Loudspeakers William G. Gardner B. S., Computer Science and Engineering, Massachusetts Institute of Technology, 1982 M. S., Media Arts and Sciences, Massachusetts Institute of Technology, 1992 Submitted to the Program in Media Arts and Sciences, School of Architecture and Planning in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy at the Massachusetts Institute of Technology September, 1997 © Massachusetts Institute of Technology, 1997. All Rights Reserved. Author Program in Media Arts and Sciences August 8, 1997 Certified by Barry L. Vercoe Professor of Media Arts and Sciences Massachusetts Institute of Technology Accepted by Stephen A. Benton Chair, Departmental Committee on Graduate Students Program in Media Arts and Sciences Massachusetts Institute of Technology 3-D Audio Using Loudspeakers William G. Gardner Submitted to the Program in Media Arts and Sciences, School of Architecture and Planning on August 8, 1997, in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy. Abstract 3-D audio systems, which can surround a listener with sounds at arbitrary locations, are an important part of immersive interfaces. A new approach is presented for implementing 3-D audio using a pair of conventional loudspeakers. The new idea is to use the tracked position of the listener’s head to optimize the acoustical presentation, and thus produce a much more realistic illusion over a larger listening area than existing loudspeaker 3-D audio systems. By using a remote head tracker, for instance based on computer vision, an immersive audio environment can be created without donning headphones or other equipment. -
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 -
Designing Empowering Vocal and Tangible Interaction
Designing Empowering Vocal and Tangible Interaction Anders-Petter Andersson Birgitta Cappelen Institute of Design Institute of Design AHO, Oslo AHO, Oslo Norway Norway [email protected] [email protected] ABSTRACT on observations in the research project RHYME for the last 2 Our voice and body are important parts of our self-experience, years and on work with families with children and adults with and our communication and relational possibilities. They severe disabilities prior to that. gradually become more important for Interaction Design due to Our approach is multidisciplinary and based on earlier studies increased development of tangible interaction and mobile of voice in resource-oriented Music and Health research and communication. In this paper we present and discuss our work the work on voice by music therapists. Further, more studies with voice and tangible interaction in our ongoing research and design methods in the fields of Tangible Interaction in project RHYME. The goal is to improve health for families, Interaction Design [10], voice recognition and generative sound adults and children with disabilities through use of synthesis in Computer Music [22, 31], and Interactive Music collaborative, musical, tangible media. We build on the use of [1] for interacting persons with layman expertise in everyday voice in Music Therapy and on a humanistic health approach. situations. Our challenge is to design vocal and tangible interactive media Our results point toward empowered participants, who that through use reduce isolation and passivity and increase interact with the vocal and tangible interactive designs [5]. empowerment for the users. We use sound recognition, Observations and interviews show increased communication generative sound synthesis, vibrations and cross-media abilities, social interaction and improved health [29]. -
Effects List
Effects List Multi-Effects Parameters (MFX1–3, MFX) The multi-effects feature 78 different kinds of effects. Some of the effects consist of two or more different effects connected in series. 67 p. 8 FILTER (10 types) OD->Flg (OVERDRIVE"FLANGER) 68 OD->Dly (OVERDRIVE DELAY) p. 8 01 Equalizer (EQUALIZER) p. 1 " 69 Dist->Cho (DISTORTION CHORUS) p. 8 02 Spectrum (SPECTRUM) p. 2 " 70 Dist->Flg (DISTORTION FLANGER) p. 8 03 Isolator (ISOLATOR) p. 2 " 71 p. 8 04 Low Boost (LOW BOOST) p. 2 Dist->Dly (DISTORTION"DELAY) 05 Super Flt (SUPER FILTER) p. 2 72 Eh->Cho (ENHANCER"CHORUS) p. 8 06 Step Flt (STEP FILTER) p. 2 73 Eh->Flg (ENHANCER"FLANGER) p. 8 07 Enhancer (ENHANCER) p. 2 74 Eh->Dly (ENHANCER"DELAY) p. 8 08 AutoWah (AUTO WAH) p. 2 75 Cho->Dly (CHORUS"DELAY) p. 9 09 Humanizer (HUMANIZER) p. 2 76 Flg->Dly (FLANGER"DELAY) p. 9 10 Sp Sim (SPEAKER SIMULATOR) p. 2 77 Cho->Flg (CHORUS"FLANGER) p. 9 MODULATION (12 types) PIANO (1 type) 11 Phaser (PHASER) p. 3 78 SymReso (SYMPATHETIC RESONANCE) p. 9 12 Step Ph (STEP PHASER) p. 3 13 MltPhaser (MULTI STAGE PHASER) p. 3 14 InfPhaser (INFINITE PHASER) p. 3 15 Ring Mod (RING MODULATOR) p. 3 About Note 16 Step Ring (STEP RING MODULATOR) p. 3 17 Tremolo (TREMOLO) p. 3 Some effect settings (such as Rate or Delay Time) can be specified in 18 Auto Pan (AUTO PAN) p. 3 terms of a note value. The note value for the current setting is 19 Step Pan (STEP PAN) p. -
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. -
MS-100BT Effects List
Effect Types and Parameters © 2012 ZOOM CORPORATION Copying or reproduction of this document in whole or in part without permission is prohibited. Effect Types and Parameters Parameter Parameter range Effect type Effect explanation Flanger This is a jet sound like an ADA Flanger. Knob1 Knob2 Knob3 Depth 0–100 Rate 0–50 Reso -10–10 Page01 Sets the depth of the modulation. Sets the speed of the modulation. Adjusts the intensity of the modulation resonance. PreD 0–50 Mix 0–100 Level 0–150 Page02 Adjusts the amount of effected sound Sets pre-delay time of effect sound. Adjusts the output level. that is mixed with the original sound. Effect screen Parameter explanation Tempo synchronization possible icon Effect Types and Parameters [DYN/FLTR] Comp This compressor in the style of the MXR Dyna Comp. Knob1 Knob2 Knob3 Sense 0–10 Tone 0–10 Level 0–150 Page01 Adjusts the compressor sensitivity. Adjusts the tone. Adjusts the output level. ATTCK Slow, Fast Page02 Sets compressor attack speed to Fast or Slow. RackComp This compressor allows more detailed adjustment than Comp. Knob1 Knob2 Knob3 THRSH 0–50 Ratio 1–10 Level 0–150 Page01 Sets the level that activates the Adjusts the compression ratio. Adjusts the output level. compressor. ATTCK 1–10 Page02 Adjusts the compressor attack rate. M Comp This compressor provides a more natural sound. Knob1 Knob2 Knob3 THRSH 0–50 Ratio 1–10 Level 0–150 Page01 Sets the level that activates the Adjusts the compression ratio. Adjusts the output level. compressor. ATTCK 1–10 Page02 Adjusts the compressor attack rate. -
Timbretron:Awavenet(Cyclegan(Cqt(Audio))) Pipeline for Musical Timbre Transfer
Published as a conference paper at ICLR 2019 TIMBRETRON:AWAVENET(CYCLEGAN(CQT(AUDIO))) PIPELINE FOR MUSICAL TIMBRE TRANSFER Sicong Huang1;2, Qiyang Li1;2, Cem Anil1;2, Xuchan Bao1;2, Sageev Oore2;3, Roger B. Grosse1;2 University of Toronto1, Vector Institute2, Dalhousie University3 ABSTRACT In this work, we address the problem of musical timbre transfer, where the goal is to manipulate the timbre of a sound sample from one instrument to match another instrument while preserving other musical content, such as pitch, rhythm, and loudness. In principle, one could apply image-based style transfer techniques to a time-frequency representation of an audio signal, but this depends on having a representation that allows independent manipulation of timbre as well as high- quality waveform generation. We introduce TimbreTron, a method for musical timbre transfer which applies “image” domain style transfer to a time-frequency representation of the audio signal, and then produces a high-quality waveform using a conditional WaveNet synthesizer. We show that the Constant Q Transform (CQT) representation is particularly well-suited to convolutional architectures due to its approximate pitch equivariance. Based on human perceptual evaluations, we confirmed that TimbreTron recognizably transferred the timbre while otherwise preserving the musical content, for both monophonic and polyphonic samples. We made an accompanying demo video 1 which we strongly encourage you to watch before reading the paper. 1 INTRODUCTION Timbre is a perceptual characteristic that distinguishes one musical instrument from another playing the same note with the same intensity and duration. Modeling timbre is very hard, and it has been referred to as “the psychoacoustician’s multidimensional waste-basket category for everything that cannot be labeled pitch or loudness”2. -
Audio Plug-Ins Guide Version 9.0 Legal Notices This Guide Is Copyrighted ©2010 by Avid Technology, Inc., (Hereafter “Avid”), with All Rights Reserved
Audio Plug-Ins Guide Version 9.0 Legal Notices This guide is copyrighted ©2010 by Avid Technology, Inc., (hereafter “Avid”), with all rights reserved. Under copyright laws, this guide may not be duplicated in whole or in part without the written consent of Avid. 003, 96 I/O, 96i I/O, 192 Digital I/O, 192 I/O, 888|24 I/O, 882|20 I/O, 1622 I/O, 24-Bit ADAT Bridge I/O, AudioSuite, Avid, Avid DNA, Avid Mojo, Avid Unity, Avid Unity ISIS, Avid Xpress, AVoption, Axiom, Beat Detective, Bomb Factory, Bruno, C|24, Command|8, Control|24, D-Command, D-Control, D-Fi, D-fx, D-Show, D-Verb, DAE, Digi 002, DigiBase, DigiDelivery, Digidesign, Digidesign Audio Engine, Digidesign Intelligent Noise Reduction, Digidesign TDM Bus, DigiDrive, DigiRack, DigiTest, DigiTranslator, DINR, DV Toolkit, EditPack, Eleven, EUCON, HD Core, HD Process, Hybrid, Impact, Interplay, LoFi, M-Audio, MachineControl, Maxim, Mbox, MediaComposer, MIDI I/O, MIX, MultiShell, Nitris, OMF, OMF Interchange, PRE, ProControl, Pro Tools M-Powered, Pro Tools, Pro Tools|HD, Pro Tools LE, QuickPunch, Recti-Fi, Reel Tape, Reso, Reverb One, ReVibe, RTAS, Sibelius, Smack!, SoundReplacer, Sound Designer II, Strike, Structure, SYNC HD, SYNC I/O, Synchronic, TL Aggro, TL AutoPan, TL Drum Rehab, TL Everyphase, TL Fauxlder, TL In Tune, TL MasterMeter, TL Metro, TL Space, TL Utilities, Transfuser, Trillium Lane Labs, Vari-Fi, Velvet, X-Form, and XMON are trademarks or registered trademarks of Avid Technology, Inc. Xpand! is Registered in the U.S. Patent and Trademark Office. All other trademarks are the property of their respective owners. -
Universal and Non-Universal Features of Musical Pitch Perception Revealed by Singing
Article Universal and Non-universal Features of Musical Pitch Perception Revealed by Singing Highlights Authors d Pitch perception was probed cross-culturally with sung Nori Jacoby, Eduardo A. Undurraga, reproduction of tone sequences Malinda J. McPherson, Joaquı´n Valdes, Toma´ s Ossando´ n, d Mental scaling of pitch was approximately logarithmic for US Josh H. McDermott and Amazonian listeners Correspondence d Pitch perception deteriorated similarly in both groups for very high-frequency tones [email protected] (N.J.), [email protected] (J.H.M.) d Sung correlates of octave equivalence varied across cultures and musical expertise In Brief Jacoby et al. use sung reproduction of tones to explore pitch perception cross- culturally. US and native Amazonian listeners exhibit deterioration of pitch at high frequencies and logarithmic mental scaling of pitch. However, sung correlates of octave equivalence are undetectable in Amazonians, suggesting effects of culture-specific experience. Jacoby et al., 2019, Current Biology 29, 3229–3243 October 7, 2019 ª 2019 Elsevier Ltd. https://doi.org/10.1016/j.cub.2019.08.020 Current Biology Article Universal and Non-universal Features of Musical Pitch Perception Revealed by Singing Nori Jacoby,1,2,9,* Eduardo A. Undurraga,3,4 Malinda J. McPherson,5,6 Joaquı´n Valdes, 7 Toma´ s Ossando´ n,7 and Josh H. McDermott5,6,8,* 1Computational Auditory Perception Group, Max Planck Institute for Empirical Aesthetics, Frankfurt 60322, Germany 2The Center for Science and Society, Columbia University, New York, NY 10027,