If a second audio file can be loaded into your plug-in, for even more advanced effects you could statically compare the EQ of your audio signal with it and attempt to match the two (aka 'EQ ripping'), or do this dynamically for vocoding or morphing effects that contain characteristics of both signals, such as 'talking' pianos or 'singing' drums. Once in the frequency domain, you can also mathematically manipulate each band, at which point the results start to get really intriguing.The sonic ground covered by multi-band spectral plug-ins is quite considerable, ranging from delicate transformations and subtle effects all the way through to sonic mangling of the most extreme and unexpected kind. Audio quality can also vary considerably, but there's plenty of choice, varying from freeware effects to complex commercial products let's have a look at what's on offer. Once you have sufficient bands in an EQ, you can move beyond the peak and shelf responses of more traditional designs to generate any frequency-response curve you can imagine. This opens up a lot of possibilities, including surgically removing small details related to specific frequencies in an audio file, such as hums and buzzes that may each involve several harmonic components, but for most people it's the ability to 'learn' the frequency response of an incoming sound and subsequently apply this to another audio file that's most intriguing. With up to 4096 bands of EQ, you can apply complex response curves (as shown above with Voxengo's Curve EQ) to simulate the foibles of hardware devices, learn the response of one file and apply it to another, or draw in your own exotic responses for special effect purposes (as demonstrated by Delaydots' Spectral Shaper).Ī very popular pastime is so-called EQ ripping, where you modify the frequency response of one of your own tracks to match that of a well-polished commercial offering. See also tableseg and tablexseg.This technique can undoubtedly benefit some songs with similar arrangements and instrumentation, but it's not the panacea that some musicians think. in the tableseg, the spectral envelope becomes a dynamically changing one. By using different functions for ifn1, ifn2, etc. Each location in the table will be used to scale a single analysis bin. The function size used in the tableseg should be framesize/2, where framesize is the number of bins in the phase vocoder analysis file that is being used by the vpvoc. Optionally, a table specified by ifn may be used. Vpvoc is identical to pvoc except that it takes the result of a previous tableseg or tablexseg and uses the resulting function table (passed internally to the vpvoc), as an envelope over the magnitudes of the analysis data channels. The spectral extraction and amplitude gating (new in Csound version 3.56) were added by Richard Karpen based on functions in SoundHack by Tom Erbe. It is based in part on the system of Mark Dolson, but the pre-analysis concept is new. This implementation of pvoc was orignally written by Dan Ellis. Kfmod - a control-rate transposition factor: a value of 1 incurs no transposition, 1.5 transposes up a perfect fifth, and. ktimpnt must always be positive, but can move forwards or backwards in time, be stationary or discontinuous, as a pointer into the analysis file. Ktimpnt - The passage of time, in seconds, through the analysis file.
0 Comments
Leave a Reply. |