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by nonrandomstring
406 days ago
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Never had the pleasure of a Sennheiser but when working in radio I got
my hands on a lot of rack vocoders for doing branding, stings and
idents. Funny how the number 9000 comes up a lot, like Roland VP9000
and Eventide H9000. 80 and 90s vintage ones like Korg VC-10 or
Elektronik EM-26 had unique sounds, but tbh the modern digital
recreations are amazing models. There's not a world of difference
between vocoding, autotune, shifting, harmonising etc once you realise
how all the fx are now based in FFT, convolution etc - just different
variations on processing and control graphs - and so it's fun to
create your own vocal effects in things like
Max/MSP/PureData. Technically there's a distinction between "effects"
and "processing" in terms of how much of the direct (parallel) signal
is put through. Chers Believe is a yardstick for "effect", whereas a
lot of what I hear with Daft Punk (and Air, Kraftwerk) is quite
heavily processed as to disguise the original voice entirely - just
letting a bit of top/sibilant through to define the stops and
fricatives. |
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The shape of the filters, the smoothing between the filters and the synthesis section, and (on some models) the patchability all create a very different result.
The reason the best analog vocoders are so expensive is because the filter for each band is much more complex than a plain old bandpass filter, with a much higher component count. Typically there's a flatter passband and a steeper slope than you'd expect.
You can do digital convolution with thousands of bins and it sounds nothing like analog vocoding. It's much cleaner, doesn't have those lovely harmonically spaced filter resonances, and creates sounds that can feel more acoustic than electronic.