Let’s dwell on the consideration of those manipulations with sound that allow you to achieve the appearance of effects such as, for example, echo, reverb, etc. There are various ways of transforming sound (amplitude, frequency, etc.). Based on these transformations, sound effects are realized. Basically, the goal of sound processing is to give the existing sound some new qualities or eliminate undesirable ones. Sound effects refer to those sound transformations that give the sound new forms or completely change the sound information.
The hardware implementation of sound effects is found in digital signal processors (DSPs). Any more or less decent MIDI synthesizer has a built-in effect processor of one or another complexity (the effect processor is one or more DSPs). Complex effect processors “know how” to apply several different effects to the sound signal at once, moreover, separately for each channel, allowing you to adjust the parameters of the effects in real time. However, the cost of such effect processors is extremely high (like the cost of any other high-performance microprocessor), so professional DSPs are installed only on high-quality musical equipment. On more or less cheap sound cards, DSP is often installed with a simplified set of features: applying one or more effects to all Continue reading
Vocoder (English voice coder – voice encoder) – a speech synthesis device based on an arbitrary signal with a rich spectrum. Initially, vocoders were developed in order to save the frequency resources of the radio link of a communication system for transmitting voice messages. Savings are achieved due to the fact that instead of the actual speech signal only the values of its certain parameters are transmitted, which on the receiving side control the speech synthesizer. The speech synthesizer is based on three elements: a tone generator for forming vowels, a noise generator for forming consonants, and a system of formant filters to recreate the individual characteristics of the voice. After all the transformations, the human voice becomes like the voice of a robot, which is quite tolerable for communications and interesting for the music industry.
Vocoder as an unusual effect was adopted by electronic musicians and subsequently became a full- Continue reading
Of all the processes used in the production of modern music, signal compression is perhaps the most difficult to perceive. This is primarily due to the fact that often the result of processing the sound by the compressor is barely audible – especially for beginners. Another difficulty lies in the number of variable compressor parameters: they are not as few as it might seem, and besides, changing each of them does not always lead to obvious results. The fact that these parameters are interconnected only significantly complicates the situation. And finally, an ordinary sound engineer can simply bewilder the amazing variety of types and models of compressors – he will have to rack his brains about choosing the right device before proceeding with his direct duties. Here is the trivial example for you: suppose you need to compress the record to hell. Which is better to choose? A compressor based on VCA (Voltage Control Amplifier), or based on an optoelectrical element? Transistor or tube (or maybe a hybrid of both)? Analogue or digital? A hardware compressor, or limited to a program that performs its functions? And so on and so forth. With so many options available, it is not surprising that compressors and compression are still a mystery to many users. However, if you decide to achieve some success in recording and Continue reading