7
Table Of Contents
- Logic Pro 7
- Plug-In Reference
- Contents
- Introducing Logic’s Plug-ins
- Basics
- Instruments and Effects
- Equalizer
- Dynamic
- Distortion
- Filter
- Delay
- Modulation
- Reverb
- Convolution Reverb: SpaceDesigner
- Special
- Helper
- Vocoder—Basics
- The EVOC20PS
- Vocoder History
- Synthesizer Basics
- EFM 1
- ES M
- ES P
- ES E
- ES1
- ES2
- Concept and Function
- The ES2 Parameters
- Tutorials
- Sound Workshop: Logic ES2
- Tutorial Setting: Analog Saw Init
- Tutorial Setting: Analog Saw 3Osc
- Tutorial Setting: Analog Unison
- Tutorial Setting: Analog Bass clean
- Tutorial Setting: Analog Bass distorted
- Tutorial Setting: FM Start
- Tutorial Setting: FM Envelope
- Tutorial Setting: FM Drive
- Tutorial Setting: FM DigiWave
- Tutorial Setting: FM Wavetable
- Tutorial Setting: FM Megafat
- Tutorial Setting: FM Out of Tune and FM Tuned
- Tutorial Settings: PWM Start, PWM Slow, PWM Fast, and PWMScaled
- Tutorial Settings: PWM 2 Osc and PWM Soft Strings
- Tutorial Setting: Ringmod Start
- Tutorial Setting: Sync Start
- Tutorial Setting: Vector Start and Vector Envelope
- Tutorial Settings: Vector Envelope and Vector XY
- Tutorial Settings: Vector Loop
- Tutorial Setting: Vector Kick
- Tutorial Settings: Vector Perc Synth and Vector Punch Bass
- Templates for Logic’s ES2
- Sound Workshop: Logic ES2
- Ultrabeat
- Sculpture
- The Synthesis Core of Sculpture
- Sculpture’s Parameters
- Global Parameters
- String and Object Parameters
- Processing
- Post Processing
- Modulation Generators
- The Control Envelopes
- Morph
- MIDI Controller Assignments
- Programming: Quick Start Guide
- Programming: In Depth
- KlopfGeist
- EVB3
- EVD6
- The EVD6—Concept and Functions
- Parameters of the EVD6
- Controlling the EVD6 via MIDI
- A Brief History of the Clavinet
- EVP88
- EXS24 mkII
- Using Instruments
- File Organization
- Sample File Import
- EXS24 Key Commands
- A Brief History of Sampling
- MIDI Controller List
- GarageBand Instruments
- External Instrument
- Glossary
- Index
13
167
13 Vocoder—Basics
If you are new to vocoders you should read this chapter.
It provides you with basic knowledge about vocoders and their functionality. You will
also find tips on using vocoders, and achieving good speech intelligibility.
What Is a Vocoder?
The word Vocoder is an abbreviation for VOice enCODER. As with many technologies in
this otherwise beautiful world, it is a child of war. The Vocoder was initially developed
for secure speech transmission over telephone lines which couldn’t be tapped. To
achieve this, the speech signal was analyzed and only the cryptic results of the analysis
were transmitted over telephone lines. On the receiving side, these results were used to
synthetically rebuild the original voice signal.
Fortunately, Vocoders are used nowadays for altogether more peaceful purposes—
namely for music. A Vocoder analyses and transfers the sonic character of the audio
signal arriving at its analysis input to the audio signal present at its synthesis input. The
result of this process is heard at the output of the Vocoder.
The classic vocoder sound uses speech as the analysis signal and a synthesizer sound as
the synthesis signal. This classic sound was popularized in the late 70’s and early 80’s.
You’ll probably know it from tracks such as “O Superman” by Laurie Anderson, “Funky
Town” by Lipps Inc. and numerous Kraftwerk pieces—from “Autobahn” and “Europe
Endless” up to “The Robots” and “Computer World”.
Away from these “singing robot” sounds, vocoding has also been used in many films. As
examples: the Cylons in Battlestar Galactica, and most famously, on the voice of Darth
Vader from the Star Wars saga.
Vocoding, as a process, is not strictly limited to vocal performances. You could use a
drum loop as the analysis signal to shape a string ensemble sound arriving at the
synthesis input.