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
Chapter 13 Vocoder—Basics 169
Analyzing Speech Signals
The principles you’ve been introduced to thus far are insufficient for the transmission of
speech signals.
The reason is that human speech consists of a series of voiced sounds (tonal sounds)
and unvoiced sounds (noisy sounds). The main distinction between voiced and
unvoiced sounds is that voiced sounds are produced by an oscillation of the vocal
cords, while unvoiced sounds are produced by blocking and restricting the air flow
with lips, tongue, palate, throat, and larynx.
Should speech containing voiced and unvoiced sounds be used as a Vocoder’s analysis
signal, but the synthesis engine doesn’t differentiate between voiced and unvoiced
sounds, the result will sound rather toothless. To avoid this, the synthesis section of the
Vocoder must produce different sounds for the voiced and unvoiced parts of the signal.
In Logic’s EVOC 20 PS and the EVOC 20 TO Vocoder plug-ins, there is an Unvoiced/
Voiced detector. This unit detects the unvoiced portions of the sound in the analysis
signal and then substitutes the corresponding portions in the synthesis signal with
Noise, a mixture of Noise + Synth or with the original signal (Blend). If the U/V Detector
detects voiced parts, it passes this information to the Synthesis section, which uses the
normal synthesis signal for these portions. Control over unvoiced/voiced sound
detection, type, and level is found in the U/V Detection section of Logic’s vocoder plug-
ins.
Tips for Better Speech Intelligibility
The classic vocoder effect is very demanding, with regard to the quality of both the
analysis and synthesis signals. Furthermore, the vocoder parameters need to be set
carefully. Following, are some tips on both topics.
Editing the Analysis and Synthesis Signals
Compressing the Side Chain
The less the level changes, the better the intelligibility of the vocoder. We therefore
recommend that compression be used in most cases.
Enhancing High Frequency Energy
The vocoder, in a way, always generates the intersection point of the analysis and
synthesis signals. To explain: If there’s no treble portion in the analysis signal, the
resulting vocoder output will also lack treble. This is also the case when the synthesis
signal features a lot of high frequency content. This is true of each frequency band. As
such, the vocoder demands a stable level in all frequency bands from both input
signals, in order to obtain the best results.