Does anyone know of a good way to morph between sounds?
I am trying to achieve a high quality morph from a girls voice into a deep male voice. I can't seem to find anything on the market that will do this kind of thing!
Any help would be great
Sound Morphing
It depends on what kind of morphing you want, but I assume you're looking for spectral morphing, because that's what most people mean when talking about morphing.
A great platform (probably the best) for all kinds of morphing is the Kyma system ( http://www.symbolicsound.com/ ), which is a DSP based system, just like SFP. However, it's quite expensive and probably too much for what you're looking for.
Another, and much cheaper, option is the freeware Mac program SoundHack ( http://www.soundhack.com/ ). I once heard they're also developing a PC version, but I've no idea when or if that is going to happen.
If it has to be real-time, Shapee ( http://www-users.york.ac.uk/~jjw100/mp3 ... m#Plug-ins ) is also an option. It's a free VST plug-in which can do a spectral morph between the left and right input.
Kyma definately sounds best. Soundhack and Shapee are somewhat comparible and depending on the input material, they can sound good too.
Good luck!
vincent
<font size=-1>[ This Message was edited by: visilia on 2003-04-08 09:36 ]</font>
A great platform (probably the best) for all kinds of morphing is the Kyma system ( http://www.symbolicsound.com/ ), which is a DSP based system, just like SFP. However, it's quite expensive and probably too much for what you're looking for.
Another, and much cheaper, option is the freeware Mac program SoundHack ( http://www.soundhack.com/ ). I once heard they're also developing a PC version, but I've no idea when or if that is going to happen.
If it has to be real-time, Shapee ( http://www-users.york.ac.uk/~jjw100/mp3 ... m#Plug-ins ) is also an option. It's a free VST plug-in which can do a spectral morph between the left and right input.
Kyma definately sounds best. Soundhack and Shapee are somewhat comparible and depending on the input material, they can sound good too.
Good luck!
vincent
<font size=-1>[ This Message was edited by: visilia on 2003-04-08 09:36 ]</font>
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marcuspocus
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I think he asked for a way to morph between different sounds. The STS-5000 has a formant control to change the harmonic structure of one sound, but it can't do a morph between two samples, can it?
cheers,
vincent
PS After owning a Pulsar board for more than 4 years, I'm finally a Pulsar Geek, yeeehaaa!
cheers,
vincent
PS After owning a Pulsar board for more than 4 years, I'm finally a Pulsar Geek, yeeehaaa!
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marcuspocus
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- Location: Canada/France
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ChrisWerner
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Yes the VoiceMachine is pretty good to transform voices from female to male or other alien things.
<a href="http://www.steinberg.net/en/ps/products ... .php?sid=0"> Steinberg VoiceMachine Site </a>
You can morph sounds when you assign the dry/wet slider to a cc or just record the movement of the sliders.
<font size=-1>[ This Message was edited by: ChrisWerner on 2003-04-09 07:20 ]</font>
<a href="http://www.steinberg.net/en/ps/products ... .php?sid=0"> Steinberg VoiceMachine Site </a>
You can morph sounds when you assign the dry/wet slider to a cc or just record the movement of the sliders.
<font size=-1>[ This Message was edited by: ChrisWerner on 2003-04-09 07:20 ]</font>
I'd say you understood pretty well, pizzicatomaniacOn 2003-04-09 05:38, marcuspocus wrote:
Oups, sorry
Didn't understand at first...
To 'morph' it needs a continuous, single sound (or sample) on which the character is modified.
The thing with 2 samples would be a regular crossfade and that wouldn't be worth a post probably.
But imagine the situation to have such a couple sing the exact same phrase in the studio to get the material
cheers, Tom
ps: it hurts badly, it's THAT weather of year, dry and cold - I ought to be on some lovely pieces of sandstone in the woods of Fontainebleau...
<font size=-1>[ This Message was edited by: astroman on 2003-04-09 14:07 ]</font>
Hi Astroman,
I find your definition of morphing quite strange. If I take your words literally, filtering would be morphing too, because that also changes the character of a sound. I'm aware that plug-ins like Voice Machine also use terms like morphing to describe the formant changing process, but that's not morphing in the real sense of the word. In my book, morphing is about gradually changing a sound in to another. There are various ways to do this and the simplest would be indeed crossfading. But I was not talking about crossfading, but about spectral morphing. With this technique you can apply the character of one sound over the other in time. It's a bit like vocoding, but with much more bands.
If you're interested in more expirimental sound design, I suggest to check out the links I provided. It can be real fun experimenting with it.
_________________
cheers,
vincent
<font size=-1>[ This Message was edited by: visilia on 2003-04-09 09:36 ]</font>
I find your definition of morphing quite strange. If I take your words literally, filtering would be morphing too, because that also changes the character of a sound. I'm aware that plug-ins like Voice Machine also use terms like morphing to describe the formant changing process, but that's not morphing in the real sense of the word. In my book, morphing is about gradually changing a sound in to another. There are various ways to do this and the simplest would be indeed crossfading. But I was not talking about crossfading, but about spectral morphing. With this technique you can apply the character of one sound over the other in time. It's a bit like vocoding, but with much more bands.
If you're interested in more expirimental sound design, I suggest to check out the links I provided. It can be real fun experimenting with it.
_________________
cheers,
vincent
<font size=-1>[ This Message was edited by: visilia on 2003-04-09 09:36 ]</font>
a few weeks ago, i went to a 'electro acoustic music' concert, and the man used this kyma/capibara system, and it looked great (too 'scientific' for my taste, but still great).
after the concert he gave me a little demo of what this system can do. one of the things he showed me was exactly what you're after:
a commercial for ice cream, in which a small girl started talking about ice cream, and at the end (about one minute) you had a grown up woman finishing the ad.
the 'morph' was without a single glitch! it was awesome. i can't tell how it was done though.
in a few weeks time, i'll be visiting his studio and can tell you more if needed.
it's really expensive indeed, but if i'm not mistaken, you can run the software on your CPU as well. the DSP box is not needed, but just as with creamware: the more, the happier
after the concert he gave me a little demo of what this system can do. one of the things he showed me was exactly what you're after:
a commercial for ice cream, in which a small girl started talking about ice cream, and at the end (about one minute) you had a grown up woman finishing the ad.
the 'morph' was without a single glitch! it was awesome. i can't tell how it was done though.
in a few weeks time, i'll be visiting his studio and can tell you more if needed.
it's really expensive indeed, but if i'm not mistaken, you can run the software on your CPU as well. the DSP box is not needed, but just as with creamware: the more, the happier
andy
the lunatics are in the hall
the lunatics are in the hall
hi Vincent,On 2003-04-09 09:35, visilia wrote:
...If I take your words literally, filtering would be morphing too, because that also changes the character of a sound.
...
In my book, morphing is about gradually changing a sound in to another.
...
but about spectral morphing. With this technique you can apply the character of one sound over the other in time.
actually I was referring to the spectral change you mentioned and which Andy describes with the Kyma example.
If I remember right that application originally introduced 'morphing', but since it quickly became a buzzword, it's now used in a rather inflationary way.
From the technical viewpoint I'd indeed consider filtering as a morphing process, though an extremely simple one.
On the other hand if 'morphing' is now commonly seen as 'any significant change in sound character by whatever means' I have no problems with that.
Btw SymbolicSound is on my list of favourite bookmarks
cheers, Tom
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Shayne White
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- Contact:
I don't think so. Then CW wouldn't have coded the formant/pitch shifting part of the STS 5000 as native CPU stuff
Something like that is actually missing, possibly due to a lack of enough on-chip memory, or they left it to have some upgrade options for future releases...
cheers, Tom
<font size=-1>[ This Message was edited by: astroman on 2003-04-10 17:47 ]</font>
Something like that is actually missing, possibly due to a lack of enough on-chip memory, or they left it to have some upgrade options for future releases...
cheers, Tom
<font size=-1>[ This Message was edited by: astroman on 2003-04-10 17:47 ]</font>
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lifechanger
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- Location: Chicago
- Contact:
Still use my ol' $200 when I want to pump out some strange sounds:
Lexicon Vortex
Audio Morphing (TM) Processor
The Vortex is a true-stereo processor, where the left and right inputs are processed independently in most effects. The Audio Morphing (TM) feature allows you to change between two existing patches. Morphing is a complete parametric and algorithmic restructuring of two independent effects, rather than a simple crossfade and you can morph between any two effects you have created. Morphing can be triggered with a button (the time of the morph between effects can also be set), or controlled with an expression pedal in real-time.
Effects also have built in Dynamic Envelope Control that gives you control over one or more effects parameters. For example, in some effects, playing louder will increase the vibrato rate; in others it can decrease feedback.
Each effect in the vortex is what is usually called a 'patch' in most processors - they are actually several simultaneous effects (but you can isolate and modify the individual effects). The unit comes with a total of 32 effects, arranged in 16 A/B register pairs. (It is these A/B pairs that determine which effects you morph between) The effects in these pairs can be similar or totally different.
All Vortex effects are based on rhythmic echoes -- and setting them up is easy. If you want 8th note echoes on the left and 16th note echoes on the right, just turn the front panel Parameter knob to select ECHO 1 / and turn the Value knob to 8. Set ECHO 2 / to 16, and you're done. These simple controls make it a snap to set up extraordinary polyrhythms which can be stored within any effect.
You set the tempo for these echoes simply by tapping in a rhythm (with the front panel TAP button, or with a footswitch). Every effect in the box will synchronize to this tempo, so that all effects are always rhythmically compatible.
Some of the presets on the Vortex include Orbits, a rotary speaker simulator where Morphing will simulate inertial drag as speakers speed is changed, Deja Vu, a looping effect, where you can use an expression pedal control the amount of your sound to be recorded, Choir, which features chorusing with echo and envelope control over chorus depth, Bleen, a ring modulator that decays into tremelo, Centrifuge, a Flanger where you playing level controls the rate, and Fractal, looping with a bit of phasing.
Each effect has 16 defining parameters, which can be adjusted by selecting a parameter from the rotary knob on the front panel, and turning the value knob to the desired value. Expression pedal assignments can also be stored with each effect.
Vortex is supplied with a dual footswitch which can be used for Bypass and Step functions, or for Tap and A/B switching. Connecting a second dual footswitch gives you hands-off control over all of the important front panel functions. The Vortex can be used with a variety of pedals that will allow you to change effects, control Morphing or any other parameter.
The Vortex also features an A/B relay switch that allows remote control of guitar amplifier lead/rhythm channel selection with a standard guitar cable connected from Vortex to the A/B switching input on your amp allows a single press of the Vortex A/B button (or footswitch) to coordinate channel switching.
The true-stereo capability of the Vortex allows a specific signal processing path to be incorporated into each effect, giving it a distinctive spatial characteristic. Some effects start with a stereo image and maintain it throughout the box. Others allow you to independently process two different sound sources, such as vocals on one input and drums on the other.
Specifications:
Audio Inputs: One Pair Stereo 1/4" on Rear Panel
Audio Outputs: One Pair Stereo 1/4" on Rear Panel
Effects: 32 user-programmable locations. Audio processing includes, but is not limited to, tremelo, chorus, flange, phaser, echo, looping, rotary speaker simulator, and ring modulation.
Effect Parameters: Echo /1 & 2, Envelope, Morph A/B, Echo FX level, Mod FX level, Output, Mix, Feedback 1 & 2, Rate 1 & 2, Depth 1 & 2, Resonance 1 & 2.
A/B Switching Relay: Tip.Ring/Sleeve phone jack; Rated at <=100mA
Footswitch Connectors (2): Tip/Ring/Sleeve phone jacks for Bypass and Register Step or Tap & A/B Selection (one dual-function footswitch provided).
Footpedal Connector: Tip/Ring/Sleeve phone jack for expression pedal w/stereo plug.
Frequency Response 20Hz - 14kHz, +1.0dB to -3.0dB
THD + Noise: <0.03% @ 1kHz
Dynamic Range: 83dB typical, 20Hz - 20kHz bandwidth
Conversion: Delta-Sigma modulation with 64k over-sampling
Power Requirements: 9VAC, 1A wall transformer provided.
Dimensions: 19.0"W x 1.75"H x 4.0"D (483 x 45 x 102mm)
Weight: Unit: 2 lbs, 12oz (1.2 kg), Footswitch: 8.5 oz (0.2 kg)
Lexicon Vortex
Audio Morphing (TM) Processor
The Vortex is a true-stereo processor, where the left and right inputs are processed independently in most effects. The Audio Morphing (TM) feature allows you to change between two existing patches. Morphing is a complete parametric and algorithmic restructuring of two independent effects, rather than a simple crossfade and you can morph between any two effects you have created. Morphing can be triggered with a button (the time of the morph between effects can also be set), or controlled with an expression pedal in real-time.
Effects also have built in Dynamic Envelope Control that gives you control over one or more effects parameters. For example, in some effects, playing louder will increase the vibrato rate; in others it can decrease feedback.
Each effect in the vortex is what is usually called a 'patch' in most processors - they are actually several simultaneous effects (but you can isolate and modify the individual effects). The unit comes with a total of 32 effects, arranged in 16 A/B register pairs. (It is these A/B pairs that determine which effects you morph between) The effects in these pairs can be similar or totally different.
All Vortex effects are based on rhythmic echoes -- and setting them up is easy. If you want 8th note echoes on the left and 16th note echoes on the right, just turn the front panel Parameter knob to select ECHO 1 / and turn the Value knob to 8. Set ECHO 2 / to 16, and you're done. These simple controls make it a snap to set up extraordinary polyrhythms which can be stored within any effect.
You set the tempo for these echoes simply by tapping in a rhythm (with the front panel TAP button, or with a footswitch). Every effect in the box will synchronize to this tempo, so that all effects are always rhythmically compatible.
Some of the presets on the Vortex include Orbits, a rotary speaker simulator where Morphing will simulate inertial drag as speakers speed is changed, Deja Vu, a looping effect, where you can use an expression pedal control the amount of your sound to be recorded, Choir, which features chorusing with echo and envelope control over chorus depth, Bleen, a ring modulator that decays into tremelo, Centrifuge, a Flanger where you playing level controls the rate, and Fractal, looping with a bit of phasing.
Each effect has 16 defining parameters, which can be adjusted by selecting a parameter from the rotary knob on the front panel, and turning the value knob to the desired value. Expression pedal assignments can also be stored with each effect.
Vortex is supplied with a dual footswitch which can be used for Bypass and Step functions, or for Tap and A/B switching. Connecting a second dual footswitch gives you hands-off control over all of the important front panel functions. The Vortex can be used with a variety of pedals that will allow you to change effects, control Morphing or any other parameter.
The Vortex also features an A/B relay switch that allows remote control of guitar amplifier lead/rhythm channel selection with a standard guitar cable connected from Vortex to the A/B switching input on your amp allows a single press of the Vortex A/B button (or footswitch) to coordinate channel switching.
The true-stereo capability of the Vortex allows a specific signal processing path to be incorporated into each effect, giving it a distinctive spatial characteristic. Some effects start with a stereo image and maintain it throughout the box. Others allow you to independently process two different sound sources, such as vocals on one input and drums on the other.
Specifications:
Audio Inputs: One Pair Stereo 1/4" on Rear Panel
Audio Outputs: One Pair Stereo 1/4" on Rear Panel
Effects: 32 user-programmable locations. Audio processing includes, but is not limited to, tremelo, chorus, flange, phaser, echo, looping, rotary speaker simulator, and ring modulation.
Effect Parameters: Echo /1 & 2, Envelope, Morph A/B, Echo FX level, Mod FX level, Output, Mix, Feedback 1 & 2, Rate 1 & 2, Depth 1 & 2, Resonance 1 & 2.
A/B Switching Relay: Tip.Ring/Sleeve phone jack; Rated at <=100mA
Footswitch Connectors (2): Tip/Ring/Sleeve phone jacks for Bypass and Register Step or Tap & A/B Selection (one dual-function footswitch provided).
Footpedal Connector: Tip/Ring/Sleeve phone jack for expression pedal w/stereo plug.
Frequency Response 20Hz - 14kHz, +1.0dB to -3.0dB
THD + Noise: <0.03% @ 1kHz
Dynamic Range: 83dB typical, 20Hz - 20kHz bandwidth
Conversion: Delta-Sigma modulation with 64k over-sampling
Power Requirements: 9VAC, 1A wall transformer provided.
Dimensions: 19.0"W x 1.75"H x 4.0"D (483 x 45 x 102mm)
Weight: Unit: 2 lbs, 12oz (1.2 kg), Footswitch: 8.5 oz (0.2 kg)
Hi Tom,On 2003-04-09 20:42, astroman wrote:
hi Vincent,
actually I was referring to the spectral change you mentioned and which Andy describes with the Kyma example.
If I remember right that application originally introduced 'morphing', but since it quickly became a buzzword, it's now used in a rather inflationary way.
From the technical viewpoint I'd indeed consider filtering as a morphing process, though an extremely simple one.
On the other hand if 'morphing' is now commonly seen as 'any significant change in sound character by whatever means' I have no problems with that.
Btw SymbolicSound is on my list of favourite bookmarks
cheers, Tom
Now I understand your point and I think you're right. Moreover, discussions about semantics tend to go on forever without any result and I wouldn't want that.
Hi Tom,On 2003-04-09 20:42, astroman wrote:
hi Vincent,
actually I was referring to the spectral change you mentioned and which Andy describes with the Kyma example.
If I remember right that application originally introduced 'morphing', but since it quickly became a buzzword, it's now used in a rather inflationary way.
From the technical viewpoint I'd indeed consider filtering as a morphing process, though an extremely simple one.
On the other hand if 'morphing' is now commonly seen as 'any significant change in sound character by whatever means' I have no problems with that.
Btw SymbolicSound is on my list of favourite bookmarks
cheers, Tom
Now I understand your point and I think you're right. Moreover, discussions about semantics tend to go on forever without any result and I wouldn't want that.
yeah, and tnx to lifechanger's nice story about the Lexicon I can now amend my unfinished personal definition:
morphing is to continously change one sound into another by modifying at least 2 significant parameters simultaneously
But the Lexicon story made me think a little: you really need to know your gear and that seems to increase the quality of 'using' it. In other words: some vintage equipment doesn't rule by itself, but by the knowledge of it's users, opposed to the modern clicky-di-click-let's-try-that... plugin operation
cheers, Tom
morphing is to continously change one sound into another by modifying at least 2 significant parameters simultaneously
But the Lexicon story made me think a little: you really need to know your gear and that seems to increase the quality of 'using' it. In other words: some vintage equipment doesn't rule by itself, but by the knowledge of it's users, opposed to the modern clicky-di-click-let's-try-that... plugin operation
cheers, Tom
Hi guys,
I hope this helps and is readable ????
I think we should be clear about the difference between Parametic morphing and spectral morphing. parametric morphing In the simplest sence is from point x to y, but where it gets interesting is if you also have a piont x1 to y1, x2 to x3 and so on. 1 could stand for cutoff ( or any other parameter ) 2 for pitch osc 1 and so on. In the duration of the morph these parameters will change and the individual changes will affect each other. the interaction can lead to very unacspected transitions. But with spectral morphing the morphing process is quite different. With spectral morphing the interaction is based on the content of 2 samples of audio ( or realtime audio depending on the technolegy used. ). For example you could morph a drumloop to a pad sequence in a fluid manner. This means that the dynamic,ritmic and timbral content will morph. check out http://www.symbolicsound.com/mp3/singscratch.mp3 , http://www.symbolicsound.com/mp3/harpguitdog.mp3 and http://www.symbolicsound.com/mp3/morphs.mp3 all done with KYMA.
It is indeed very much like vocoding but the carrier and modulator are both audio steams. and the spectral bands are more in number thus narrower. This means more detailed interaction between the 2 streams. (pfff that came out pfff )
The dynamic content of each individual band is morphed from the a to the b stream. Thus the spectral energy is changing over time.
This process is very different from parametric morphing in the above written sence.
Both processes are very interresting so i'm not saying one is better then the other...
I hope that my explaination is clear for you. I'm just into the technical side of this kind of audio manipulation so i do not have a shorter story.
Laterz
I hope this helps and is readable ????
I think we should be clear about the difference between Parametic morphing and spectral morphing. parametric morphing In the simplest sence is from point x to y, but where it gets interesting is if you also have a piont x1 to y1, x2 to x3 and so on. 1 could stand for cutoff ( or any other parameter ) 2 for pitch osc 1 and so on. In the duration of the morph these parameters will change and the individual changes will affect each other. the interaction can lead to very unacspected transitions. But with spectral morphing the morphing process is quite different. With spectral morphing the interaction is based on the content of 2 samples of audio ( or realtime audio depending on the technolegy used. ). For example you could morph a drumloop to a pad sequence in a fluid manner. This means that the dynamic,ritmic and timbral content will morph. check out http://www.symbolicsound.com/mp3/singscratch.mp3 , http://www.symbolicsound.com/mp3/harpguitdog.mp3 and http://www.symbolicsound.com/mp3/morphs.mp3 all done with KYMA.
It is indeed very much like vocoding but the carrier and modulator are both audio steams. and the spectral bands are more in number thus narrower. This means more detailed interaction between the 2 streams. (pfff that came out pfff )
The dynamic content of each individual band is morphed from the a to the b stream. Thus the spectral energy is changing over time.
This process is very different from parametric morphing in the above written sence.
Both processes are very interresting so i'm not saying one is better then the other...
I hope that my explaination is clear for you. I'm just into the technical side of this kind of audio manipulation so i do not have a shorter story.
Laterz
that's why I made the short definition above.
Even your spectral example is covered by the '...at least 2 parameters simultaneously' since it doesn't restrict the complexity of parameters or their number.
Btw did you notice how often you used the item you were about to define in the definition itself ?
Of course I'm just kidding... and that stuff is interesting indeed.
cheers, Tom
<font size=-1>[ This Message was edited by: astroman on 2003-04-14 20:10 ]</font>
Even your spectral example is covered by the '...at least 2 parameters simultaneously'
since it doesn't restrict the complexity of parameters or their number.Btw did you notice how often you used the item you were about to define in the definition itself ?
Of course I'm just kidding... and that stuff is interesting indeed.
cheers, Tom
<font size=-1>[ This Message was edited by: astroman on 2003-04-14 20:10 ]</font>