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Posts Tagged ‘Bit_Arts’

Easy Formants for Renoise 2.5 Final

09/04/2013 Commentaires fermés

After a few more hours on it, I’ve improved the precision of the « aeiou » vowels and reduced a bit the required ressources.

Features

– optimized formants filters system
– high precision vowels (x2)
– a bit more CPU friendly (5% Faster)
– simplified keyboard based formants control
– improved file size (2K lighter)
– formants feedback control
– auto Q
– auto bot voice mode (robotizer)
– RExciter ™ powered 😉

DOWNLOAD HERE.

 

FAQ

How to install it in my own song ?

  • Right-click somewhere on the Track DSP chain.
  • Select Device Chain => Save As…
  • Select your target directory and give a name to the chain.
  • It must have the .XRNT file extention.
  • Then when you edit your song, right click somewhere on your Track DSP tab.
  • Select Device Chain => Load…
  • Find your .XRNT file, load it.
  • That’s all. Yep.

 

What input sounds / samples does it require to work well ?

  • SAW based samples (oblique waveform) with notes/tones within a range of 300 to 3400 Hz in the Renoise spectrum.

How to modify Formants ?

  • Formants are « Keyboard Controled ». Both the Qwerty and the MIDI keyboard can be used.
  • Use the C-0 to D#1 Keys to modify formants while the music is played.
  • You can modify them while you record notes, or play LIVE, with your QWERTY or MIDI keyboard.
  • Go into the Sample Keyzones.
  • Modify your Sample Layer so that it doesn’t use notes from C-0 to D#1.
  • By this way you’ll be able to both play your sample & control the filter in the same track.

How exactly did you placed formants on the low notes ?

  • Formants are composed of 1 cycle of ‘ieawyuw’ vowels fragmented in 16 different notes and subtle differences.

C-0 ========================> D#1
i – y – e – ø – ɛ – œ – a – ɶ – ɑ – ɒ – ʌ – ɔ – ɤ – o – ɯ – u

  • you’ve got to use your ears to know these vowels !

How to sound lika robot ?

  • Completely drag the Humanize slider to the left.

I don’t like the robot sound. How do I delete it ?

  • Drag a bit the Humanize slider to the right.
  • Or uncheck « Bot Voice »

What is the Feedback parameter ?

  • This is something that adds some personnality to the sound.
  • Warning, too high parameters will produce a glassy/metallic effect, that is stange, but however interesting.

What is the Auto Q parameter ?

  • The Auto Q parameter slightly increases the Q factor of bandpass filters when formants deal with higher frequencies. You can switch it off if you want to use the Bandwidth slider like a Wet/Dry signal slider.

 

My filtered sound is poor compared to yours.

  • It’s logical. Some harmonics have been removed by the chain. Put the *Exciter DSP and the end of the road, and raise the DSP sliders to revive the original sound.

Credits

___________________________________________________________
have fun with Renoise !
kurtz/lapiNIC

Easy Formants for Renoise 2.8 !!! V2 !!! [English]

08/04/2013 Commentaires fermés

Hey folks I’ve just received the help of Bit_Arts himself to improve the concept !

Even more easy than easy, now.

What’s new ?
– 4 Formants Filter Bands instead of 3, and everything is still packed a just 1 chain
– Virtual Keyboard Based Formants Control
– Formants Feedback control
– Auto Q
– Auto Bot Voice
– fixed RExciter ™ position 😉
– replaced the detuned wobble sample by a more typical chipsound

FAQ

How to install it in my own song ?

  • Right-click somewhere on the Track DSP chain.
  • Select Device Chain => Save As…
  • Select your target directory and give a name to the chain.
  • It must have the .XRNT file extention.
  • Then when you edit your song, right click somewhere on your Track DSP tab.
  • Select Device Chain => Load…
  • Find your .XRNT file, load it.
  • That’s all.

How to modify Formants ?

  • Formants here are « Keyboard Controled ».
  • Use the C-0 to C-2 Keys to modify formants.
  • Go into the Sample Keyzones.
  • Modify your Sample Layer so that it doesn’t use notes from C-0 to C-2.
  • By this way you’ll be able to both play your sample & control the filter in the same track.

How exactly did you placed formants on the low notes ?

  • Formants are composed of 5 cycles of 5 ‘aeiou‘ vowels.
  1. the first cycle is adapted to « Basses » sounds
  2. the second cycle is adapted to « Tenors » sounds
  3. the third cycle is adapted to « Contra-Tenors » sounds
  4. the fourth cycle is adapted to « Altos » sounds
  5. the last cycle is adapted to « Sopranos » sounds
  • Selecting the right cycle can’t be automatic.
  • Just use your own ears for that !

How to sound lika robot ?

  • Completely drag the Humanize slider to the left.

I don’t like the robot sound. How do I delete it ?

  • Don’t delete the DSP
  • Drag a bit the Humanize slider to the right.
  • Or uncheck « Bot Voice »

What is the Feedback parameter ?

  • This is something that adds some personnality to the sound.
  • Warning to high parameters will produce a glassy/metallic effect, stange but interesting.

What is the Auto Q parameter ?

  • The Auto Q parameter slightly increases the Q factor of bandpass filters when formants deal with higher frequencies. You can switch it off if you want to use the Bandwidth slider like a Wet/Dry signal slider.

My filtered sounds is poor compared to yours.

  • It’s logical. Some harmonics have been removed by the chain. Put the *Exciter DSP and the end of the chain, and raise sliders to revive the flat sound.

Download
HERE.

Credits

Still featured in the www.refra.fr french portal.

have fun with Renoise !
kurtz/lapiNIC

A Basic Native Formant Filter for Renoise [English]

06/04/2013 Commentaires fermés

Bit_Arts initial work gave me high hopes to build a native formant filter in Renoise by myself, and I’m actually on the path  to rebuild another similar one from the start and I’m reading some articles for that.

I’ve read this very interesting webpage :
http://www.soundonsound.com/sos/mar01/articles/synthsec.asp

Theory

It says that formants consist in a set en 3 parallel bandpass filters ; 5 voyels are emulated by defining specific bandpass frequencies in 3 mixed separate (i.e. send) tracks. The input sound should be « pulse-modulated » / distorded (shift model) or (why not) Lofimatized (Bitcrushed), for better sounding results. Vowels morph because parameters are slowly modulated so I guess that we would need some « Inertia » in the formula.

What we’ve got in our hands with Renoise

  1. the DSP *Filter (it has an internal BP mode that could help me to rebuild the setup)
  2. the *multiTap device can be another option : behind the 4 delays mechanism, it has 4 internal Filters with a BP option but it has apparently no inertia so it should probably produce not human vocal results
  3. the *multiband device, that’s able to route the signal in 3 separate channels in which I could put the desired BP *Filters
  4. or the typical *Send routing device, that can be chained with Keep source 2 time, and Mute source for the last routing.
  5. the *Hydra meta-device, that can just control 3 parameters with 1 input, could be usefull to change vovels more easily
  6. and much more… 😉

Back to S.o.S site, the 3 Frequencies are defined in this 3×5 matrix :

  • « ee » sounds like « leap » F1=270 F2=2300 F3=3000
  • « oo » sounds like ‘loop’ F1=300 F2=870 F3=2250
  • « i » sounds like like « lip » F1=400 F2=2000 F3=2550
  • « e » sounds like « let » F1=530 F2=1850 F3=2500
  • « u » sounds like « lug » F1=640 F2=1200 F3=2400
  • « a » sounds like « lap » F1=660 F2=1700 F3=2400

The problem is to « store » somewhere this 3×5 frequencies matrix.

I remeber a nice piece of random tune called Invisible Melodies. In this tune notes are stored in custom LFOs with points and those custom LFOs points are triggered with the modulated « Reset » button (One Shot Mode).

  • So following this example, Renoise can store the 5 specific frequencies (corr. to each vowel) in 3 custom LFOs and the frequency selection has to be made with a Hydra device pointing to the « Reset » of the LFOs. If you link the LFOs to Filters and use the « External Editor » to adjust precisely the point values, you can reproduce exactly the previous 3×5 matrix. The only difference is that the input value has to be shown in a % and not in Hz :

With an amplitude of 50% and an Offset of 42.30% the corresponding LFO Values (% instead of Hz) :

  • « ee » sounds like « leap » F1=0% F2=70.755% F3=81.509%
  • « oo » sounds like « loop » F1=2.222% F2=34.34% F3=70%
  • « i » sounds like « lip »  F1=9.811% F2=65.283% F3=70%
  • « e » sounds like « let » F1=18.113% F2=62.264% F3=74.151%
  • « u » sounds like « lug » F1=23.962% F2=46.038% F3=72.453%
  • « a » sounds like « lap » F2=25.094% F2=59.057% F3=72.45%

Download

This is a FIRST test that uses typical SEND BASED routings. Download HERE the .XRNS demo example.

Usage

It’s based on 3 specific hydra devices, don’t worry I’ve renamed them so that they’re easy to understand. I tried to make it as simple as possible.

First SEND YOUR SOUND to ControlF.

Then MODULATE the 3 parameters there :
(1) Formants – self explicit.
(2) Bandwidth – increase/decrease formant filters
(3) Transitions – human/robotic vocal transitions

Modifying Formants :
0 % ======================================>> 100 %
« ee » =====> « oo » =====> « i » =====> « e » =====> « u » =====> « a »

Credits

* Bit_Arts – showed that doing it in Renoise was possible and pushed me to move my ass to understand the mechanism by myself
* The BellowsInvisible Melodies
* MXBResynth 4 is perfect to build the right pulse wave samples with no time

PROBLEMS & TO DO LIST :

That’s fucking painfull to insert this logic in my new modules ! I need to find something EASIER. I need to find a way to put most of the usefull data into one chain, for example.

Still searching for the best trick…

Thanx for reading
have fun with Renoise !

kurtz/lapiNIC