![]() ![]() Extend these notes’ ends a little past the start point of their immediate neighbours to the right: that will be enough to cause the legato transition on the synth. Then looking at your MIDI data in a typical ‘piano roll’ editor consider which pairs or groups of notes should be connected without a retrigger of envelope generators or a sample start, for best musical effect. So a good solution for expressive results is to use a monophonic synth or other solo sound, and switch in its legato option. You’ll almost certainly get a re‑trigger on every detected change of pitch, even if the sung notes were connected in legato fashion, or you just introduced some subtle bends or fall‑offs. On that first point, it becomes an issue if you’re driving a synth sound with any obvious attack, like a ‘wow’ filter sweep or short‑lived percussive element. As a result nuance such as legato and portamento transitions are lost, not to mention vibrato, bends, and variations in intensity. For more overtly shaped, expressive synth lines though, you might well want to do some additional work on the pitch‑to‑MIDI generated data.įor example, even very smooth, legato‑style singing (or playing) will tend to generate individual MIDI notes whose lengths abut each other at most. A simple monosynth line, or a decaying bass sound, could work straight off the bat. make for intriguing and potentially fruitful alternatives to MIDI keyboard controllers.įor some tasks, this could be enough for great results. The process varies from DAW to DAW: in Ableton Live, for example, the MIDI track, data and a placeholder virtual instrument are all created for you with one command in others you might have to drag an audio region to a MIDI track and instantiate or configure an instrument of your choice. Perhaps after some kind of analysis takes place the pitch information can then be extracted to a MIDI/instrument track. You start by recording your voice (or guitar, sax, kazoo. In lots of modern DAW software, a pitch‑to‑MIDI ability is built in as an offline process, and the results are often really good. You regard the voice or instrument as a ‘front‑end’, an alternative to a MIDI keyboard, or use an existing recording of it in a DAW track. Or for that matter many other melody instruments too, like sax or flute. Getting straight to the heart of the matter, it’s possible (and can be really liberating) to play synth parts with your voice. We’ll look at some of the interesting gear out there, and a range of approaches that can open up creativity‑loosening possibilities in this area. How can we make use of that potential, in electronic‑leaning, synth‑based productions, even if (and I speak from personal experience here) we’re not necessarily a good singer ourselves? That’s what this article is all about. Pitch, timbre and intensity can all be exquisitely controlled, and that’s to say nothing of the extra layer of communication that comes from word‑generated meaning and imagery. Only a few instruments, mostly acoustic, get anywhere close to its capacity for inflection or (to use an equally valid term from the synth world) modulation. It might seem obvious to say it, but the human voice is often a uniquely expressive element in recordings and musical productions. We’re used to playing and sequencing synth parts in our productions, but why not sing them as well? Other DAWs offer variations on this theme. ![]() Second, the audio event is dragged to an instrument track. First of all Melodyne, integrated at the track level, equips audio events with pitch information. Despite having only a few simple controls, this box can produce a broad range of sounds from cheap speaking toys to high-end vocoder and talkbox effects.Pitch to MIDI in PreSonus’ Studio One is a two‑stage process. We have added a number of playback parameters that adjusts the pitch and tonal quality of the sound as well as support for MIDI and a beat-synchronized "formant freezing effect". We have applied this technology to create a VST / AU effect plug-in that analyzes audio, extracts a number of parameters (including pitch, volume and formant data) and then resynthesizes the audio using a simple oscillator, noise and filter architecture. Linear prediction coding is a voice compression technology that appeared in commercial products in the seventies and was implemented in some well-known speaking toys of the early eighties. Chances are that you have never heard about "linear prediction", although most of us use it daily when we talk on our cell phones. Right now you are probably thinking, "oh, another one of those"? Or perhaps not. Bitspeek is a real-time pitch-excited linear prediction codec effect. ![]()
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