overload led blinks when either the maximum or minimum is reached. The rotated angle is irrelevant,
always the next transient in list is found for one key activation. When you have found a suitable one,
keep
slider 1
up, disconnect e
nvelope input 3
and play the sample. Now
adjust 1
comes back to its
default function, i.e. big singer/small singer adjustment. Use sliders
9
and
10
to control the playback
speed as described above.
The list of stored transient is shown in the following table. As you can hear when experimenting with
the transients, by default, the vocoder works best with human voices, but still some instruments also
come pretty realistic, thanks to the large number of analysis filters and their good time domain
performance. The obvious limitations in instrument replay are due to the fact that non-harmonic nature
of the signal is not retained which means that most percussion instruments are not reproduced well.
Also, the overall spectrum envelope may vary drastically for musical instruments with the key played,
and the vocoder only stores the instantaneous spectrum for the specific key used in the recording. This
is in contrast to a human singer whose vocal tract for a vowel can remain constant regardless of the
pitch of the vocal cords.
Transient number
description
1
“la” with low amplitude at end
2
“la” with high amplitude at end
3
“lalala”
4
“jee” with high amplitude at end
5
“jee” with low amplitude at end
6
“yeah”
7
“gimmegimmegimme”
8
“wau”
9
“ayayay”
10
“rock”
11
“ha”
12
“hello”
13
“beibe”
14
“mymy”
15
“dopido”
16
“cmon”
17
“hey” with high amplitude at end
18
“hey” with low amplitude at end
19
trumpet
20
Mouth harp 1
21
Mouth harp 2
22
trombone
23
harpsicord
24
piano
25
timpani
26
“saynomore”
28