Re: Orange Vocoder Full Version 12
Cre Wallace
Okay, so I just updated Music Maker to the newest and it seems you guys deleted the orange vocoder??? wtf my best song uses it heavily for the vocals and now it's gone. what the hell? what did you replace it with? how do I get it back so I can do a final recording of my song with an external recorder since your export function has been trash since MM 2020.
Has anyone bought it and tried it? I had the original Orange Vocoder and absolutely loved it, but have had a very different reaction to the demos and have been disappointed with what I have heard so far.
i have it, but i do not work with vocals.
I use such tools for realtime-play soundesign kind of things.
Synth vs. a FXed derivate of same sound.
Can confirm that the soundquality is very good.
what i can say is this:
i added after seeing your post a second orange vocoder to that older patch/rackspace, i wired that 2nd instance to exactly the same place (inbetween same two lugin blocks), both Vocoders are VST3, the old Vocoder instance shows those 2048 samples buffer*, the other shows the correct values, 1024 samples at the non- zero latency modes.
Combining the most comprehensive and best-sounding set of vocoding algorithms available today with laser-like pitch control effects, a powerful synthesizer, audio freezing, a super fun and efficient workflow, and tons more, ORANGE VOCODER IV is - quite simply - the ultimate vocoder plug-in.
When it comes to creating that new vocal sound, making far-out sound effects and organic* robot and creature voices, sculpting colourfully mutated music grooves, or whatever else you can dream up: this creative processing powerhouse is for you!
To create this bandwidth of sounds, Zynaptiq have used every trick in the book* - ORANGE VOCODER IV was designed to feature the most comprehensive set of sound hybridizing options available in a vocoder.
Going way beyond just offering the ultimate in vocoding, the team at Zynaptiq have loaded ORANGE VOCODER IV with features for workflows related to vocoding, like creating vocal tuning and layered harmonization effects, pads and drones, synth sounds, harmonic support in a color bass style...you can (literally) mix and match.
ORANGE VOCODER IV features a 64-voice synth that comes with hundreds of presets, and a preset generator that will create new sounds for you with a click on a button. The synth can be used as input to the vocoder, layered with other modules, or used on its own.
Its two oscillators can use analog emulated waveforms as well as sampled vintage digital waveforms, and feature two flavors of ring-modulation, hard-sync, through-zero FM, and seven types of polyphonic distortion. They feed into a 6 to 24dB low-pass filter with beautiful resonance. Comprehensive modulation options include mono- and polyphonic LFOs (audio-rate capable for the oscillators), AD-envelopes, envelope followers and zero-crossing trackers, velocity and a 4-destination macro control. Unison operation with up to 8 additional voices and DETUNE and CLUSTER modes, as well as Mono Legato with glide are supported, too, and you can play the synth via MIDI, or tell it which notes to play using the on-screen keyboard.
The FREEZER module will freeze the audio coming in to the plug-in when you click its big snowflake button, sustaining the current timbre indefinitely. It is placed before the pitch quantizer module so that you can play melodies with it. You can load and save freeze buffers, building a library of colours as you go.
You can exclude any module from the dice-roll, select whether you want to use musical or SFX-ish sounds (or both), and whether to use the factory sub-presets or your own (or, again, both). The DICE are context-aware, so if you're in the synth view, only the synth will be rolled.
Zynaptiq products use the latest PACE copy protection, which allows you to place your activation on your machine or on an iLok 2* (not included). You will need a free iLok.com account to use our software, even for the demos - but you do not necessarily need the iLok 2 dongle if your machine has internet access (activation of a system without internet connectivity requires an iLok 2 device). All required software is installed along with our plugins, but we generally recommend downloading the latest versions directly from iLok.com.
While they are highly optimized, Zynaptiq plugins use a LOT of CPU due to the complex nature of the magic they perform. Please use the free trial to evaluate whether your system has sufficient resources to utilize the software effectively!
But just thinking about this now -- I'm not sure you'd be able to even with a 3rd party vocoder in Logic. Actually I can't figure out how you'd use Orange Vocoder at all, as it's an effects plug-in, not an instrument plug-in -- so you'd never be able to play it with MIDI.
I wonder if you could do something with Reaktor -- though even if the inputs will work there weren't any good quality vocoders in the library last I know. Might be too processor intensive for practical use as Reaktor is much more inefficient than a dedicated plug-in.
Orange Vocoder has two versions -- a software instrument that works like EVOC-20, and an effects plug-in. I was confused of course, and you don't need MIDI control of a vocoder when it's an effect: you just put the Orange Vocoder effect plug-in on the track that is the modulator (the voice speaking), and then turn off the onboard synth and route your synth (or "aiaiaiaiaiai" audio) in the sidechain as the carrier.
The EVOC 20 Track Oscillator will do exactly what wip is looking for. Put it on the audio track with the speaking. Put his "aiaiaiai" audio on another audio track, and route that in as the sidechain for EVOC. Set "Analysis In" to Track and "Synthesis In" to Sidechain. Probably set the "Bands" up to 20. Read the manual for the rest.
The EVOC 20 Track Oscillator will do exactly what wip is looking for. Put it on the audio track with the speaking. Put his "aiaiaiai" audio on another audio track, and route that in as the sidechain for EVOC. Set "Analysis In" to Track and "Synthesis In" to Sidechain. Probably set the "Bands" up to 20. Read the manual for the rest.
Reading about it in tech journals. It seemed like magic! Then I got a chance to try one at the NY World's Fair of 1964-65, at the Bell Labs pavilion. I was hooked! When I figured how to make it not just speak, but sing, it earned an assured place in a forthcoming new album. You know, it seemed an exciting idea to share! The first reactions were unanimous: everyone hated it! A playing synth was bad enough, but a "singing" synth? Too much, turn it off! Thus Timesteps was born, to "ease into" the first experience most folks would have with a "singing machine"... All to easy to forget this history now.
Yes, but the main vocoded portions were done BEFORE getting assigned to do the film, for the last mvmt of Beeth Symph #9, and Timesteps, nearly a year before working with Kubrick. The Ninth, m. IV, has a singing chorus -- so the idea to use a vocoder was automatically made by choosing to realize the piece. At that time it was all unexplored territory, we were the first audacious (or just plain silly) enough to attempt this. Many have followed, so it must have been a decent idea.
Question #3 -- Do you have any feelings, pro or con, about the pop culture baggage that's been attached to the sound of the vocoder as a result of some of the more popular, albeit arguably pretentious, uses of it in pop music? (I'm thinking about folks like Alan Parsons Project and Styx, not Kraftwerk or Laurie Anderson.)
Not especially. Most pop tracks are done for commerce these days, aren't they, not what we'd describe as artistic motive nor curiosity? The goal would be what's most likely to make money. That's fine. I'm not so excited to follow the obvious, nor to repeat what's been done very well already, personally, it's not too interesting. Just the use of a vocoder does not inherently make a connection more than trivial. Evenso, I do hear some examples in Parson's early work, like his Poe-themed album, that used vocoding well, if also slightly, as you suggest, pretentiously. And Laurie Anderson is always so inventive and effective in her work, including experimenting with electronic voice effects.
For me, Felix Visser designed the best examples, for his long-gone (alas!) Synton company, all during the 80's. Some other fine devices exist, as the EMI/Synthi big one, and Sennheiser's expensive one, those and dear Harald Bode's design that Moog's good 16-band one was similar to. The ultra-basic analog units were generally mushy-sounding. Synton's had the best intelligibility on spoken words for their original 32-band device, and musicality for the newer 14 band one I currently use: the Synton SPX 216.
Computerized versions can be better, and are progressing nicely. Phase vocoders theoretically ought be even more precise and clear than channel units, but don't have much experience with them. I was impressed with the pioneering Mac program, SoundView. A more recent implementation is Soundscope. The finest I've seen for sound spectrograms and analysis of sounds and speech, though, and available on several platforms, is Praat. I'd suggest trying that one first. These are easily found online, and since their links keep changing, please just do a google search if this topic interests you.
Question #5 -- Several of the contemporary pop musicians I've spoken to for this piece mentioned using the vocoder on materials other than the voice, ie. rhythms and such. Have you ever experimented/worked in this area?
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