Orange Vocoder Download Free

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Alrightso I was led to believe that Orange Vocoder ME came with Music Maker Premium. Well I upgraded but I don't see it anywhere. I have it in Samplitude Music Studio, but if I point the Music Maker VST plugin folder to those plugins, none of them work. Does anyone know what is going on?

Open the Mixer - M key - and select either the appropriate track Fx button or the Master Fx button, depending on whether you want to apply the effect to a track or everything, then click the + button in the effects window that opens , the vocoder should be there - see the image below, this is the track effects window.

Yes, everything has been purchased and all editions have been installed and activated properly in the store. There is a deeper issue here and I don't believe user error is the problem, though I realize that is usually the case.

As well, I noticed that eFX_VocalStrip.dll was not included in 27. I copied it over and it worked, but there were no presets so I also copied over the VocalStrip folders for Patchlists and Presets, and there was also one under:

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!

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?

I did this immediately after our first vocal tracks, well before others followed a similar curiosity-lead path. It can be effective and novel. Best examples in my music are to be found all over "Beauty in the Beast", which has been released in a new 20-bit mastered CD. The notes to "BitB" mention a lot of the cases therein. Many of those organic sounding timbres that conjure good sampling or musique concrete, were created through the SPX 216, combining two completely different GDS sounds played simultaneously into another kind of hybrid. I found those especially exciting to discover.

For me, at least, I guess this album, "Beauty in the Beast", is the most important in itself, doing what I should have been doing at that time. And several "Tales of Heaven and Hell" movements are surprisingly good, as I look back now. If you mean in synthesis, the LSI Philharmonic sound replicas in "Digital Moonscapes" came well in advance of decent sample based "orchestras in a box." It also went beyond, into a world of hybrid synthesis, still not too developed otherwise, to say nothing about another overlooked and powerful resource: alternative tunings.

Again, I think the way most people interpret such questions is to point to what's most popular. SOB became a notable benchmark of sorts, and I'm proud of it. But it's hardly a "greatest achievement" artistically. First steps are *learning* experiences, aren't they? Wisdom can't be found that quickly and young, you have to work at it awhile. That's just how human nature is made (we don't make the rules ;-).

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