When do you find yourself using each? What kind of sources are you using in the examples you're giving? Any cool setups that work for you?
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The “Electronic Sounds” meme is best described as a Youtube Poop in which the audio has been run through Magix Music Maker’s Vocoder, all of which use the same set of chords as a carrier wave, using any audio from any video as the modulator wave, sometimes along rainbow color effects. I am not sure if you have heard of this effect before but this effect is definitely a simple yet effective trick to shape your vocal into a whole new sound. Let me give you an example. In the song “Anytime” by Don Diablo, you can clearly hear the effect in the second break. Click here to listen to it.
Edit: Not reverb. I don't care if you mention that you use a convo verb plugin and use different convolutions, but just not 'room' simulation for this thread. Go!
Just me, but I tend to go to vocoders when I want a Dialog Effect (like something special for a mechanical character). I think it's a leftover from the days of the original Battlestar Galactica and the vocoded Cylon voices which I thought were AWESOME as a youngster.
Convo I tend to use for SFX more, and specifically interesting ambiences. On one animated show I work on, the characters go to a different planet each week - circus planet, pirate planet, fix it planet etc.. The ambience of the planet is a base ambience plus an ambience that I usually make by taking something appropriate to the planet (say a construction site for the fix-it planet) and then passing it through TLSpace with some interesting impulses, ranging from wind, to synth drones. I also like to pass a sustained sound through convo with a rhythmic sound to get interesting rhythmic sounds when needed.
Found a good tutorial today on how to get the most out of the Vocoder in Reason, make sure to try it out.
Short on Reason’s vocoder below:
Besides being a 4 to 512-band vocoder capable of modulating sound in both old-school analog style and digital FFT fashion, this unit also doubles as a fully automated equalizer with a twist. The BV-512 can be used for everything from classic robot vocals to weird harmonic effects.
A vocoder takes two input signals, the carrier, which provides the pitch, and the modulator, supplying the characteristics.
Traditional vocoders require you to sing into a microphone while playing a keyboard. Not this one – with the BV-512 you can combine any two sound sources. Try vocoding your percussion track with the bass line or the string pad with the rhythm guitar.
A vocoder splits the incoming audio into a number of frequency bands. More bands gives you more control and more detail. Where most vocoders max out at eight to sixteen bands, the BV-512 gives you up to, you guessed it, 512 bands. In 4-band mode, the BV- 512 provides a gritty, analog, lo-fi sound. The 512- band setting is another beast altogether. In this mode, a digital 1024-point FFT-based algorithm provides the clearest, most detailed and most audible vocoding you ever heard from a computer.
Hitting the EQ switch on the front panel calls up a handy parametric and low shelving equalizer for additional tweaking of your reverberated signal. Combine this section with the HF Damp and HF Smooth knobs on the front panel, and be the master of your wet signal’s every frequency.
A flick of a switch turns the BV-512 into a 4 to 512 band stereo equalizer. Use the higher settings for detailed control of the spectrum.
Or try the four and eight band modes for a decidedly more lo-fi sound that adds an unmistakable vocoder “color” to your input signal.
Like all other Reason devices, the BV-512 Vocoder can be fully automated, band level settings included. Record your front panel actions, or use the pen tool to draw in layers upon layers of wild frequency changes. The Shift knob is just one example of a control that’s dying to be automated. One session with BV-512 and you’re hooked for life.