Stringed 2 8 – Shift Pitch And Manipulate Tempos

• Stringed 2 8 – Shift Pitch And Manipulate Tempos Differences
• Stringed 2 8 – Shift Pitch And Manipulate Tempos De
• Stringed 2 8 – Shift Pitch And Manipulate Tempos Para
• Stringed 2 8 – Shift Pitch And Manipulate Tempos Em

A long string, if plucked really hard, will vibrate faster and thereby produce a higher pitch than a shorter string. Will vibrate faster and thereby produce a higher pitch than a shorter string. Which of the following excerpts suggests increasing tension in the music? Pianists and harpsichordists don't have direct contact with. Try enabling formant correction and moving the strength between 0.1 and 0.2. Move the Formant Correction semitones part of the way towards your pitch shift amount. For example, if you're pitch shifting +4 semitones, move the Formant Correction Semitones between 2 and 3.

There are currently two special-case Synths in FoxDot for playing back audio stored in a file; play and loop. Here we will look at these in some depth:

The play synth

Basics

The very basics of the play synth has been covered briefly in the player object intro section but will revisited here. Unlike other synths in FoxDot, the first argument should be a string of character, not numbers. This allows more information to be encoded in the string. Each character refers to a set of samples such as kick drums, hi-hats, snares, and other sounds. The most basic sequence you create is a disco drum beat:

You can use different types of brackets to add more information to the sequence. Putting two or more characters in round brackets will alternate which sound to play on each loop through the sequence:

Putting multiple characters in square brackets will play them successively in the space of one step:

You can also use curly braces to pick a sample at random and add some variety to your sequence:

The sample keyword

Each character relates to a folder of files arranged in alphabetical order. To select a different file, use the sample keyword.

Like with any other keyword argument, this can be a list, or even a tuple, of values.

The sample for an individual character can be specified from within the string itself by surrounding the character with a “ ” and the specific number like so:

This syntax can contain any of the brackets used before on the character and on the numbers:

Layering sequences

You can also use less than and greater than signs to layer multiple sequences simultaneously. Let’s start with two separate sequences and then put them together in a single line of code.

We can put each sequence between “<>” characters in a single sequence and have them play at the same time:

Each ‘layer’ relates to the index of a group such that, for a group of values given to a player object, each ‘layer’ is affected only by one of those given values. This is best demonstrated by an example:

Be careful when combining multiple layers with some functions like offadd as that creates new layers if they don’t exist, or affects them if they do. The following code will only affect the second layer and, so, the first layer is unaffected:

The loop synth

This is still a fairly experimental feature of FoxDot and is definitely subject to change but let’s have a look at the basics. The loop synth is designed to let you play longer audio files (>1 sec) and manipulate them. To get started, just supply the filename you want to play and the duration you want to play in beats:

You can put files in a special folder located in FoxDot/snd/_loop_ which can be opened by going to “Help & Settings” and then “Open Samples Folder” from the FoxDot menu. You don’t need to supply the full path (or extension) for files in this folder:

To see all the files in this folder use print(Samples.loops).

If you want to play with the play back order, you can supply a “position” argument after the file name that FoxDot will iterate through based on the duration.

If you know the bpm of the audio file and wish to play it at the current tempo, you can supply the player with a tempo argument. For example, my_file could be a drum beat at 135 bpm but the current tempo is 120, I can fit the tempo of my_file to the clock like so:

You can play the entire file at the current tempo by supplying a beat_stretch argument with a non-zero value (such as 1 or True) and you don’t need to know the tempo beforehand.

Time stretching the audio in this fashion will change the pitch, so if the audio is pitched, you may wish the time-stretch it without losing that information. This is possible using the striate. This cuts the file into lots of little segments and plays them back spread out over the course of the duration value – this will play the entire audio file. The larger the audio file, the larger the number you will probably want to use. Using the example above, you may want to use a striate value of 100-200 for a smoother playback:

Please note: you may experience changes in pitch at faster tempos.

All FoxDot effects can be used with the loop synth, so experiment and find out what works best for your audio. Using slide with negative values can recreate the “dj scratching” effect from old school hip-hop as it slows the playback rate to 0 then back again:

The stretch synth

This recent addition to FoxDot allows you to beat stretch an entire audio file without losing any pitch information – regardless if the tempo is faster or slower. Simply supply the filename in the same way as the loop synth and set the duration you wish to play the file over and away you go:

Time & Pitch

Time & Pitch uses iZotope’s sophisticated Radius™ algorithm to give you independent control over the length and pitch of your audio. It is useful for retuning audio to fit in a mix better, or adjusting the length of audio to deal with BPM or time code changes.

Time & Pitch’s Pitch Contour tab can be used for faster pitch shifting with the ability to correct variations in pitch over time.

iZotope Radius

iZotope Radius™ is a world-class time-stretching and pitch-shifting algorithm. You can easily change the pitch of a single instrument, voice, or entire ensemble while preserving the timing and acoustic space of the original recording. iZotope Radius is designed to match the natural timbres even with extreme pitch shifts.

Algorithm

You should use Solo mode only when processing a single instrument with a clearly defined pitch. The human voice is a good candidate for solo mode, as are most stringed instruments, brass instruments, and woodwinds. For most other types of source material, Radius mode will usually offer better results. If speed is important, use the Radius RT mode.

Solo

In Solo mode, the adaptive window size can significantly affect the quality of Radius's output. If the adaptive window size is too small, you will hear a squeaking noise which sounds like the pitch of the audio is changing very rapidly. If the adaptive window size is too large then the sound will become grainy as you will begin to hear portions of it being repeated.

A good approach is to start with the default window size of 37 ms. If the results are unsatisfactory, increase the window size until the squeaking noise described above does not occur. If you cannot get the distortion to disappear, switch to Radius mode for processing.

Lower pitched instruments and voices may require a longer adaptive window size than the default, but very long adaptive window sizes can cause audible repeating slices of audio.

Formant Correction

Formants are the resonant frequency components of voice that tend to be perceived as characteristics like age and gender. You can shift formants independently of pitch and time by enabling Shift Formants.

Typically you will leave the Formant Shift Strength set to 1 (full strength) and the Formant Shift Semitones set to 0. If you hear what sounds like an EQ adjustment to your audio, you can try lowering the strength to reduce this artifact. To achieve special effects, for example to change the perceived gender of a human voice, try adjusting the semitones to a value other than 0.

Stretch & Shift Controls

Stretch Ratio

Determines how much the resulting audio will be stretched in time. Values between 12.5% and 100% will cause the audio to speed up without affecting pitch, resulting in a shorter audio file. Values between 100% and 800% will cause the audio to slow down without affecting pitch, giving you a longer audio file.

BPM Calculator

If you are using Radius to process audio for a tempo change, you can also adjust the stretch ratio with the BPM Calculator.

Pitch Shift

Controls the amount of pitch shifting up or down that will be applied to the audio.

Algorithm

The Algorithm drop-down menu has three options:

• Radius — designed to work well with polyphonic material such as mixes with more than one instrument, as well as non-harmonic material such as drum loops or rhythmic audio. This is the highest-quality option for most sources.
• Solo Instrument — designed for monophonic pitched material such as a stringed instrument or human voice.
• Radius RT — good quality, polyphonic, but faster than Radius.

Transient Sensitivity

Determines the algorithm’s handling of transient material. Higher values will result in better preservation of individual transients after processing.

When stretching percussive material, you usually want transient sensitivity set to its default value of 1. If transients in your audio are being 'smeared', a higher value of 2 will tighten up transience at the expense of incurring heavier processing on non-transient audio.

Bowed instruments such as the violin and cello are especially affected by the transient sensitivity setting. If you hear a stuttering artifact, lower the transient sensitivity to eliminate it.

Noise Generation (Radius mode only)

Helps noisy material (like sibilance or snare drums) sound more natural when processed.

This control will generate noise instead of stretching the noise that is already present in the signal and creating new tones. Higher values of the noise generation parameter will cause Radius to generate noise more often, but can cause some phase artifacts.

Pitch Coherence (Radius mode only)

Controls the preservation of the natural timbre of the processed audio.

The Pitch coherence control in the Radius control panel helps preserve the timbre for pitched solo voices, such as human speech, saxophone or vocals. While traditional vocoders can smear these signals in time and randomize phase, the pitch coherence parameter of Radius preserves phase coherence for these signals.

High values of pitch coherence will avoid phasiness in Radius's output at the expense of roughness (modulation) in processed polyphonic recordings. Try turning this up for better results if you’re processing a solo voice or a small group of related instruments.

Phase Coherence (Mix mode only)

Preserves the coherence of phase between the left and right channels of the processed audio.

This should be increased if there's any change in the perceived stereo image after using Radius. It can be decreased when processing a multichannel signal where different channels contain completely different instruments.

Adaptive Window Size (ms) (Solo mode only)

Adjusts the window size in milliseconds of Radius' Solo algorithm.

If the adaptive window size is too small, you will hear a squeaking noise which sounds like the pitch of the audio is changing very rapidly. If the adaptive window size is too large then the sound will become grainy as you will begin to hear portions of it being repeated.

Increase this if you have trouble getting good results pitching or stretching low-pitched instruments or voices.

Shift Formants

Processes formant frequencies independently of other pitch and time processing.

When this option is enabled, formant frequencies can be shifted independently of other pitch shifting performed by Radius.

When Radius performs pitch-shifting without Formant Correction, it will shift these resonant frequencies along with the rest of the audio.

• Strength — adjusts the amplitude strength of the formant correction filter.
• Shift — how much formant frequencies are shifted. Typically this control can be set to 0, which leaves the formant frequencies unshifted during processing. Adjust this control to fine-tune the formant correction algorithm or for special effects.
• Width — controls the bandwidth of the formant detection filter. Smaller values of this control will offer more precise formant correction in the processed audio. Higher values will include a wider band of formant frequencies.

Pitch shifting single instruments (especially bass instruments) can benefit from some adjustments to formant correction. Try enabling formant correction and moving the strength between 0.1 and 0.2. Move the Formant Correction semitones part of the way towards your pitch shift amount. For example, if you're pitch shifting +4 semitones, move the Formant Correction Semitones between 2 and 3. This can help bring back subtle percussive elements in the original source material.

Stringed 2 8 – Shift Pitch And Manipulate Tempos Differences

The formant frequencies of the human voice can actually shift slightly when we sing. You can use the Formant Correction Semitones control to compensate for this. For example, if pitch shifting a human voice by +7 semitones, try setting the Formant Correction semitones between 0 and +2 for more natural results.

Pitch Contour Controls

The Pitch Contour mode of the Time & Pitch module lets you change the pitch of a selection over time. This can be used to quickly correct small pitch variations or gradual pitch drifts over time.

The Pitch Contour changes pitch by continuously changing the playback speed of the audio. The effect is similar to speeding up or slowing down a record or tape deck while it is playing back.

Because the Pitch Contour uses resampling to synchronously change time and pitch, it cannot be used to adjust pitch without also adjusting time.

Pitch Contour

Stringed 2 8 – Shift Pitch And Manipulate Tempos De

The horizontal axis shows the length of your current selection. If you have no selection, the horizontal axis represents the entire length of your file.

The vertical axis shows the amount of pitch shifting that will be applied. A curve through the top half of the display will create a higher shift in pitch and shorten the audio correspondingly. A curve through the lower half of the display will create a lower shift in pitch and lengthen the audio correspondingly.

Stringed 2 8 – Shift Pitch And Manipulate Tempos Para

You can correct a gradual pitch drift over time by adjusting the points at the far left or right of the display, drawing a straight sloping line from the beginning of your selection to the end. These points are locked to the vertical axis.

Clicking on the contour display will create a new pitch node. You can create up to 20 pitch nodes to achieve very complicated pitch shifts.

Clicking and dragging a pitch node to move it around will change the pitch curve.

Stringed 2 8 – Shift Pitch And Manipulate Tempos Em

Double clicking on a pitch node will set its value to 0 (no change at that point).

Right clicking on a pitch node will delete it.

Holding control/command while dragging will give you fine control over a pitch node’s position.

Smoothing

Larger values create a smoother pitch curve when multiple pitch nodes are present. This is useful when correcting a nonlinear change in pitch.

Reset

Clears all pitch nodes and returns the Smoothing control to its default value.

Stringed 2 8 – Shift Pitch And Manipulate Tempos