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EVOC20 User Guide

1. on the left and the right channel User Manual Version 1 41 EVOC 20 TO Parameters 7 EVOC20 TO Parameters The EVOC20 TO is a Vocoder equipped with a monophonic pitch racking oscillator hence the TO in its name Non tech nically this allows the EVOC20 TO to follow track the pitch of a monophonic incoming audio signal If the audio signal is a vocal melody for example the individual pitches of the sung notes will be tracked and mirrored by the Synthesis engine Please note For good pitch tracking it is absolutely essential that the signal is monophonic one pitch at a time and as dry as possible Absolutely avoid background noises For example using a voice already processed with slight reverb will give pretty strange results The results will be even stranger when signals with no audible pitch are used like drum loops However the resulting artefacts might be exactly what you are after in some situations But the EVOC 20 TO is not limited to pitch tracking effects It can vocode a signal by itself very useful for unusual filter effects Try this with different Resonance Formant Shift and Formant Stretch settings And as both analysis and synthesis input signals are freely selectable you can even vocode for example an orchestra with train noises evoc 20 10 Freeze 4 Le Attack Release Gg Analysis in Bands Sensitivity Synthesis in lowest highest Mode U V Detection Level
2. e EVOC20 PS a vocoder with a built in polyphonic synthe sizer sound engine an Audio Instrument e EVOC20 TO a monophonic pitch tracking vocoder plug in e EVOC20 FB a formant filter bank plug in The synthesis signal of the EVOC 20 PS is provided by its built in 16 voice polyphonic synthesizer hence the PS in the name You can play this polyphonic synthesizer in realtime via MIDI The output signal of the synthesizer is shaped by the signal arriving at the analysis input producing classic vocoded choirs The EVOC20 TO the TO stands for Tracking Oscillator on the other hand derives its synthesis signal from a mono phonic oscillator This synthesizer follows the pitch of incoming audio data arriving at the analysis input It works best with monophonic signals Input of non vocal material such as drums leads to extremely interesting sonic results Alterna tively to the Tracking Oscillator the EVOC20 TO can use a freely selectable audio signal as the synthesis signal The EVOC20 FB consists of the two formant filter banks the heart of any Vocoder Each bank features independent volume faders for each band allowing levels to be set freely ranging from unchanged through to silence The latter completely suppresses the selected formants in the overall sound spec trum Use of the Formant Stretch and Formant Shift parameters provide total control over the position and width of the filter
3. 7505 overdrive 63 Tips for Better Speech Intelligibility Attack 9 in Sensitivity Synthesis in E Mode U V Detection LL NS 4700Hz compressor overdrive The EVOC20 TO used as a classic vocoder with track 1 delivering the synthesis signal and track 2 playing back the analysis side chain signal On track 1 an overdrive plug in generates additional harmonics in the treble range The side chain signal is compressed its treble is boosted by a shelving filter and it is gated The appearance of the windows looks a little different in Logic for Windows Avoiding Sonic Artifacts A common problem with vocoder sounds are sudden signal interruptions ripping breaking sounds and rapidly triggered noises during speech pauses Emagic 64 EVOC 20 Avoiding Sonic Artifacts e V O C Release Parameter in the Analysis Section The Release parameter defines the speed a given synthesis frequency band can decrease in level if the signal level of the respective analysis band decreases abruptly The sound is smoother when the band levels decrease slowly To achieve this smoother character use higher Release values in the analysis section of the interface Longer release times result in a washy sound Short Attack values are no problem in fact they are even desir able for a fast reaction of the vocoder to impulse signals Gating Background Noises in the Side Chain If the side chain signal
4. Enter Authorization Code Here The window also shows the serial number of your XSKey All codes for all products are entered in the Enter Authorization Code Here field Click once on the field to enter a code The following describes the messages you may see in the XSKey Authorization window authorized The module is purchased authorized and ready for unlim ited use expiring in days This module is in a fully functional demo period for the speci fied number of days Purchase and registration with Emagic will provide you with a code to permanently authorize the module If no code is supplied within the time period the demo will expire It is recommended that you do not attempt to change the date of the system clock during an active demo period as this may reduce the time before the demo expires activate Demo The module is not active but it is possible to enable it s demo mode To do so click once in the desired Activate Demo field Please note that the first time it is started the demo mode can not be stopped and will continue to count down Ifa User Manual Version 1 13 Getting Started permanent license authorization code is not purchased within the demo period use of the module will expire expired The demo period is over It is not possible to use the module until a valid license code is entered empty field The module is not active and no demo mode
5. This allows subtle or savage pitch corrections and can be used creatively on unpitched material with high harmonic content such as cymbals and high hats To use pitch quantization the Strength parameter must be set above a value of zero and at least one of the onscreen keyboard keys needs to be activated e Strength determines how pronounced the automatic pitch correction is e Glide determines the amount of time the pitch correction takes allowing sliding transitions to the quantized pitches User Manual Version 1 47 EVOC 20 TO Parameters Root Scale The Root and Scale parameters in combination with the onscreen keyboard define the pitch es that the tracking oscil lator is quantized to If you click hold on the word Scale and drag vertically you can select a scale or chord See the listing of preset scales and chords shown alongside Root selects the root key of the respective scale or chord Note The Root parameter is not displayed when chromatic or user is selected Any combination of keys can be activated by clicking on the notes of the onscreen keyboard Activated keys are illumi nated To disable any active notes on the keyboard simply click on the note a second time The Scale display will change to user as soon as any key is edited The previously displayed scale or chord is used as the star ting point when creating a user scale This allows you to select a preset scale or chord
6. Track Mixer or Environment Audio layer not the Arrange mute the audio track the vocal track serving as sidechain input Press the play button on the Transport Bar or use the P ay Key Command 0 on the numeric keypad And now as the audio file is playing back play your MIDI keyboard You may record your MIDI performances as with other MIDI or Audio Instrument tracks In the Track Mixer or Environment Audio layer adjust the volume levels of the EVOC20 PS and the audio track used for the Side Chain to your taste Do a little experimentation with the knobs sliders and other controls Have fun and feel free to insert further effect plug ins on the channel or busses to further enhance the sound Emagic EVOC 20 Using the EVOC 20 TO and EVOC 20 FB e V O C Using the EVOC20 TO and EVOC20 FB Following the installation of the EVOC20 please start Logic Select or create a new Audio track in the Arrange window Insert or record an audio file preferably a vocal part onto this Audio track by pressing 4 while clicking onto the arrange area with the pencil tool to the right of the track name in the Track List This will launch a file browser allowing you to select the desired audio file Click once on the audio file you wish to use and press the Open button The file will be inserted at the selected location It may be worthwhile setting up a cycle region in the Arrange window allowing you to continually cycle t
7. Wie ae A 6 A Formant Stretch Formant Shift Stereo Mode Resonance n ea Ve j Le W Wave Ke Intensity Rate 1 V Stereo Width LFO Emagic 42 EVOC 20 20 Analysis In Parameters e V O C The EVOC20 TO can be used in the insert slots of Audio Audio Input Bus Master and Audio Instrument channels Please refer to the Using the EVOC20 TO and EVOC20 FB section from page 17 onwards for step by step instructions on the insertion of this plug in The EVOC20 TO interface is divided into five main sections From left to right these are the Ana ysis Synthesis Formant Filter Modulation Unvoiced Voiced UIV Detection and Output areas Analysis In Parameters Attack The Attack parameter determines how fast each envelope follower coupled to each Analysis filter band reacts to rising signals Longer attack times result in a slower tracking response to transients of the Analysis input signal A long attack time on percussive input signals a spoken word or hi hat part for example will translate into a less articulate vocoder effect Set Attack as low as possible to get precise articulation Release The Release parameter determines how fast each envelope follower coupled to each Ana ysis filter band reacts to falling signals Longer Release times make transients of the Analysis input signal sound longer at the vocoder s output Attack Release rock ebe Bands A long release time o
8. are band pass filters just like all the bands between them or whether they act as low pass high pass filters respectively Click once on them to switch between the two curve shapes available e In the Band Pass setting the frequencies below above the lowest highest bands are ignored on analysis and synthesis e In the High Pass or Low Pass setting all frequencies below the lowest or above the highest bands will also be consid ered for analysis and synthesis Formant Stretch Alters the width and distribution of all bands in the Synthesis filter bank extending or narrowing the frequency range defined by the blue bar Low High Frequency parameters for the Synrhesis filter bank With Formant Stretch set to 0 the width and distribution of the bands in the Synthesis filter bank equal the width of the bands in the Analys s filter bank Low values narrow the width of each band while high values widen it The control range is from 0 5 to 2 as a ratio of the overall bandwidth Emagic 36 EVOC 20 Formant Filter Parameters e V O C You can jump directly to the value 1 by clicking on its number Formant Shift Moves the position of all bands in the Synrhesis filter bank up and down With Formant Shift set to 0 the position of the bands in the Synthesis filter bank equal the position of the bands in the Analysis filter bank Positive values will move the bands up in frequency while negative values will move t
9. banks evoc 20 T0 highest f Formant Stretch Formant Shift PATRI Wave xr Rae 10 LFO High Low Frequency The blue bar shown just beneath the em gic logo is a multi part control which is used to determine the lowest and highest frequencies allowed to pass by the filter section The length of the blue bar represents the frequency range for the analysis and synthesis Frequencies of any audio input which fall outside these boundaries will be cut All filter bands are distrib uted evenly across the range defined by the High Low Frequency values e To adjust the low frequency value simply click hold on the silver slider to the left of the blue bar and drag to the right or left The value range is 75 750 Hz e To adjust the high frequency value simply click hold on the silver slider to the right of the blue bar and drag to the left or right The value range is 800 8000 Hz User Manual Version 1 49 EVOC 20 TO Parameters To adjust both sliders simultaneously click on the area between the slider halves directly on the blue bar and drag to the left or right You can make changes to the High Low frequency values directly by using your mouse as a slider on the numerical entries 80 and 8000Hz in the diagram Lowest Highest These parameters can be found in the two small windows on either side of the Formant Filter window These switches determine whether the lowest and h
10. card This number is a temporary authorization code It must be typed into the XS Key Authorization window as described in The XSKey Authorization Window chapter from page 12 onwards After you have entered this authorization code you may use the EVOC 20 for a period of one month with no functional restric tions During this time preferably right now you will need to register your product After registration you will receive a further authorization code for unlimited use of the EVOC 20 This unlimited use authorization code must also be entered in the XSKey Authorization window User Manual Version 1 9 Installation Registering Online If you have Internet access please register the EVOC20 online This is the simplest and fastest method Keep the International Registration Card and the serial number of your XSKey handy You ll need both to register your EVOC 20 You can find the XSKey serial number on the barcode stickers that came with your Logic 5 version and under Help gt HSKey Authorization Windows or gt SKey Authorization Mac OS Start your web browser and navigate to www emagic de registration e Input the requested data A successful online registration will be indicated by an onscreen confirmation message and via e mail e After a short processing period you will receive your autho rization code for unlimited use via e mail Registering by Mail If you don t have Internet access
11. i generate interesting results and can lead to new ideas or a new lease of life on old audio material D fc s Sensitivity Unvoiced Voiced U V Detection Please refer to the Analyzing Speech Signals section from page 20 onwards for an explanation of the U V Detection principle Speech intelligibility is highly dependent on high frequency content as human hearing is reliant on them to determine syllables within words Bear this fact in mind when using the EVOC 20 and take care with filter frequency settings in the Synthesis and Formant Filter sections To aid intelligibility it may be worthwhile using equalization to boost particular frequencies in the mid to high frequency range before processing the signal with the EVOC 20 PS Please see the Tips for Better Speech Intelligibility chapter from page 63 onwards for further information Sensitivity Determines how responsive the U V detection is By turning this knob to the right more of the individual wnvoiced conso nants portions of the input signal are recognized i When high settings are used the increased sensitivity to unvoiced signals can lead to the U V source determined by the Mode param eter being used on the majority of the input signal including voiced signals Sonically this results in a sound that resembles a radio signal which is breaking up and contains a lot of static or noise Mode Flip
12. in the area between the two slider segments you can simultaneously move both Emagic 38 EVOC20 Unvoiced Voiced U V Detection e V O C i Rate Knobs These knobs determine the speed of the modulation Values to the left of the center positions are synchronized with the sequencer s tempo and include bar values triplet values and more Values to the right of the center positions are non synchronous and displayed in Hertz cycles per second The ability to use synchronous bar values could be used to perform a formant shift every four bars on a one bar percussion part which is being cycled Alternately you could perform the same formant shift on every eighth note triplet within the same part Either method can generate interesting results and can lead to new ideas or a new lease of life on old audio material Unvoiced Voiced U V Detection Please refer to the Analyzing Speech Signals section from page 20 onwards for an explanation of the U V Detection principle i Speech intelligibility is highly dependent on high frequency content as human hearing is reliant on them to determine syllables within words Bear this fact in mind when using the EVOC 20 and take care with filter frequency settings in the Synthesis and Formant Filter sections i To aid intelligibility it may be worthwhile using equalization to boost particular frequencies in the mid to high frequency range before pr
13. is available The only way to activate such modules is by entering a license code The Audio Instrument Object Type The EVOC20 PS is a software instrument with an integrated sound synthesis engine which can accept MIDI note input As opposed to the EVOC2O PS the EVOC20 TO and EVOC 20 FB are effect plug ins for the inserts of audio objects Routing possibilities for the EVOC 20 are determined by the version of Logic used The number of EVOC20 instances which can be run simultaneously is dependent on the avail ability of computer processing resources and also on the version of Logic used The EVOC20 PS can be found in the hierarchical menu of the top insert slot of any Audio Instrument channel once the authorization or demo mode is engaged The following expla nations are relevant for Audio Instruments like the EVOC 20 PS After these explanations we will do a quick tour on the EVOC20 TO and EVOC20 FB The default song the song that opens automatically if you move your Autoload song away from the Logic program folder features a number of pre configured Audio Instru ments An Audio Instrument is an audio object an Audio Track in MicroLogic AV with the Cha parameter switched to one of the Instruments 1 32 dependent on Logic version Any audio Emagic 14 EVOC20 20 Using the EVOC 20 PS e V O C object can operate as an Audio Instrument by changing the Cha parameter in the Object Parameter box Audio
14. levels of both filter banks to each other so that using Fade A B see below leads only to a sound color change but not to a level change Fade AB Control The Fade AB crossfades between the A and B filter bank At its extreme top or bottom position you will only hear one of the filter banks Formant Shift Moves the position of all bands in both filter banks up and down the frequency range You can jump directly to the values 0 5 1 0 0 5 and 1 by clicking on their numbers Resonance Resonance is responsible for the basic sonic character of both filter banks low settings give it a soft character high settings will lead to a more snarrling sharp character Increasing the value for Resonance emphasizes the middle frequency of each frequency band User Manual Version 1 Formant Shift Resonance 59 EVOC 20 FB Parameters Modulation Parameters no LFO Rate A Rate LEO Shift ji 2 KI Fade s A BET e z Intensity E 498 Intensity The Modulation LFO area controls the Formant Shift and Fade A B parameters of the EVOC20 FB It allows synchronous non synchronous modulation in bar beat triplet or free values e LFO Shift on the left hand side controls Shift modulation of the filter bands e LFO Fade controls the Fade A B parameter Wave These two switches allow the selection of the waveform type used by LFO Shiftand LFO Fade A selection of Triangle f
15. load a plug in setting As with all other plug ins in Logic the EVOC 20 parameter changes will be saved with the song as well When the song is re opened the stored parameter changes will be recalled Load Setting e To load an EVOC20 Setting click on the Settings flip menu found above the EVOC20 panel Scroll to the Load Setting option In the ensuing dialog window browse to and select the name of the Setting that you wish to load and click once The Setting will then load Note that if no Setting preset is loaded a default set of parameters will be used for each of the EVOC 20 plug ins Switching the Contents of the Plug in Window You can reassign any open plug in window in two different ways using the two flip menus to the right of the Sezzings flip menu e Using the upper flip menu Track 16 in the diagram you can switch the editor window between all channels If you have inserted the EVOC 20 FB on tracks 1 and 6 for example you can switch between these channels and adjust their effect parameters User Manual Version 1 25 Overview and Integration e In the lower flip menu you can switch between the plug ins slots of the selected channel i e if a particular channel uses a Chorus and an EVOC20 plug in you can switch the window between them Changing the Plug In View The Editor button allows you to switch between the graphical look and the Controls look horizontal faders o
16. next to a bar on the blue or green portion of the background and drag left or right over the bars within the editing field The length of the bars will be adjusted in accordance with the mouse movement This method makes editing multiple frequency band levels quick and convenient Bands The Bands window determines the number of frequency bands e used by the EVOC20 FB It ranges from 5 to 20 Increasing the number of bands also increases the processor over head User Manual Version 1 57 EVOC 20 FB Parameters High Low Frequency The blue bar shown just beneath the em gic logo is a multi part control which is used to determine the lowest and highest frequencies allowed to pass by the filter Frequencies which fall outside these boundaries will be cut All filter bands are distributed evenly across the range defined by the High Low Frequency values e To adjust the low frequency value simply click hold on the silver slider to the left of the blue bar and drag to the right or left The value range is 75 750 Hz e To adjust the high frequency value simply click hold on the silver slider to the right of the blue bar and drag to the left or right T he value range is 800 8000 Hz e To adjust both sliders simultaneously click on the area between the slider halves directly on the blue bar and drag to the left or right You can make changes to the High Low frequency values directly by using y
17. objects are created in the Environment by selecting New gt Audio Object To create a new Audio Instrument in MicroLogic AV you can simply select Track gt Create Audio Instrument You can only insert the EVOC20 PS plug in into the zop slot of an Audio Instrument channel Using the EVOC20 PS The EVOC20 PS differs from the other two EVOC 20 effects in that it can accept MIDI note input This ability allows you to play the polyphonic sound engine of the EVOC 20 PS The signal of this sound source will be shaped by the audio track you selected as a side chain The Side Chain principle or Keying was initially introduced in analog dynamics processors The Side Chain or Key Input is a control input for a signal which is not heard directly but has a direct influence on the output signal Please follow these steps to make use of the EVOC20 PS e Following the installation of the EVOC20 please start Logic e Select or create a new Audio track in the Arrange window Insert or record an audio file we ll take a vocal part to start with onto this Audio track by pressing 4 while clicking onto the arrange area with the pencil tool to the right of the track name in the Track List e This will launch a file browser allowing you to select the desired audio file Click once on the audio file you wish to use and press Open The file will be inserted at the selected location It m
18. the levels of the corresponding Synthesis filter bands This is done via VCAs Vo tage Controlled Amplifiers This allows the volume changes of the bands and thus the changes of the original sound in the Aza ysis filter bank to be imposed on the matching bands in the Synthesis filter bank The more bands a Vocoder offers the more precisely the orig inal sound s character will be re modeled Envelope Follower 1 5 Analysis Filter Bank hee FX Band 1 5 Control Signal 1 5 Bee Audio Detectio yn ess CR i Filter Ban Synthesis c lesen BER Analyzing Speech Signals The principles you ve been introduced to thus far are insuffi cient for the transmission of speech signals The reason is that human speech consists of a series of vowels voiced tonal sounds and consonants unvoiced noisy sounds The main distinction between vowels and consonants is that vowels are produced by an oscillation of the vocal cords while consonants are produced by blocking and restricting the air flow with lips tongue palate throat and larynx Should speech containing consonants and vowels be used as a Vocoder s analysis signal but the synthesis engine doesn t Emagic 20 EVOC 20 How does a Filter Bank work e V O C differentiate between voiced and unvoiced sounds the result will sound rather toothless To avoid this the synthesis section of the Vocoder m
19. you may register by mail Please enter the appropriate details on the nzernational Registration Card carefully and completely Attach one of the XSKey serial number stickers as supplied with your Logic package onto the respective field of the card e Insert the International Registration Card into the Registration Return Envelope Please allow for a period of 10 working days to process the card You will receive the authorization code for unlimited use by mail The online registration method is preferable and more convenient Emagic 10 EVOC 20 What the Package Includes e V O C Updates and Support The newest software versions are available for download from our website Should you encounter any difficulties we also offer a free online support center You may also consult one of our technicians by telephone e Visit www emagic de e Support via our Hotline In the USA e mail supportGemagicusa com phone 1 530 477 1050 fax 1 530 477 1052 In Germany e mail support emagic de phone 449 0 4101 495 110 e The InfoWeb is an almost inexhaustible resource for all Emagic products Its clear layout offers instant access to up to date insider information answers to compatibility issues and troubleshooting help This is the URL http www emagic de english support infoweb User Manual Version 1 11 Getting Started 3 Getting Started The EVOC 20 is integrated within the Logic software To make use of t
20. Level The Level knob controls the amount volume of the signal Noise Noise Synth or Blend used to replace the unvoiced content of the input signal Care should be taken with this control particularly when a high Sensi tivity value is used to avoid internally overloading the EVOC 20 Output Parameters Signal This flip menu offers the choice of Voc oder Syn thesis and Ana lysis Selection of one of these allows you to determine which signal you wish to be sent to the EVOC20 s main as outputs To hear the vocoder effect the Signal parameter Ensenbie should be set to Voc The other two settings are useful for moni a toring purposes Stereo Mode Stereo Width Emagic 40 EVOC 20 20 Output Parameters e V O C Ensemble The three Ensemble switches switch the ensemble effect s Ensemble is a special chorus effect Ensemble Il is a variation creating a fuller and richer sound by using a more complex modulation routine Simply click on the desired button to acti vate the preferred effect Level The Level slider controls the amount volume of the EVOC 20 s output signal Stereo Width Stereo Width distributes the output signals of the Synthesis section s filter bands in the stereo field e In the left position the output of all bands are centered e In the center position the output of all bands ascends from left to right e Inthe right position the bands are output alternately
21. Menu Here you select the sound source s which can be used to replace the unvoiced content of the input signal Possible Mode settings are Off Noise Noise Synth or Blend UAV Detection e Noise uses noise alone for the unvoiced portions of the sound User Manual Version 1 53 EVOC 20 TO Parameters e Noise Synth uses noise and the synthesizer for the unvoiced portions of the sound e Blend uses the analysis signal after it has passed through a high pass filter for the unvoiced portions of the sound This filtered analysis signal is then always mixed with the EVOC20 output signal The Sensitivity parameter has no effect in this setting Level Level controls the amount volume of the signal Noise Noise Synth or Blend used to replace the unvoiced content of the input signal Care should be taken with this control particularly when a high Sensi tivity value is used to avoid internally overloading the EVOC 20 Output Parameters Signal This flip menu offers the choice of Voc oder Syn thesis and Sal Ana lysis Selection of one of these allows you to determine which signal you wish to be sent to the EVOC20 s main outputs To hear the vocoder effect Signal must be set to Voc The other two settings are useful for monitoring purposes level Stereo Mode Level Level controls the amount volume of the EVOC 20 s output signal Stereo Width Stereo Mode This flip menu determi
22. Richard Gonski Andrea Gozzi Jan Hinnerk Helms Florian Hirschmann Uwe Hoenig Matt Isaacson Phil Jackson Mat Jarvis Dirk Karsten Panos Kolias Andy Kopp Peter Krischker Andreas Kueck Sascha Kujawa Oliver Lieb Hubertus Maass Ciccio Malacrida Oliver Momm Detlef Mueller Ted Perlman Mark Pfurtscheller Stefan Pillhofer Alexander Reichardt Fernando Rodrigues Wolfgang Rueter Wieland Samolak Holger Scheve Jochen Schmidt Daniel Taeger Jeff Taylor Jos van Gemert Joeri Vankeirsbilck Martin Volerich Adam Watson Michel Weber Jens Werres 20 Table of Contents e V O C Welcome 5o o 2 2 Baia SM 7 Installation et An ia mr 9 What the Package Includes iilii eee 9 Getting Started ee eh eyes o etes ee 12 The XSKey Authorization Window 0 000000 ee eee eee 12 The Audio Instrument Object Tvpe nennen 14 Using the EVOG 20 PS an nase aka Ge ged 15 Using the EVOC 20 TO and EVOC20 FB 2 22 17 The EVOC20 Basics 222222222cnneesenennnn 19 Whatis a MoCOder2 32 is sepes eue at saat E Ria 19 How does a Vocoder work 19 Analyzing Speech Signal 20 How does a Filter Bank work 21 Overview and Integration 23 Th Plug in Window Versa nee Vee A ee ue ay deve 23 Hints for Changing Parameter 26 AUTOMATION 2 22 28 seed rc BERE HR ook adden S 26 EVOC20 PS barameters 27 Synthesis Parameters 28 Sidechain Analysis In Paramete
23. SEO CC 103 Band 9 CC 72 CC 104 Band 10 CC 73 CC 105 Band 11 CC 74 CC 106 Band 12 stoe CC 107 Band 13 CC 76 CC 108 Band 14 au CC 109 Band 15 CC 78 CC 110 Band 16 Um CC 111 Band 17 CC 80 CC 112 Band 18 RSA CC 113 Band 19 CC 82 CC 114 Band 20 steen CC 115 Boost Bank A CC 84 Bank B CC 116 Fade A B CC 117 User Manual Version 1 77 MIDI Controllers Received Formant Filter LFO 1 Shift LFO 2 Fade Output Bands FF Low Freq FF Hi Freq Formant Shift FF Resonance Slope FF Low Bandpass Select FF High Bandpass Select LFO 1 Rate LFO 1 Waveform Select LFO 1 Intensity LFO 2 Rate LFO 2 Waveform Select LFO 2 Intensity Level Mono Stereo Select Stereo Width Emagic 78 EVOC 20 CC 85 CC 88 CC 89 CC 90 CC 91 CC 92 CC 119 CC 120 CC 93 CC 94 CC 95 CC 121 CC 122 CC 123 CC 124 CC 87 CC 86 Index A Ana au metal DE POLI SU 40 Analoge segeln Oe Analysis i er nee ner ee hen 19 Attack esse Rn 233 Automation eer ar 26 B Band Pass Filter 19 Bands 2 2 EE Se ei OF Bend Range i e jar anv ase E Le its area ENT Blend Zune G IE AN alate ane ste e 40 54 Boost Re Ti EE C Controls view 23 cutoff frequency 32 D Dal 24 22 ee ren re 29 E Editor view ar a 23 Ensemble has en 4 EVOC 20 FB EE NN eu D6 EVOG 20 E 15 27 EVOG 20 TO near a ao ur bass 42 F PFade AB Ateliere Et lr D FilteriBank ins
24. T emagic evoc Studio Tools gt gt Version 1 0 January 2002 User Manual gt gt English Edition evoc License Agreement Important Please read this licence agreement carefully before opening the disk seal Opening of the disk seal and use of this package indicates your agreement to the following terms and conditions Emagic grants you a non exclusive non transferable license to use the software in this package You may 1 use the software on a single machine 2 make one copy of the software solely for back up purposes You may not 1 make copies of the user manual or the software except as expressly provided for in this agreement 2 make alterations or modifications to the software or any copy or otherwise attempt to discover the source code of the software 3 sub license lease lend rent or grant other rights in all or any copy to others Except to the extent prohibited by applicable law all implied warranties made by Emagic in connection with this manual and software are limited in duration to the minimum statutory guarantee period in your state or country from the date of original purchase and no warranties whether express or implied shall apply to this product after said period This warranty is not transferable it applies only to the original purchaser of the software Emagic makes no warranty either express or implied with respect to this software its quality performance mercha
25. alling and rising Sawtooth Square up and down around zero bipolar Square up from zero unipolar a random stepped waveform S amp H and a smoothed random waveform is available for each LFO Intensity The Intensity sliders control the amount of Formant Shift and Fade modulation by the respective LFO s Rate Knobs These knobs determine the speed of the modulation Values to the left of the center positions are synchronized with the sequencer s tempo and include bar values triplet values and more Values to the right of the center positions are non synchronous and displayed in Hertz cycles per second The Shift and Fade LFO modulations are the keys to the most extraor dinary sounds of the EVOC 20 FB Make sure to set up totally different or complementary filter curves in both filter banks Use rhythmic material like a drumloop as an input signal Set up tempo synchro nized modulations with different Rates for each LFO for Shift and Emagic 60 EVOC20 20 Output Section e V O C Fade And then try a tempo synchronized Tape Delay after the EVOC 20 FB You will end up with unique rhythms Output Section Overdrive Overdrive This switch enables disables the Overdrive circuit of the EVOC20 To actually hear the Overdrive effect you may have to boost the level of one or both filter banks Level m s Stereo Mode Level The Level slider controls the level of the EVOC 20
26. and then modify it by clicking on the notes of the onscreen keyboard The last edit will be remembered You can select a new preset scale or chord and as long as you don t make any changes you can always jump back to the previously set user scale As with all Logic plug ins the Root and Scale parameters and the keys of the onscreen keyboard can be automated Max Track This parameter cuts the high frequencies of the analysis signal making the pitch detection more robust Should the pitch detection produce unstable results reduce the Max Track parameter value to the lowest possible setting Use the mouse as a slider to adjust the value 48 Emagic EVOC 20 user chromatic maj scale min scale maj chord 6 6 9 7 Tsus4 T bS T b9 779 T7 9 TFM 7 b13 7 13 mj mjz 9 mjz t1 add m m m m7 bS m 9 m 11 mmj m mj 9 m add9 dim dim 7 aug aug 7 aug j7 sus2 20 Formant Filter e V O C Formant Filter The Formant Filter Window The Formant Filter window is divided into two sections by a horizontal line The upper half applies to the Analysis section and the lower half to the Synthesis section Changes made to the High Low frequency parameters the Bands parameter or the Formant Stretch and Shift parameters will result in visual changes to the Formant Filter window This provides you with invaluable feedback on what is happening to the signal as it is routed through the two Formant Filter
27. ane EM olet pde d 29 31 46 EMEIBE uve vee ne its DESEE 46 Etape ageet EN ERR 46 Formant Filter 35 Formant Sbhupt AU Formant Stretch 36 50 Freezer cl ew ran see G Glide ici vr eR 2840 02522532547 User Manual Version 1 H Hotline 3 lt 0 2442 08 ad 2482 82 11 Int via Whl 22222 38 Max Track are een fo 47 MIDI ize esci a d gue nn 73 Mono eege x abel EUER AIRE 28 N egeg u aa ee ee A083 Noise Synth 00 40 54 P Package zn a een ek Rr 9 Pitch Quantize 02000 47 Plug In changing display 26 Plug in reassigning windows 24 Plug in Window 00 23 Poly ze e tu LITE MS qr ES 28 R Registering 23 2 0 her ARRAS 10 Release ren a Un ed Se ue 3 Resonance os oy Seen 32237 Root Scale z 2 odd 47 48 S SCtUDg ci ced ripeto een 24 Side Chain aus 222084 15 26 45 Sidechaim sse iceesee9 Seavey rene woo Slope uenerunt er El Stereo Width 4 79 Index Strengths 2c00 4 aviaudueni eles 47 Syn ih aA RAISING 40 Synthesis e Dren O ex ease 19 Tracking Oscillator 46 tracking oscillator 42 U V Detection 39 53 UNVOICED ee 20 NOG fia Ate hee bos asd ik tubis 40 Volced 2 EAE RES 20 EEN EE 9 Emagic 80 EVOC 20
28. anual will introduce you to the concept and function ality of the three plug ins in the EVOC 20 package Please read it thoroughly to make the most of your new Logic effects The EVOC20 package consists of two Vocoders and one Filter Bank The Vocoders are modelled after the finest analog vocoders What is a Vocoder Put simply a vocoder transfers the sonic characteristics of the signal arriving at the analysis input to the signal arriving at the syz hesis input The classic vocoder sound uses speech as the analysis signal and a synthesizer sound as the synthesis signal This classic sound was popular ized in the late 70 s and early 80 s You ll probably know it from tracks such as O Superman by Laurie Anderson Funky Town by Lipps Inc and numerous Kraftwerk pieces from Autobahn and Europe Endless up to The Robots and Computer World Away from these singing robot sounds vocoding has also been used in many films As examples the Cylons in Battlestar Galactica and most famously on the voice of Darth Vader from the Star Wars saga Vocoding as a process is not strictly limited to vocal perfor mances You could use a drum loop as the analysis signal to shape a string ensemble sound arriving at the synthesis input To perform these different tasks the EVOC 20 features three discrete processors each with unique capabilities These are the User Manual Version 1 7 Welcome
29. ay be worthwhile setting up a cycle region in the Arrange window allowing you to continually cycle the audio part This will make experimentation easier e Select or create a new Audio Instrument track in the Arrange window By selecting this track the Audio Instrument will User Manual Version 1 Important Tip Getting Started be activated enabling it to receive MIDI data from your keyboard Open the Mixer window or a screenset with an opened mixer respectively or the Environments Audio layer if you re running Logic Gold or Platinum You may use the Windows menu ora Key Command 89 MJ PC mM or you can simply double click on the Audio Instrument track name to launch the Audio layer of the Environment window Click hold on the top plug in slot of the Audio Instrument channel corresponding to the selected Arrange window track and a hierarchical menu will open Browse to the EVOC20 PS entry in the Stereo gt Logic group of the plug in list Once selected highlighted release the mouse button This will launch the plug in window In the gray area at the top of the plug in window click hold on the Side Chain flip menu and select the Audio track that contains the audio file Ensure that the corresponding Audio Instrument track is selected in the Arrange window The EVOC20 is now ready to accept incoming MIDI data and has been assigned to see the output from the selected audio track via a side chain In the
30. bands In addition you can also crossfade between the two filter banks As with all of Logic s effects any adjustments to the EVOC 20 s controls can be recorded and played back in real time Such parameter automation data can be created and edited using any suitable MIDI editor window within Logic We wish you many years of inspiration work fun and produc tivity with the EVOC20 Your EMAGIC Team Emagic 8 EVOC 20 What the Package Includes e V O C 2 Installation What the Package Includes Your EVOC20 package contains the following e The Emagic Software CD with the current Logic version T here s also a collection of settings sounds for the EVOC 20 e This user manual e The sealed Registration Return Envelope Please do not open it until you have read the following paragraph The sealed Registration Return Envelope contains the International Reg s tration Gard Attached to the card you will find a barcode sticker with a number on it Sealed Envelope and Registration Card The envelope is sealed The act of opening the envelope indi cates your agreement with and acceptance of our licensing conditions and terms of trade Please open the envelope carefully along the seal Do not tear the envelope It can be resealed and reused for registration by enclosing the International Registration Card and posting it if you wish to register by mail A barcode sticker with a number is attached to this
31. bank input ae E un PS MIDI keyboard T Sf N E t 3 _ X et I 1 4 ae RE i l Resonance Legend Audio signal Control signal EF Envelope Follower VCA Voltage Controlled Oscillator Parameter control Emagic 72 EVOC 20 Achieving the Best Analysis and Synthesis Signals e V O C 12 MIDI Controllers Received The following tables show the CC numbers used when the following MIDI preference is active Options gt Settings gt MIDI Options gt Version 4 x behavior EVOC20 PS Sidechain Analysis Attack GEHT Release CC 78 Freeze CC 76 Keyboard Mode CC 89 Voices CC 83 Unison CC 108 Synthesis Oscillator Mode CC 88 Osc 1 Octave CC 90 Osc 1 Waveform CC 94 Osc 2 Waveform CC 95 Osc 2 Semitone CC 93 Detune Ratio Fine CC 91 Osc Mix FM Intensity CC 100 Noise Level CC 99 Color CC 98 Analog Tune CC 84 Intensity CC 85 Glide Time CC 87 Bend Range CC 86 Oscillator Filter Cutoff CC 96 Resonance CC 97 Osc Envelope Attack CC 106 Release CC 107 User Manual Version 1 73 MIDI Controllers Received Formant Filter LFO 1 Shift LFO 2 Pitch U V Detection Output FF Low Freq FF Hi Freq Formant Shift FF Resonance FF Low Bandpass Select FF High Bandpass Select LFO 1 Rate LFO 1 Waveform Select LFO 1 Intensity LFO 1 Rate LFO 1 Waveform Select LFO 1 Low Intensity LFO 1 High Intensity Sensitivity Mode Level Si
32. c 20 Ps Hm lowest highest U Formant Stretch Formant Shift Resonance High Low Frequency The blue bar shown just beneath the em gic logo is a multi part control which is used to determine the lowest and highest frequencies allowed to pass by the filter section The length of the blue bar represents the frequency range for the analysis and synthesis Frequencies of any audio input which fall outside these boundaries will be cut All filter bands are distrib uted evenly across the range defined by the High Low Frequency values User Manual Version 1 35 EVOC 20 PS Parameters e To adjust the low frequency value simply click hold on the silver slider to the left of the blue bar and drag to the right or left The value range is 75 750 Hz e To adjust the high frequency value simply click hold on the silver slider to the right of the blue bar and drag to the left or right The value range is 800 8000 Hz To adjust both sliders simultaneously click on the area between the slider halves directly on the blue bar and drag to the left or right You can make changes to the High Low Frequency values directly by using your mouse as a slider on the numerical entries 270 and 7100Hz in the diagram Lowest Highest These parameters can be found in the two small windows on either side of the Formant Filter window These switches determine whether the lowest and highest filter bands
33. combination of two filter banks A and B The input signal runs through both filter banks in parallel You can manually or automatically crossfade between the output signals of both filter banks evoc 20 FB L Formant Shit Boost A i Fade aB Bands lowest highest Stereo Mode LFO Rate em B Ka Rate LFO S Ve L g w Stereo Width Intensity Intensity The EVOC20 FB can be used in the insert slots of Audio Bus Master and Audio Instrument channels Please refer to the Using the EVOC20 TO and EVOC20 FB section from page 17 onwards for step by step instructions on the insertion of this plug in The EVOC20 FB interface is divided into three main sections These are the Formant Filter Modulation and Output areas Emagic 56 EVOC 20 The Formant Filter Area e V O C The Formant Filter Area The Formant Filter Window The Formant Filter window is divided into two sections by a horizontal line The upper half applies to the Filter Bank A and the lower half to the Filter Bank B evoc 20 FB Formant Shift Boost A i Fade ns Bands lowest highest The individual vertical bars in each bank of settings are faders which represent the level of a particular frequency band formant To adjust each fader simply click hold on the desired bar and drag up or down Complex bar curves are easily created by painting them in Click and hold the mouse button
34. der It should be noted that any audio signal can be analyzed A Vocoder is not limited to speech signals How does a Vocoder work The speech analyzer and synthesizer referred to above are actu ally two fi ter banks of band pass filters Band Pass filters allow a frequency band a slice in the overall frequency spectrum to pass through unchanged and cut the frequencies which fall outside of the band s range In the EVOC 20 these filter banks are named the Analysis and Synthesis sections These filter banks have a matching number of corresponding bands 1 e if the Analysis filter bank has five bands 1 2 3 4 and 5 there will be a corresponding set of five bands in the Synthesis filter bank Band 1 in the Azal ysis bank is matched to band 1 in the SynzAhesis bank band 2 to band 2 etc User Manual Version 1 19 The EVOC 20 Basics In the EVOC 20 the audio signal arriving at the analysis input passes through the Analysis filter bank where it is divided into up to 20 bands An envelope follower is coupled to each filter band The envelope follower of each band tracks follows any volume changes in the portion of the audio source allowed to pass by the associ ated band pass filter In this way the envelope follower of each band generates dynamic control signals These control signals are then sent to the Synthesis filter bank where they control
35. e FM modulation e Ifset to 0 the FM tone generator is disabled and a sawtooth wave is generated instead e If set to values higher than 0 the FM tone generator is acti vated Higher values result in more complex and brighter sound FM Ratio The FM Ratio value range 0 5 to 3 5 knob defines the ratio between the Carrier and Modulator frequencies i e the frequencies of Oscillators 1 and 2 This setting defines the basic character of the sound With even numbered values or their multiples harmonic sounds are produced With odd numbered values or their Emagic 46 EVOC 20 The Tone Generator of the Tracking Oscillator e V O C multiples inharmonic sounds are produced which we perceive as being metallic sounding e An FM Ratio of 1 000 produces results resembling a sawtooth waveform e An FM Ratio of 2 000 produces results resembling a square wave with a pulse width of 50 e An FM Ratio of 3 000 produces results resembling a square wave with a pulse width of 33 This control is only relevant if FM Int is not set to 0 Pitch Quantize The Pitch Quantize Root Scale and Max Track controls in conjunction with the piano keys of the onscreen keyboard control the automatic pitch correction facility Pitch Quantize of the tracking oscillator Pitch Quantize in conjunction with the Root Scale and Max Track parameters can be used to constrain the pitch of the tracking oscillator to a scale or chord
36. e VP 330 ensemble vocoder keyboard The late 70 s and early 80 s were the heyday of the vocoder Artists who used them included ELO Pink Floyd Euryth mics Tangerine Dream Telex Bowie Kate Bush and many more On the production side vocoders could and can still be picked up cheaply in the form of kits from electronics stores From 1980 through to the present EMS in the UK Synton in Holland and PAiA in the USA were and remain the main flyers of the vocoding flag In 1996 Doepfer in Germany and Music and More joined the vocoder producing fraternity Throughout the 1990 s a number of standalone software based vocoders have appeared As you can see the history of the vocoder is long and varied and with 2002 seeing the birth of the EVOC 20 as a Logic plug in we re sure that the vocoder will be with us for a while to come User Manual Version 1 71 Block Diagram 11 Block Diagram Side Chain stereo to mono Frequency range between Highest Lowest lac ee g l 1 2 3 4 5 Filter bank with 5 bands example i n UN Detection 9 TO Pitch Analysis TO Max Quant Glide Noise N Synth EVOC TO Tracking Oscillator Track or Side Chain Bag Stereo CC eh Wi Width Filter bank with 5 bands Filter
37. ed by a human operator invented in 1939 This valve driven machine had two keyboards buttons to recreate consonants a pedal for oscillator frequency control and a wrist bar to switch vowel sounds on and off The analyzer detected the energy levels of successive sound samples measured over the entire audio frequency spectrum via a series of narrow band filters The results of which could be viewed graphically as functions of frequency against time The synthesizer reversed the process by scanning the data from the analyzer and supplying the results to a number of analytical filters hooked up to a noise generator This combination produced sounds The Voder was demonstrated at the 1939 World Fair where it caused quite a stir In World War II the Vocoder now called VOice enCODER proved to be of crucial importance scrambling the transoceanic conversations between Winston Churchill and Franklin Delano Roosevelt User Manual Version 1 69 Vocoder History Werner Meyer Eppler the director of Phonetics at Bonn University recognized the relevance of the machines to elec tronic music after Dudley visited the University in 1948 Meyer Eppler used the vocoder as a basis for his future writings which in turn became the inspiration for the German Elek tronische Musik movement In the 1950 s a handful of recordings ensued The Voder at the 1939 World Fair In 1960 the Siemens Synthesizer was developed in Mun
38. enu determines the Analysis signal source Track or Side Chain To switch between them use the mouse as a slider and drag vertically e Track allows you to use the audio track into which the EVOC 20 is inserted as the analysis source signal e Side Chain allows you to use another audio track as the analysis source signal The selection ofthe actual Side Chain source track is achieved by click holding on the Side Chain flip menu in the gray area at the top of the plug in window If no Side Chain track is assigned in the Side Chain flip menu then the track signal will be used Emagic 44 EVOC20 ENS ti Tip Synthesis In Parameter e V O C Synthesis In Parameter Synthesis In Flip Menu This flip menu determines the Synthesis signal source Osc illator Track or Side Chain To switch between them use the mouse as a slider and drag vertically e Oscillator allows you to use the built in monophonic tracking oscillator The oscillator tracks the pitch of the Azal ysis input signal Selection of the Oscillator activates the other parameters in the Synzhesis section If Osc is not selected the FM Ratio FM Int and other parameters in this area have no effect e Track allows you to use the audio track into which the EVOC20 TO is inserted as the Synthesis source signal e Side Chain allows you to use another audio track as the source material for the Synthesis section Selection of the Side Chai
39. erators in the Synrhesis section is an independent Nose generator There are two oscillator modes e Dual Where two oscillators make use of single cycle digital waveforms to provide the Synzhesis sound source s e FM A two operator FM engine with Oscillator 1 as a sine wave carrier and Oscillator 2 as the modulator Oscillator 2 can use any of the single cycle digital waveforms You can switch between Dual and FM modes by clicking on the Dual or FM label s to the top left of the section shown in the diagrams As you can see there are some subtle differences between the two modes We will look at the common parameters first and will then look at the mode specific options Wave 1 Parameters The footages below the Wave 1 label in both modes harks back to the days of pipe organs The longer the pipe the deeper the tone This also applies to Wave Simply click on the 16 8 or 4 foot value to select the range in which Wave oscillator 1 functions Your selection will be illuminated User Manual Version 1 29 EVOC 20 PS Parameters The numerical value beside the Wave 1 label shown as 41 in the diagrams indicates the currently selected waveform type The EVOC20 PS features 50 waveforms with different sonic characteristics To switch between them simply click hold on the numerical field and drag up or down When the desired waveform number is visible release the mouse button It should be noted that
40. gard to the quality of doth the analysis and the synthesis signal Further more the vocoder parameters need to be set carefully Following are some tips on both topics The vocoder in a way always generates the intersection point of the analysis and synthesis signals To explain If there s no treble portion in the analysis signal the resulting vocoder output will also lack treble This is also the case when the synrhesis signal features a lot of high frequency content This is true of each frequency band As such the vocoder demands a stable level in ali frequency bands from Zo input signals in order to obtain the best results This leads to the first tip Compressing the Side Chain The less the level changes the better the intelligibility of the vocoder We therefore recommend that compression be used in most cases Enhancing High Frequency Energy The frequency spectrum should be dense and rich in the high frequency portion of both the analysis and synthesis signals If the side chain analysis signal consists of vocals or speech a simple shelving filter should be sufficient It doesn t require much processing power and efficiently boosts the high mid and treble range which is so important for speech intelligibility If the synrhesis signal lacks treble energy it can be generated with a distortion effect The overdrive plug in is perfect for this purpose User Manual Version 1 9
41. gnal Out Select Ensemble Level Mono Stereo Select Stereo Width Emagic 74 EVOC 20 CC 65 CC 66 CC 67 CC 71 CC 72 CC 73 CC 74 CC 68 CC 69 CC 70 CC 102 CC 103 CC 104 CC 105 CC 81 CC 80 GG 82 CC 109 CC 112 CC 110 CC 111 8979 Achieving the Best Analysis and Synthesis Signals e V O C EVOC20 TO Sidechain Analysis Attack CC 79 Release CC 80 Freeze CC 78 Synthesis Input Mode CC 65 Bands CC 66 FM Ratio CC 86 FM Intensity CC 87 Coarse Tune CC 85 Fine Tune CC 105 Pitch Quantize Strength CC 90 Root Scale Key CC 103 Root Scale Presets CC 104 Max Track CC 88 Glide Time CC 89 Formant Filter FF Low Freq CC 67 FF Hi Freq CC 68 Formant Shift CC 69 Formant Stretch CC 74 FF Resonance CC 75 FF Low Bandpass Select CC 76 FF High Bandpass Select CC 77 LFO LFO Rate CC 70 LFO Waveform Select CC 71 Shift Intensity CC 72 Pitch Intensity CC 73 U V Detection Sensitivity CC 83 Mode CC 82 Level CC 84 User Manual Version 1 75 76 MIDI Controllers Received Signal Out Select Level Mono Stereo Select Stereo Width C D D E F F G G A At B Emagic EVOC 20 Achieving the Best Analysis and Synthesis Signals e V O C EVOC20 FB Filter Bands Band Level Bank A Bank B Band 1 CC 64 CC 96 Band 2 CC 65 CC o Band 3 CC 66 CC 98 Band 4 CC 67 CC 99 Band 5 CC 68 CC 100 Band 6 CC 69 CC 101 Band 7 CC 70 CC 102 Band 8
42. he EVOC 20 an installed copy of Logic Audio Gold Platinum or MicroLogic AV 5 or higher is required Please start the Logic 5 installer located on the Emagic Soft ware CD which ships with the EVOC 20 Follow the on screen installer instructions The installer updates the EVOC20 and Logic 5 software components if necessary Your stored Plug In settings will not be erased by this process If your Logic 5 series program i e MicroLogic AV Logic Audio Logic Gold Logic Platinum is not available as an installer option the most up to date version is already installed on your hard drive Depending on the volume number of the Emagic Software CD the installer offers the option to also install other programs of Logic 5 series These can then be tested by switching the XSKey to the respective demo setting The EVOC20 is copy protected and authorized via the XSKey Expandable System Key This is how it works The XSKey Authorization Window Open the XSKey Authorization window by selecting Help gt HSKey Authorization Windows or gt SKey Authorization Mac OS The window shows the authorization status for all avai able software instruments and add on modules The authoriza tion code for each is stored in the XSKey Please take good care of your XSKey Emagic 12 EVOC 20 The XSKey Authorization Window e V O C authorized _ authorized activate Demo expiring in 25 days expiring in 28 days 626
43. he audio part This will make experimentation easier Open the Mixer window or the Environments Audio layer if you re running Logic Gold or Platinum You may use the Windows menu or a Key Command 89 MJ PC mM or can simply double click on the Audio Instrument track name to launch the Audio layer of the Environment window Click hold on any of the plug in slots of the track s Audio channel and a hierarchical menu will open Browse to the EVOC20 TO or EVOC20 FB entries found in the Filter group of the plug in list Once the desired effect name is selected highlighted release the mouse button This will automatically launch the plug in window provided that the Audio gt Audio Preferences gt Display gt Open plug in window on insertion parameter is active We recommend that this parameter be activated By default it is ON You can manually open the EVOC 20 plug in window at any time by double clicking on the blue EVOC 20 plug in Insert field of the channel Once the EVOC 20 s graphical interface is launched press the play button on the Transport Bar or use the P zy Key Command 0 on the numeric keypad And now as the file is playing back do a little experimen tation with the knobs sliders and other controls Have fun User Manual Version 1 Tip Tip Getting Started and feel free to insert further effect plug ins on the channel or busses to further enhance and manipulate the sound e Changes made t
44. hem down in respect to the Analysis filter bank i You can jump directly to the values 0 5 1 0 40 5 and 1 by clicking on their numbers When combined Formant Stretch and Formant Shift alter the formant structure of the resulting vocoder sound and can result in some inter esting timbre changes For example using speech signals and tuning Formant Shift up results in Mickey Mouse effects Formant Stretch and Formant Shift are also useful if the frequency spectrum of the Synthesis signal does not complement the frequency spectrum of the Analysis signal You could create a synthesis signal in the high frequency range from an analysis signal which mainly modu lates the sound in a lower frequency range for example Resonance Resonance is responsible for the basic sonic character of the vocoder low settings give it a soft character high settings will lead to a more snarrling sharp character Increasing the value for Resonance emphasizes the middle frequency of each frequency band The use of either or both of the Formant Stretch and Formant Shift parameters can result in the generation of unusual resonant frequen cies when high Resonance settings are used User Manual Version 1 e Formant Shift Resonance 37 EVOC 20 PS Parameters Modulation Parameters ate 47 N Rate Pitch LFO D A e Shift LFO _ ou K u x Int via Whi ZE x mo c Inte
45. ich Among it s many oscillators and filters it included a valve based vocoding circuit In 1967 a company called Sylvania created a number of digital machines that used time based analysis of input signals rather than band pass filter analysis In 1971 after studying Duley s unit Bob Moog and Wendy Carlos modified a number of synthesizer modules to create their own vocoder for the Clockwork Orange sound track Peter Zinovieff s company EMS in London developed a stan dalone and altogether more portable vocoder EMS are Emagic 70 EVOC 20 Achieving the Best Analysis and Synthesis Signals e V O C probably best known for the Synthi AKS and VCS3 synthe sizers The EMS Studio Vocoder vocoder was the world s first commercially available machine released in 1976 It was later renamed the EMS 5000 Among it s users were Stevie Wonder and Kraftwerk Stockhausen the German Elektro nische Musik pioneer also used an EMS vocoder Sennheiser released the VMS 201 in 1977 and EMS released the EMS 2000 which was a cut down version of it s older sibling 1978 saw the beginning of mainstream vocoder use riding on the back of popularity created through the music of Herbie Hancock Kraftwerk and a handful of other artists Among the manufacturers who jumped into vocoder production at this time are Synton Bode Electro Harmonix and Korg with the VC 10 In 1979 Roland released th
46. ighest filter bands are band pass filters just like all the bands between them or whether they act as low pass high pass filters respectively Click once on them to switch between the two curve shapes available e In the Band Pass setting the frequencies below above the lowest highest bands are ignored on analysis and synthesis e In the High Pass or Low Pass setting all frequencies below the lowest or above the highest bands will also be consid ered for analysis and synthesis Formant Stretch Alters the width and distribution of all bands in the Synthesis filter bank extending or narrowing the frequency range defined by the blue bar Low High Frequency parameters for the Synthesis filter bank With Formant Stretch set to 0 the width and distribution of the bands in the Synthesis filter bank equal the width of the bands in the Analys s filter bank Low values narrow the width of each band while high values widen it The control range is from 0 5 to 2 as a ratio of the overall bandwidth i You can jump directly to the value 1 by clicking on its number Emagic 50 EVOC 20 20 Formant Filter e V O C Formant Shift Formant Shift moves the position of all bands in the Synthesis filter bank up and down With Formant Shift set to 0 che posi BC tion of the bands in the Synthesis filter bank equal the position of the bands in the Analysis filter bank Positive values will move the bands up in frequenc
47. ignals including automation to disk at any time via Logic s Bounce function The resulting audio files generated by this process can then be used on Audio Tracks within your arrangement This type of functionality may prove of use when a song requires more processing power than your CPU is capable of delivering The Plug in Window Hands on operation of all EVOC 20 effects is performed in the plug in window Double click on the EVOC 20 insert panel on the Audio Object channel strip to access the plug in window Each instance of the individual EVOC 20 effects offers a discrete plug in window allowing each instance to have unique settings The parameters described in the following chapters are easier to manipulate from within the Editor view of the plug in window If you can see multiple horizontal sliders on a blue background please switch from the Controls view to the Editor User Manual Version 1 23 Overview and Integration view using the flip menu found in the upper portion of the plug in window Common Plug in Window Parameters Common to all of the EVOC20 and other Logic plug ins is the gray area shown at the top of the plug in window The EVOC20 TO and EVOC20 PS feature a Side Chain flip menu Link If the Link button is switched off you can open several plug in windows simultaneously If the Link button is switched on default a single plug in window will be used to display all opened plug ins Each t
48. ility please keep these points in mind The spectra of the analysis and synthesis signals should overlap almost completely Low male voices with synthesis signals in the treble range do not work well The synthesis signal must be constantly sustained without breaks The track should be played legato as breaks in the synthesis signal will stop the vocoders output Alternatively in the EVOC20 PS the Release parameter of the synthesis signal not to be confused with the Release time of the anal ysis section can be set to a longer time Nice effects can also be achieved by the use of a reverberation signal as a synthesis signal Note that the two latter methods can lead to harmonic overlaps Do not overdrive the vocoder This can happen easily and distortion will occur Lower the Gain of the compressor in the side chain track to avoid this problem Pronounce the speech well if the recording is to be used as an analysis signal Spoken words with a relatively low pitch work better than sung vocals even if the creation of vocoder choirs is your goal Pronounce consonants well A nice example is the rolled R of We are the Robots by Kraftwerk a classic vocoder track This pronunciation was specifically made to cater to the demands of the vocoder Feel free to do what you like when setting the formant parameters The intelligibility of speech is surprisingly little affected by shifting stretching or comp
49. ime you launch a new plug in the window will update to reflect the new selection You can easily and conveniently switch between active plug ins without relaunching the plug in window Please see the Switching the Contents of the Plug in Window section from page 25 onwards Bypass The Bypass button bypasses the effect plug in e g for testing purposes Saving and Selecting Settings The EVOC20 saves any parameter changes you make in the plug in window as a Setting Every plug in available for use in your version of Logic allows the storage and recall of these parameter changes Settings for the EVOC20 processors are saved and recalled from the corresponding EVOC20 TO EVOC20 PS and EVOC20 FB sub folders within the Plug In Settings folder Emagic 24 EVOC20 2 20 The Plug in Window e V O C Save Setting To save a Setting after making parameter changes click on the Settings flip menu and select Save Setting or Save As Setting e In the ensuing file save dialog type in the desired name then click the save or OK button This will automatically save the Setting in the appropriate folder for the selected EVOC 20 effect It is strongly recommended that you do not attempt to change the folder structure Plug in Setting gt EVOC20 Inside the corresponding EVOC20 folder you are however free to sort your settings in sub folders This folder structure is reflected in a hierarchical menu each time you
50. is compressed as recommended the level of breath rumble and background noises will rise These background noises can cause the vocoder bands to open but this is normally not intended In order to eliminate these noises it s therefore a good idea to employ a noise gate before compression and treble boosting If the side chain signal is gated appropriately you may find that you want to reduce the analysis Release value When gating speech and vocals the Hysteresis parameter is impor tant Threshold defines the level above which the gate will open Hysteresis defines a lower threshold level under which the gate will close The value is relative to the Threshold level The graphic shows a Threshold setting which is well adapted to compressed speech Unwanted triggering by low or high frequency noise is avoided by the User Manual Version 1 65 Tips for Better Speech Intelligibility noise gates dedicated sidechain filters The Hold Release and Hyster esis values shown are well adapted to typical level envelopes of most vocal and speech signals IID noise gate Treatment of the side chain signal speech with Compressor Shelving Filter and Gate The Silver Compressor Silver Gate or another EQ are well suited for these purposes Emagic 66 EVOC 20 Achieving the Best Analysis and Synthesis Signals e V O C Achieving the Best Analysis and Synthesis Signals For a good speech intelligib
51. ll circuits responsible for transferring the sonic characteristics from the analysis to the synthesis signal from a Vocoder and dispensed with the detection of voiced or unvoiced signals you d be left with two filter banks the anal ysis and synthesis filters User Manual Version 1 Tip The EVOC 20 Basics To use these musically you would need to ensure that you could control the output level of each band pass filter With this level of control you can apply unique and dramatic changes to the frequency spectrum Emagic 22 EVOC 20 20 The Plug in Window e V O C 5 Overview and Integration Multiple EVOC20 instances can be opened simultaneously Each EVOC20 PS instance requires its own Audio Instrument channel The number of instances which can be opened simul taneously is entirely dependent on your Logic version and processing resources available The type and speed of the CPU used and any other tasks such as additional effects processing Audio Instrument use or Audio track playback performed simultaneously will affect performance All parameters of each EVOC 20 instance and all associated mixer parameters can be fully automated The EVOC20 responds to automation data allowing you to easily edit or create automation data in any of Logic s suitable editor window s Please refer to your Logic reference manual for further information To save precious processing resources you can record the EVOC20 s
52. ls section from page 20 onwards Emagic 30 EVOC 20 Synthesis Parameters e V O C Turn Color full right and Level just a tiny bit up to achieve a more lively and fresh synthesis signal Dual Mode Parameters The parameters specific to the Dual mode are found in the Wave 2 section and the Balance slider to the right e The Semi parameter adjusts the tuning of the second oscil lator Wave 2 in semitone steps Adjustment is made by using the mouse as a slider directly on the numerical field Its Range 24 or up down two octaves respectively e The Detune parameter fine tunes Wave 1 and Wave 2 in cents 100 cents equals a semitone step Doing so will detune Wave 7 in conjuction with Wave 2 around the tuning zero point The range is 50 cents or up down half a semitone Adjustment is made by using the mouse as a slider directly on the numerical field e The Balance slider allows you to blend the two oscillators Wave I and Wave 2 FM Mode Parameters The parameters specific to the FM mode are found in the Wave 2 section and the FM Int slider to the right e The Ratio c oarse parameter adjusts the coarse frequency ratio of the second oscillator in relation to the first oscillator Adjustment is made by using the mouse as a slider directly on the numerical field Range 0 32 e The Ratio f ine parameter adjusts the fine frequency ratio of the second oscillator in relation to the first o
53. lyphony It should be noted that increasing the number of voices also increases processor overhead e When Mono or Legato is selected the EVOC20 is mono phonic and uses only one voice In Legato mode Glide see page 32 is only active on tied notes Envelopes are not retriggered when tied notes are played single trigger In Mono mode Glide is always active and the envelopes are retriggered by every note played multi trigger e The Unison button enables disables unison mode In this mode each EVOC 20 PS voice is doubled which will cut polyphony in half to a maximum of 8 voices as indicated by the numeric Voices field The doubled voices are detuned by the amount defined with the Analog parameter Also see the Analog Tuning section from page 32 onwards e In Unison Mono mode both the Unison and Mono or Legato buttons are active up to 16 voices can be stacked and played monophonically In this mode the Voices field displays the number of stacked voices that sound at the same time Emagic 28 EVOC 20 Synthesis Parameters e V O C Stacking voices in Unison Mono mode will increase the EVOC 20 s output volume To avoid overloading the Audio Instrument channel adjust the EVOC 20 Level slider accordingly Oscillator Section The EVOC20 PS is equipped with a two oscillator digital synthesizer which features a number of waveforms and FM Frequency Modulation Further to these sound gen
54. n a blue back ground Side Chain The Side Chain flip menu allows the selection of an audio track This facilitates the routing of an audio signal from another audio channel into the plug in via a side chain In the EVOC 20 this facility enables the use of one audio track to be used as the Analysis source signal for the processing of another audio track EVOC20 TO This can lead to many interesting and creative options and results Note that the Side Chain flip menu is only found on the EVOC20 TO and PS plug ins Hints for Changing Parameters You can reset any parameter to its default value by RS click Mac or etr click Windows e If you hold 4 before clicking and moving a control its value can be fine tuned e To control a slider you can click in a free part of the slider way and move the mouse too This works also if it is a double slider Automation As with every Logic plug in the EVOC 20 effects can be fully automated Please refer to your Logic documentation for further information Emagic 26 EVOC 20 mom evoc 6 EVOC2O PS Parameters The EVOC20 PS is a sophisticated vocoder equipped with a polyphonic synthesis engine capable of receiving MIDI note input This allows the EVOC 20 PS to be played resulting in classic vocoder choir sounds for example Single notes and chords played with the polyphonic EVOC20 PS will sing with the articulation of the A
55. n emphasis of the frequency area surrounding the frequency defined by the Cutoff param eter The filter is used for rough signal shaping before the signal is articu lated by the vocoding circuits Hint Set Cutoff as high as possible and dial in a little bit of Resonance to get a nice brilliant high end Emagic 32 EVOC 20 Sidechain Analysis In Parameters e V O C Envelope This is an Azzac Release envelope generator used for level control over the oscillator section e The Attack parameter determines the amount of time that it takes for the Osci ators of the Synthesis section to reach their maximum level e The Release parameter determines the amount of time that it takes for the Oscillators of the Synthesis section to reach their minimum level Sidechain Analysis In Parameters Attack The Attack parameter determines how fast each envelope follower coupled to each Ana ysis filter band reacts to rising signals Longer attack times result in a slower tracking response to transients of the Aza ysis input signal A long attack time on percussive input signals a spoken word or hi hat part for example will translate into a less articulate vocoder effect Set Attack as low as possible to get precise articulation Release The Release parameter determines how fast each envelope follower coupled to each Ana ysis filter band reacts to falling signals Longer Release times make transients of
56. n percussive input signals a spoken word or hi hat part for example will translate into a less articulate vocoder effect But Release times that are too short result in rough grainy vocoder sounds Release values of around 8 to 10 ms have proven to be useful starting points User Manual Version 1 43 EVOC 20 TO Parameters Freeze The Freeze button holds the current analysis sound spectrum indefinitely The frozen Analysis signal can capture a particular character istic of the source signal which is then imposed as a complex sustained filter shape on the Synthesis section Using a spoken word pattern as a source for example the Freeze parameter could capture the attack or tail phase of an individual word within the pattern e g the vowel a With Freeze engaged the Analysis filter bank ignores the input source until it is disengaged i Another use of the Freeze parameter which can be automated could be to compensate for people s inability to sustain sung notes for a long period without taking a breath If the Synthesis signal needs to be sustained when the Analysis source signal a vocal part isn t Freeze can be used to lock the current formant levels of a sung note even during gaps in the vocal part i e between words in a vocal phrase When the Freeze parameter is used the Attack and Release parame ters have no effect Analysis In Flip Menu This flip m
57. n track is achieved by click holding on the Side Chain flip menu in the gray area at the top of the plug in window If no Side Chain track is assigned in the Side Chain flip menu then the Tip track signal will be used Bands The Bands window determines the number of frequency bands a used by the EVOC20 TO It ranges from 5 to 20 Adjustments are made by using the mouse as a slider The greater the number of bands the more precisely the sound can be reshaped Increasing the number of bands also increases the processor over Tip head User Manual Version 1 45 EVOC 20 TO Parameters The Tone Generator of the Tracking Oscillator Depending on the position of the FM Int control the tracking oscillators delivers either a sawtooth wave or the signal of an FM tone generator The FM tone generator consists of two oscillators each generating a sine wave The frequency of Oscillator 1 is linearly modulated by Oscil lator 2 This deforms the sine wave of oscillator 1 to a waveform with rich harmonic structure Its harmonic structure depends on the modu lation intensity and the frequency ratio of both oscillators Tune Coarse Tune offsets the pitch of the oscillator in semitones by up to 2 octaves Fine Tune The default value is concert pitch A 440 Hz The range is from 425 00 to 455 00 Hz FM Int ensity This knob selects the basic waveform and controls the intensity of th
58. nalysis audio source evoc 20 PS k GE Sidechain Analysis in Bands SE Mode l Resonance e y a J Ka Stereo Mode Cutoff ie U V Detection A A J Rack Release 2 i ul Level Pitch L Shift LFO Ai 9 Stereo Width Int v a Whl Intensity 0 29 A 14 In this process the sonic characteristics and changes of the audio signal arriving at the analysis input are imposed on the output signal of the integrated synthesizer the Synthesis section As outlined earlier the EVOC20 PS can only be used in the op insert slot of an Audio Instrument channel Please refer to the Using the EVOC20 PS section from page 15 onwards for step by step instructions on the insertion of this plug in The EVOC20 PS interface is divided into six main sections These are the Synthesis Sidechain Analysis Formant Filter Modu lation U V Detection and Output areas User Manual Version 1 27 EVOC 20 PS Parameters Synthesis Parameters The EVOC20 PS is equipped with a polyphonic synthesis engine It is the only EVOC20 plug in capable of accepting MIDI note input The parameters of the Synthesis section are described below Mode Switches These switches determine the number of voices used by the EVOC20 e When Poly is selected the maximum number of voices is set via the numeric field alongside the Poly button To change the value click and hold with your mouse and drag up or down to increase decrease po
59. nes the input output mode of the Synthesis filter bank Choices are m s mono input to stereo output and s s svereo input to stereo output i The Stereo Mode should be set to m s if the signal going into the pee Synthesis filter bank is monophonic or Synthesis In is set to Osc Ka Y Stereo Width Emagic 54 EVOC 20 20 Output Parameters e V O C Stereo stereo s s is the preferred setting for stereo Synthesis input signals In this case the stereo signal is processed by a separate filter bank for the left and right channels When using the m s Mode on stereo Synthesis input signals the stereo signal is first summed to mono before it is passed on to the Synthesis filter bank Stereo Width Stereo Width distributes the output signals of the Synthesis section s filter bands in the stereo field In the left position the output of all bands are centered In the center position the output of all bands ascends from left to right In the right position the bands are output alternately on the left and right channels The stereo stereo mode s s uses one filter bank per channel The positioning of the frequency bands correspond to that described above but the bands of each filter bank ascend in opposing direc tions from left to right User Manual Version 1 55 EVOC 20 FB Parameters 8 EVOC20 FB Parameters The EVOC20 FB Filter Bank is an extremely sophisticated
60. nsity The Modulation LFO area offers two LFOs to control the Formant Shift and Pitch parameters of the EVOC20 PS The LFOS can run free or synchronized to the song s tempo e Pitch LFO on the left hand side controls Pitch modulation Vibrato of the built in synthesizer s oscillators It is hard wired to accept data from the Mod Wheel of your MIDI keyboard or from corresponding MIDI data to control modu lation intensity e Shift LFO controls the Shift parameter of the Synthesis filter bank to produce dynamic phasing like effects Wave These two switches allow the selection of the waveform type used by Pitch LFO and Shift LFO A selection of Triangle falling and rising Sawtooth Square up and down around zero bipolar good for trills Square up from zero unipolar good for changing between two definable pitches a random stepped waveform S amp H random music and a smoothed random waveform is available for each LFO o v N A ni un Mo Nu Intensity Int via Whl The Intensity slider controls the amount of Formant Shift modulation by S Z f LFO The Int via Whl slider for the Pitch LFO features a multi part slider The intensity of LFO pitch modulation can be controlled by the Modulation wheel on an attached MIDI keyboard The upper half of the slider determines the intensity when the Modulation wheel is set to its maximum value and the lower half when set to its minimum value By clicking and dragging
61. ntability or fitness for a particular purpose As a result this software is sold as is and you the purchaser are assuming the entire risk as to quality and performance In no event will Emagic be liable for any direct or indirect damages resulting from any defect in the software or documentation This agreement will terminate if you fail to comply with any term or condi tion in this agreement This agreement shall be governed by the laws of the Federal Republic of Germany This manual copy protection and software described herein are copy righted 2002 by Emagic Soft und Hardware GmbH Halstenbeker Weg 96 25462 Rellingen Germany Concept and Project Steffan Diedrichsen Management Jan Hinnerk Helms DSP Development Steffan Diedrichsen Markus Sapp GUI Development Jan Cordes Design Atelier Herr Rogge amp Frau Pott Graphic Design Ole Lagemann Digiwave Design Jan Hinnerk Helms Thomas Sauer Sascha Kujawa Joeri Vankeirsbilck Design Consulting Jan Hinnerk Helms Thomas Sauer User Manual and Dave Bellingham Thomas Sauer Online Help Jan Friedrich Conrad Jan Hinnerk Helms Ronald Bias Uwe Senkler Special thanks to the Beta test Team Thorsten Adam Michael Adamietz Chris Adams Thomas Alker Raymund Beyer Thomas Bleicher Per Boysen Alan Branch Alex Breuer Martin Buechler Jason Byrne Jonathan Campbell lan Cullen Darrell Diaz Andre Dupke Sascha Franck Michele Gaggia Byron Gaither Michael Gerdau
62. o or e the Shift parameter of the Synthesis filter bank It allows synchronous non synchronous modulation in bar beat triplet or free values KR amr e Wave 2 Intensity Rae 100 j LEO Wave SAN DN The Wave switches allow the selection of a waveform type tobe an RECT2 used by the LFO A selection of Triangle falling and rising Mns Sawtooth Square up and down around zero bipolar good for Sy trills Square up from zero unipolar good for changing between two definable pitches a random stepped waveform S amp H random music and a smoothed random waveform is available Simply click on the appropriate button to select a waveform type Intensity The Intensity sliders control the amount of Formant Shift and Pitch modulation Vibrato by the LFO Rate These knob determines the speed of the modulation Values to the left of the center positions are synchronized with the sequencer s tempo and include bar values triplet values and more Values to the right of the center positions are non synchronous and displayed in Hertz cycles per second The ability to use synchronous bar values could be used to perform a formant shift every four bars on a one bar percussion part which is being cycled Alternately you could perform the same formant shift on every eighth note triplet within the same part Either method can Emagic 52 EVOC 20 Unvoiced Voiced U V Detection e V O C
63. o the parameters of the EVOC20 can be saved and later recalled Please refer to the Saving and Selecting Settings section from page 24 onwards for further information It should be noted that the EVOC 20 TO uses a Side Chain allowing the use of another track as the analysis and or synthesis signal In the gray area at the top of the plug in window click hold on the Side Chain flip menu and select the desired Audio track In the Mixer adjust the volume levels of the EVOC 20 and the audio track used for the Side Chain to taste Emagic 18 EVOC 20 20 What is a Vocoder e V O C 4 The EVOC20 Basics What is a Vocoder The word Vocoder is an abbreviation for VOice enCODER As with many technologies in this otherwise beautiful world it is a child of war The Vocoder was initially developed for secure speech transmission over telephone lines which couldn t be tapped To achieve this the speech signal was analyzed and only the cryptic results of the analysis were transmitted over telephone lines On the receiving side these results were used to synthetically rebuild the original voice signal Fortunately Vocoders are used nowadays for altogether more peaceful purposes namely for music A Vocoder analyses and transfers the sonic character of the audio signal arriving at its analysis input to the audio signal present at its synthesis input The result of this process is heard at the output of the Voco
64. ocessing the signal with the EVOC 20 PS Please see the Tips for Better Speech Intelligibility chapter from page 63 onwards for further information Sensitivity Determines how responsive the U V detection is By turning this knob to the right more of the individual unvoiced conso nants portions of the input signal are recognized i When high settings are used the increased sensitivity to unvoiced signals can lead to the U V source determined by the Mode param eter being used on the majority of the input signal including voiced User Manual Version 1 m Sensitivity highest Mode U V Detection 39 EVOC 20 PS Parameters signals Sonically this results in a sound that resembles a radio signal which is breaking up and contains a lot of static or noise Mode Flip Menu Here you can select the sound source s which can be used to replace the unvoiced content of the input signal Possible Mode settings are Off Noise Noise Synth or Blend W V Detection e Noise uses noise alone for the unvoiced portions of the sound e Noise Synth uses noise and the synthesizer for the unvoiced portions of the sound e Blend uses the analysis signal after it has passed through a high pass filter for the unvoiced portions of the sound This filtered analysis signal is then always mixed with the EVOC20 output signal The Sensitivity parameter has no effect when this setting is used
65. our mouse as a slider on the numerical entries 80 and 8000Hz in the diagram Lowest Highest These parameters can be found in the two small windows on either side of the Formant Filter window These switches determine whether the lowest and the highest filter bands are band pass filters just like all the bands between them or whether they act as low pass high pass filters respectively Click once on them to switch between the two curve shapes available e In the Band Pass setting the frequencies below above the lowest highest bands are ignored In the High Pass or Low Pass setting all frequencies below the lowest or above the highest bands will also be treated Emagic 58 EVOC 20 The Formant Filter Area e V O C Slope The flip menu Slope determines the amount of filter slope applied to all filters of both filter banks Choices are 1 filter attenuation of 6 dB per octave and 2 filter attenuation of 12 dB per octave 1 sounds softer 2 sounds tighter Boost A B Controls The Boost A and Boost B knobs allow an increase or cut in the overall gain of the A and B filter banks Their range is 20 dB To adjust click hold and drag up or down with the mouse i You will need these controls as the filter bank achieves its sounds by turning down the level of one or more filter bands To make up for the resulting energy loss use Boost Boost is also quite handy to adjust the
66. phrase When the Freeze parameter is used the Attack and Release parame ters have no effect Bands The Bands window determines the number of frequency bands used by the EVOC20 PS It ranges from 5 to 20 Adjustments are made by using the mouse as a slider The greater the number of bands the more precisely the sound can be reshaped As the number of bands is reduced the source signal s frequency range is divided up into fewer bands and the resulting sound will be formed with less precision by the Synthesis engine Emagic 34 EVOC20 Formant Filter Parameters e V O C It should be noted that increasing the number of Bands also increases Tip the processor overhead You may find that a good compromise between sonic precision allowing incoming signals speech and vocals in particular to remain intelligible and resource usage is around 10 to 15 bands Formant Filter Parameters The Formant Filter Window The Formant Filter window is divided into two sections by a horizontal line The upper half applies to the Analysis section and the lower half to the Synthesis section Changes made to the High Low frequency parameters the Bands parameter or the Formant Stretch and Shift parameters will result in visual changes to the Formant Filter window This provides you with invaluable feedback on what is happening to the signal as it is routed through the two Formant Filter banks evo
67. r 33 Formant Filter Parameter 35 Modulation Parameter 38 Unvoiced Voiced U V Detection 2 2 como 39 Output Parameters iude OR NEEN aa ka X RS ee EY 40 EVOC20 TO Parameters 0 00 42 Analysis In Parameter 43 Synthesis In Parameter 45 The Tone Generator of the Tracking Oscillator 46 FormantFilter La estela EE 49 Modulation Parameters 52 Unvoiced Voiced U V Detection oc non 53 Output Pararieters iY Lulu veia sees gebe aude fees a eed dude Seek ad 54 User Manual Version 1 5 10 11 12 Table of Contents EVOC20 FB Parameter 56 The Formant Filter Area 2 2 se 57 Modulation Parameters 60 Output Sectors oet s esee one TE dedu anre one gota a 61 Tips for Better Speech Intelligibility 63 Avoiding Sonic Artifacts icis 64 Achieving the Best Analysis and Synthesis Signals 67 Vocoder History esc Rp eo hen e etes 69 Block Diagram ns sera Hin 72 MIDI Controllers Received 2 222 73 Emagic EVOC20 evoc 1 Welcome and thank you for your purchase of the 20 Band Emagic Vocoder EVOC20 We are proud of this collection of three excellent plug ins for your Logic production environment We are confident that you will find them an extremely versatile addition to the extensive array of effects processing options included with your version of Logic This m
68. ressing the formants Even the number of frequency bands used has a minimal impact on the quality of the intelligibility The reason for this is our ability to intuitively differentiate the voices of children women and men whose skulls and throats vary vastly by nature Such physical differences cause variations in the formants which make up their voices Our perception recognition of User Manual Version 1 67 68 Tips for Better Speech Intelligibility speech is based on an analysis of the relationships between these formants In the EVOC 20 these stay intact even when extreme formant settings are used Emagic EVOC 20 Achieving the Best Analysis and Synthesis Signals e V O C 10 Vocoder History You may think of the Vocoder as being a decidedly futuristic device with a fairly short history If so it may surprise you to learn that the Voder and Vocoder date back to 1939 and 1940 respectively Homer Dudley a research physicist at Bell Laboratories New Jersey USA developed the Voice Operated reCOrDER as a research machine It was originally designed to test compres sion schemes for the secure transmission of voice signals over copper phone lines It was a composite device consisting of an analyzer and an arti ficial voice synthesizer These were the e Parallel Bandpass Vocoder speech analyzer and resynthe sizer invented in 1940 e The Voder speech synthesizer a voice model play
69. s output 1 R l Stereo Width signal Stereo Mode This flip menu determines the input output mode of the EVOC 20 Formant filter bank Choices are m s mono input to stereo output and S s szereo input to stereo output e The Stereo Mode should be set to m s if the signal going into the EVOC 20 FB is monophonic for example a mono audio track Stereo stereo S s 1s the preferred setting for stereo input signals In this case the stereo signal is processed by separate filter banks for the left and right channels When using the m s Mode on stereo input signals the stereo signal 1s first summed to mono before it is passed on to the filter banks Stereo Width Stereo Width distributes the output signals of the filter bands in the stereo field In the left position the output of all bands are centered In the center position the output of all bands ascends from left to right User Manual Version 1 61 62 EVOC 20 FB Parameters In the right position the bands are output evenly on the left and the right channel The stereo stereo mode s s uses one A B filter bank per channel The positioning of the frequency bands correspond to that described above but the bands of each filter bank ascend in opposing direc tions from left to right Emagic EVOC 20 20 Output Section e V O C 9 Tips for Better Speech Intelligibility The classic vocoder effect is very demanding with re
70. scillator The range is 0 99 Adjustment is made by using the mouse as a slider directly on the numerical field e The FM Int slider determines the intensity of Wave s sine wave modulation by Wave 2 Higher FM Int settings will result in a more complex waveform with more overtones When combined the Ratio and FM Int parameters form the resulting complex FM waveform and thus define their harmonic content User Manual Version 1 31 EVOC 20 PS Parameters Analog Tuning The Analog tuning parameters simulate the instability of analog circuitry found in vintage vocoders Analog alters the pitch of each note randomly This behavior is much like that of polyphonic analog synthesizers The Analog knob controls the intensity of the random detuning Tuning The range of detuning is defined in the Tune window Adjust ments are made by using the mouse as a slider The range is from 425 to 455Hz Glide The effect of this knob depends on the setting made in the Bend Range window Glide determines the time it takes for the pitch to slide from one note to another portamento The range is 5000 ms Bend Range Bend Range determines the pitch range in semitones for pitch bend modulation The range is 12 semitones Cutoff The cutoff frequency of the lowpass filter As you turn this knob to the left an increasing number of high frequencies are filtered from the signal Resonance Turning up Resonance leads to a
71. the Analysis input signal sound longer at the vocoder s output Freeze At Release Sidechain Analysis in Bands A long release time on percussive input signals a spoken word or hi hat part for example will translate into a less articulate vocoder effect But Release times that are too short result in rough grainy User Manual Version 1 33 EVOC 20 PS Parameters vocoder sounds Release values of around 8 to 10 ms have proven to be useful starting points Freeze The Freeze button holds the current Analysis sound spectrum infinitely The frozen Analysis signal can capture a particular character istic of the source signal which is then imposed as a complex sustained filter shape on the Synthesis section Using a spoken word pattern as a source for example the Freeze parameter could capture the attack or tail phase of an individual word within the pattern e g the vowel a With Freeze engaged the Analysis filter bank ignores the input source until it is disengaged i Another use of the Freeze parameter which can be automated could be to compensate for people s inability to sustain sung notes for a long period without taking a breath If the Synthesis signal needs to be sustained when the Analysis source signal a vocal part isn t Freeze can be used to lock the current formant levels of a sung note even during gaps in the vocal part i e between words in a vocal
72. ust produce different sounds for the voiced and unvoiced parts of the signal An example In the word synthesis the unvoiced portions of the word would be as follows ess as in S yathe S 7 S and th as in syn TH esis In the EVOC20 TO and PS plug ins there is an Unvoiced Voiced detector This unit detects the unvoiced portions of the sound in the analysis signal and then substitutes the correspon ding portions in the synthesis signal with Nozse a mixture of Noise Synth or with the original signal Blend If the U V Detector detects voiced parts it passes this information to the Synthesis section which uses the normal synthesis signal for these portions Control over unvoiced voiced sound detection type and level is found in the U V Derection section of these two EVOC20 plug ins It should be noted that an s sound contains a lot of high frequency content whereas p or b sounds contain a lot of low frequency energy Due to the way human beings hear the intelligibility of speech is highly dependent on the presence of high frequency content To aid in keeping speech clear it may be worthwhile using equalization to boost or cut particular frequencies in analysis signals before processing them with the EVOC 20 PS or TO Please see the Tips for Better Speech intelligibility chapter from page 63 onwards for further information How does a Filter Bank work If you removed a
73. when in FM mode the waveform of Wave 1 is a fixed sine wave The waveform parameter of Wave 1 does not have an effect in this mode Wave 2 Parameters The numerical value beside the Wave 2 label shown as 41 in the diagrams indicates the currently selected waveform type The EVOC20 PS features 50 single cycle digital waveforms with different sonic characteristics To switch between them simply click hold on the numerical field and drag your mouse up or down When the desired waveform number is visible release the mouse button Noise Parameters The Noise generator provides a further sound source which can be used o addition to the two oscillators Wave and Wave 2 The Level knob controls the amount of noise added to the signals of the two oscillators and the Color knob controls the timbre of the noise signal When the Color knob is turned full left the Notse generator creates a pure white noise When turned full right it generates b ue noise high passed noise White noise always has been used to create wind and rain sound effects It has the same energy in each frequency interval Blue noise sounds brighter since its bass portion is suppressed by a high pass filter It is important to note that the Noise generator in the Oscillator section is independent of the Noise generator in the U V Detection section For further information on voiced and unvoiced signals please refer to the Analyzing Speech Signa
74. y while negative values will move them down in respect to the Aza ysis filter bank i You can jump directly to the values 0 5 1 0 0 5 and 1 by clicking on their numbers When combined Formant Stretch and Formant Shift alter the formant structure of the resulting vocoder sound and can result in some inter esting timbre changes For example using speech signals and tuning Formant Shift up results in Mickey Mouse effects Formant Stretch and Formant Shift are especially useful if the frequency spectrum of the Synthesis signal does not complement the frequency spectrum of the Analysis signal You could create a synthesis signal in the high frequency range from an analysis signal which mainly modulates the sound in a lower frequency range for example Resonance Resonance is responsible for the basic sonic character of the vocoder low settings give it a soft character high settings will lead to a more snarrling sharp character Increasing the value for Resonance emphasizes the middle frequency of each frequency band Resonance The use of either or both of the Formant Stretch and Formant Shift parameters can result in the generation of unusual resonant frequen cies when high Resonance settings are used User Manual Version 1 51 EVOC 20 TO Parameters Modulation Parameters The LFO can modulate the frequency Pitch of the tracking oscillator vibrat

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