Pitch shifting is a sound recording technique in which the original pitch of a sound is raised or lowered. Effects units that raise or lower pitch by a pre-designated musical interval (transposition) are called pitch shifters.
Pitch shifting is a sound recording technique in which the original pitch of a sound is raised or lowered. Effects units that raise or lower pitch by a pre-designated musical interval (transposition) are called pitch shifters.
The simplest methods are used to increase pitch and reduce durations or, conversely, reduce pitch and increase duration. This can be done by replaying a sound waveform at a different speed than it was recorded. It could be accomplished on an early reel-to-reel tape recorder by changing the diameter of the capstan or using a different motor. As for vinyl records, placing a finger on the turntable to give friction will slow it, while giving it a "spin" can advance it. As technologies improved, motor speed and pitch control could be achieved electronically by servo drive system circuits. [1]
A pitch shifter is a sound effects unit that raises or lowers the pitch of an audio signal by a preset interval. For example, a pitch shifter set to increase the pitch by a fourth will raise each note three diatonic intervals above the notes actually played. Simple pitch shifters raise or lower the pitch by one or two octaves, while more sophisticated devices offer a range of interval alterations. Pitch shifters are included in most audio processors today.
A harmonizer is a type of pitch shifter that combines the pitch-shifted signal with the original to create a two or more note harmony. The Eventide H910 Harmonizer, [2] released in 1975, was one of the first commercially available pitch-shifters and digital multi-effects units. On November 10, 1976, Eventide filed a trademark registration for "Harmonizer" and continues to maintain its rights to the Harmonizer trademark today. [3]
In digital recording, pitch shifting is accomplished through digital signal processing. Older digital processors could often shift pitch only in post-production, whereas many modern devices using computer processing technology can change pitch values virtually in real time. [4]
Pitch correction is a form of pitch shifting and is found in software such as Auto-Tune and Melodyne to correct intonation inaccuracies in a recording or performance. Pitch shifting may raise or lower all sounds in a recording by the same amount, whereas in practice, pitch correction may make different changes from note to note. [5]
Numerous cartoons have used pitch shifters to produce distinctive animal voices. Alvin and the Chipmunks recordings with David Seville (aka Ross Bagdasarian) were created by recording vocal tracks at slow speeds, then playing them back at normal speeds. Voice artist Mel Blanc used pitch shifting techniques to create the voices of Tweety and Daffy Duck. [6]
In the 1970s, reruns of shows like I Love Lucy were sped up in order to run more advertisements during commercial breaks. The Eventide H910 Harmonizer was used to downward pitch-shift the characters' voices back to normal after the episode was sped up. [7]
South Park creators Trey Parker and Matt Stone have used pitch shifting for most of their characters throughout the show's run. [8]
One notable early practitioner of pitch shifting in music is Chuck Berry, who used the technique to make his voice sound younger. Many of the Beatles' records from 1966 and 1967 were made by recording instrumental tracks a half-step higher and the vocals correspondingly low. Examples include "Rain", "I'm Only Sleeping", and "When I'm Sixty-Four".
Electronic musician Burial is known for including pitch-shifted samples of vocal melodies in his songs. [9]
Goregrind and occasionally death metal use vocals that are often pitch-shifted to sound unnaturally low and guttural.
The famous bass intro to the song "Seven Nation Army" by The White Stripes, is the result of guitarist Jack White playing an electric guitar through a pitch shifting effects pedal set to an octave below. The band was a duo, who lacked a bassist and had never previously used one in any of their music, choosing instead to mimic the sound of a bass guitar. [10]
From 1986 to 1988, American musician Prince used pitch shifting to create his “Camille” vocals.
An effects unit, effects processor, or effects pedal is an electronic device that alters the sound of a musical instrument or other audio source through audio signal processing.
In music, there are two common meanings for tuning:
A sound effect is an artificially created or enhanced sound, or sound process used to emphasize artistic or other content of films, television shows, live performance, animation, video games, music, or other media.
Time stretching is the process of changing the speed or duration of an audio signal without affecting its pitch. Pitch scaling is the opposite: the process of changing the pitch without affecting the speed. Pitch shift is pitch scaling implemented in an effects unit and intended for live performance. Pitch control is a simpler process which affects pitch and speed simultaneously by slowing down or speeding up a recording.
Pitch is a perceptual property that allows sounds to be ordered on a frequency-related scale, or more commonly, pitch is the quality that makes it possible to judge sounds as "higher" and "lower" in the sense associated with musical melodies. Pitch is a major auditory attribute of musical tones, along with duration, loudness, and timbre.
A power chord, also called a fifth chord, is a colloquial name for a chord on guitar, especially on electric guitar, that consists of the root note and the fifth, as well as possibly octaves of those notes. Power chords are commonly played with an amp with intentionally added distortion or overdrive effects. Power chords are a key element of many styles of rock, especially heavy metal and punk rock.
Flanging is an audio effect produced by mixing two identical signals together, one signal delayed by a small and (usually) gradually changing period, usually smaller than 20 milliseconds. This produces a swept comb filter effect: peaks and notches are produced in the resulting frequency spectrum, related to each other in a linear harmonic series. Varying the time delay causes these to sweep up and down the frequency spectrum. A flanger is an effects unit that creates this effect.
Reel-to-reel audio tape recording, also called open-reel recording, is magnetic tape audio recording in which the recording tape is spooled between reels. To prepare for use, the supply reel containing the tape is placed on a spindle or hub. The end of the tape is manually pulled from the reel, threaded through mechanical guides and over a tape head assembly, and attached by friction to the hub of the second, initially empty takeup reel. Reel-to-reel systems use tape that is 1⁄4, 1⁄2, 1, or 2 inches wide, which normally moves at 3+3⁄4, 7+1⁄2, 15 or 30 inches per second. Domestic consumer machines almost always used 1⁄4 inch (6.35 mm) or narrower tape and many offered slower speeds such as 1+7⁄8 inches per second (4.762 cm/s). All standard tape speeds are derived as a binary submultiple of 30 inches per second.
A sampler is an electronic musical instrument that records and plays back samples. Samples may comprise elements such as rhythm, melody, speech, sound effects or longer portions of music.
A phaser is an electronic sound processor used to filter a signal by creating a series of peaks and troughs in the frequency spectrum. The position of the peaks and troughs of the waveform being affected is typically modulated by an internal low-frequency oscillator so that they vary over time, creating a sweeping effect.
Octave effect boxes are a type of special effects unit which mix the input signal with a synthesized signal whose musical tone is an octave lower or higher than the original. The synthesised octave signal is derived from the original input signal by halving (octave-down) or doubling (octave-up) the frequency. This is possible due to the simple two-to-one relationship between the frequencies of musical notes which are separated by an octave. One of the first popular musicians to employ the octave effect was Jimi Hendrix, who also used a variety of other effects in his recordings and public performances. Hendrix used an octave-fuzz pedal known as the octavia.
In music, transcription is the practice of notating a piece or a sound which was previously unnotated and/or unpopular as a written music, for example, a jazz improvisation or a video game soundtrack. When a musician is tasked with creating sheet music from a recording and they write down the notes that make up the piece in music notation, it is said that they created a musical transcription of that recording. Transcription may also mean rewriting a piece of music, either solo or ensemble, for another instrument or other instruments than which it was originally intended. The Beethoven Symphonies transcribed for solo piano by Franz Liszt are an example. Transcription in this sense is sometimes called arrangement, although strictly speaking transcriptions are faithful adaptations, whereas arrangements change significant aspects of the original piece.
Chorus is an audio effect that occurs when individual sounds with approximately the same time, and very similar pitches, converge. While similar sounds coming from multiple sources can occur naturally, as in the case of a choir or string orchestra, it can also be simulated using an electronic effects unit or signal processing device.
Pitch correction is an electronic effects unit or audio software that changes the intonation of an audio signal so that all pitches will be notes from the equally tempered system. Pitch correction devices do this without affecting other aspects of its sound. Pitch correction first detects the pitch of an audio signal, then calculates the desired change and modifies the audio signal accordingly. The widest use of pitch corrector devices is in Western popular music on vocal lines.
Measurement of wow and flutter is carried out on audio tape machines, cassette recorders and players, and other analog recording and reproduction devices with rotary components This measurement quantifies the amount of 'frequency wobble' present in subjectively valid terms. Turntables tend to suffer mainly slow wow. In digital systems, which are locked to crystal oscillators, variations in clock timing are referred to as wander or jitter, depending on speed.
Delay is an audio signal processing technique that records an input signal to a storage medium and then plays it back after a period of time. When the delayed playback is mixed with the live audio, it creates an echo-like effect, whereby the original audio is heard followed by the delayed audio. The delayed signal may be played back multiple times, or fed back into the recording, to create the sound of a repeating, decaying echo.
Musical outboard equipment or outboard gear is used to process or alter a sound signal separately from functionality provided within a mixing console or a digital audio workstation. Outboard effects units can be used either during a live performance or in the recording studio.
This is a glossary of jazz and popular music terms that are likely to be encountered in printed popular music songbooks, fake books and vocal scores, big band scores, jazz, and rock concert reviews, and album liner notes. This glossary includes terms for musical instruments, playing or singing techniques, amplifiers, effects units, sound reinforcement equipment, and recording gear and techniques which are widely used in jazz and popular music. Most of the terms are in English, but in some cases, terms from other languages are encountered.
Eventide Inc. is an American pro audio, broadcast and communications company whose audio division manufactures digital effects processors, digital signal processor (DSP) software, and guitar effects pedals. Eventide was one of the first companies to manufacture digital audio processors, and its products are mainstays in sound recording and reproduction, post production, and broadcast studios.
The Eltro information rate changer was an analog recording tool for changing pitch without changing speed and vice versa. Patents for the device date from the 1920s. The Eltro was the first machine capable of changing audio pitch (frequency) and speed (time) independently of each other.
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