![]() A world of more aggressive sounds then opens up. Setting the rate lower, meanwhile, will allow multiple harmonics to enter individual bands and will increase the amount of cross‑modulation and frequency distortion. This is, as Erbe points out, great for making ambient washes and drone sounds. But where's the fun in that? Increasing the band rate above 2048 will give you finer pitch resolution but at the cost of smearing the sound, reducing the resolution of the time transients. At 44100Hz, the sweet spot is between 10 bands, giving you a smooth frequency response and a reasonably fast transient response in other words, conventional pitch‑shifting and time‑stretching with relatively few artifacts. The granular synthesis program also divides the sound into small segments or grains, but doesn't divide it by frequency.Įach plug‑in has a 'bands' control that governs this ratio. The number of frequency bands and the number of samples in each block are linked, so there is a constant trade‑off between frequency response and transient (time) response. The phase vocoder works by sampling the incoming signal and dividing it into blocks each block is, in turn, divided into different frequency bands. This is a collection of plug‑ins that use the Soundhack phase vocoder and granular synthesis algorithms to stretch time, shift pitch and distort phase. PvocativeĮrbe's new collection is the Pvoc Kit. The Soundhack plug‑ins are available for Mac, in VST, AU and RTAS versions, and as VST plug‑ins for Windows. So far, there have been three bundles, all containing plug‑ins based around similar themes: the Delay Trio, for example, contains a delay, a pitch delay and the enigmatically titled Bubbler. Since 2000, Erbe has also been spinning off the technology behind Soundhack in various plug‑ins. The original Soundhack program has collected many fans, from Trent Reznor to Ry Cooder, and its collection of filters and spectral manipulation techniques has been used on films such as The Matrix and The City Of Lost Children. Tom Erbe's Soundhack processors have been around since 1991, and are described on the company's web site as "Essential tools for adventurous musicians and sound designers”. Thanks to all contributors who help improving audiomentations.Soundhack's powerful algorithms can provide high‑quality pitch‑shifting - or sonic mayhem! Thanks to Nomono for backing audiomentations. See also the guide on multichannel audio array shapes. ![]() 2D arrays with shape like (num_channels, num_samples). Multiprocessing probably works but is not officially supported yetĬontributions are welcome! Multichannel audioĪs of v0.22.0, all transforms except AddBackgroundNoise and AddShortNoises support not only mono audio (1-dimensional numpy arrays), but also stereo audio, i.e.For a GPU-compatible version, check out pytorch-audiomentations Expects the input dtype to be float32, and have values between -1 and 1. ![]()
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