Not all processors work the same way. Probably the most-imitated one is the Aphex Aural Exciter, which was the original.
The quotes below are from http://www.soundonsound.com/sos/1995_articles/feb95/exciters.html
The Aphex Aural Exciter (the first one):
...some of the input signal is diverted, via a side-chain and a high-pass filter, into a harmonics-...
All I know is it seems to be a reference to french house, the "french touch," which is a filtered-disco sound. Expect a prominent, musical filter, but I am not an expert on filter design so I can't separate out the marketing angle from the reality of what you will get. Examples of the kind of music being referenced:
The "morph" you're describing is known as (both) spectral cross-modulation, and spectral convolution.
From what i've read in your question, I gather you're interested in essentially crossfading the two sounds together, but in the frequency domain not the time domain?
If that's indeed the case then there are a few ways to go about doing this. you can either ...
They may be somewhat expensive, but I could never live without them. I've gotten more sounds out of, say, GRM Freeze than just about any other plug-in I own (and I own quite a few), and while I haven't quite fallen for the new spectral tools, classics like GRM Delays, GRM Doppler and GRM PitchAccum are, to me, indispensable. I also really like their Bandpass ...
They are expensive, because they're a rarity in the plug-in market. I.e. it just happens to be that they've got a set of plug-ins that barely anyone else has considered replicating or just hasn't done it as well as the GRM plug-ins (there are some plug-ins that may be "sort of" the same, but not the same. The Michael Norris plug-in pack is exceptional in the ...
I think it is important to mention, although you probably already know, is that the quality of the instrument and the performance are hugely important factors. Something you can consider though, or maybe purchasing an inexpensive preamp like those by ART, and some other companies like the presonus blue tube. As far as the volume discrepancies, that is ...
I think they generate harmonics to add to the weight of a implied fundamental frequency. (Eg 200hz 400hz of a fundamental 100hz frequency). That said Maxxbass and Rbass supposedly work differently, though I haven't played around enough with it to figure out the specific differences.
The guys at Ableton went for simplicity. This being said, it turned out to be a sane decision.
If you read through the manual, you'll realize Ableton's piano roll supports step input, "draw" input, regular input, quick note velocity editing, transposing, doubling/halving note duration, MIDI parameter envelope editing (graph-style and grid/draw style), and ...
What you're looking for is incredibly hard to implement. Filters always have a slope measured in dB/Octave or dB/Decade and it's a measure of the attenuation of frequencies beyond the cutoff frequency. This slope can never be vertical so frequencies next to each other can never be completely isolated. To increase the slope, we normally stack multiple filters....
For loudness, lots of plugins have envelope followers. An envelope follower converts loudness into a control signal that you can route to a knob.
Some plugins have pitch detectors that convert pitch into control signals. For example, most of MeldaProduction's effects have that feature. See their "Pitch Mode" modulators.
Envelope followers are pretty ...
Superior Drummer 2 w. Metal Foundry SDX expansion
Guitar and Bass
Shreddage 2 - The shreddage plugins are at the moment the only decent solutions (IMO):
Take a look at this summary for other alternatives.
There are soo many. I'd invest my time in something ...
Most likely a different algorithm.
Do you think the manufacturers would be able to sell more expensive hardware units if the same algorithms of their boxes in the thousands dollars would be available as $99 plug-ins?
I don't think mere numerics "problems" are able to make substantial changes. The numerics "errors" occur in 5 or 6 decimal places and ...
You could use a time-stretching function (such as what's built in to REAPER, Logic, or ProTools) to line up the transients of the two audio samples, and then play around with mixing and use a vocoder to apply the spectrum from one to another.
Paulstretch is great for creating long, evolving textures and drones out of anything. Guitar riffs work incredibly well if you want a place to start.
Logic also has a convolution plugin called Space Designer, great for convolving two sounds together.
An interesting combination you can try out is having the sound of fire crackling be your source audio and a ...
Surfer Eq by Sound Radix:
Just clarification on the plug-in: It bases the EQ curve on the fundamental pitch of the source material, so it will shift in response to changes in pitch. Meant mostly for instruments or tonal material (music) but also useful for sound design.
Reaper contains versatile batch processing capability:
Wavosaur does batch processing with vst chain processing (it's free):
Smack My Batch Up does the same thing with up to 5 chained plugins (also free). The author of Smack My Batch Up posted links to Mac versions here also.
Sorry to say there is no magic plugin that will achieve this effect for you. The majority of great creature vocals are painstakingly crafted by sound designers for days or even weeks.
One insight I can offer is that layering sounds is your friend. From human to bat (or vice versa) you need to weave textures from each character in and out over time, paying ...
I think editing and maybe some pitch/formant shifting could get you pretty far. Sometimes convolution can work to get the tone changing to more of a Bat from human. Izotope IRIS would seem like a good tool to try also, I've never used it but it seems like this is exactly what it's supposed to help you with. I would err on the side of natural since you ...
Rebal Instinct, I wonder if Dehumaniser would be of use to you? It's an app specifically designed to morph human into monster sounds and back again: http://dehumaniser.com/
That being said, I'd love to see more modern and accessible morph plugins. Aside from Prosonic/Zynaptiq Morph (which is ancient and hasn't had a major update in years) and Symbolc Sound ...
Two guesses at methods - I've never actually tried either of these myself...
Using an envelope follower to raise the volume of the scream dynamically with the speech.
Using VocAlign to try matching the scream to the speech, ADR-style.
For both, then perhaps just cross-fading one into the other, if that's the desired final effect.
I'm thinking we break it by plugin bundles or something - so we don't get 10 WAVES gold submissions. Maybe someone takes, if they got it, the iZotope stuff, someone take SoundToys, GRM, McDSP, Flux, SPL, Waves Mercury, etc? That's the best idea I have so far on the topic.
I'm not sure of the best way to crowdsource the data and not get overburdened. I ...
GRM Tools' price is based on provided value more than anything. It's not you, they are expensive.
Much like Waves, they are standard in the industry's toolset. Unlike Waves they don't do promotions every other week. I find GRM crashtastic.. for that alone they should cost less. Very difficult to find equivalents.
I've got to agree with the consesus here, and say that they may be expensive, but they are worth it.
They can give you the ability to create some truly unique sounds that can not be created using other plug ins.
Their unique take on the automation settings as well deserve a mention here too, as they make it so easy to glide between snapshots and create ...
Have you tried contacting support? Or looking in the support forums?
What about track routings? Do you have any routing going on that could lead to a feedback loop, or does it happen in clean/new projects as well?
The quickest way to try it in another DAW is to download REAPER.