5

The suspect area is the ¼" jack & ¼" - ⅛" adaptor. It needs to be correctly wired as a mic input to that specific jack socket, which on a Mac is a 4-pole connector, TRRS, for headset/mic combos. I can't see the whole TR[R]S to be able to guess, but even if it is correct, the mono Shure TS jack is going to be shorting the connections inside the ⅛" ...


2

some pitch detunes and filters tied to the most random slow and medium fast LFO are very difficult to decode, like i think it would take a typical audio pro a lifetime before he gave up on it, any FX like volume, overdrive, vowel morph, vocoder, just has to be on super random LFO's.


2

A combination of heavily modulated synthesisers. Just sample them and play with the values while you record stuff. Then cut out the coolest parts and use them in a sampler. automate the pitch to get crazy change of modulation speeds and tonal changes and use external fx like chorus reverb and distortion and automate their values so they fit the rhythm of the ...


2

This is kind of a broad question. Sounds like this in commercials and movie trailers came from the mainstream success of EDM like Skrillex etc. I hear a lot of the bread and butter tools of aggressive synthsizers - modulating the cutoff of resonant filters, etc. I hear some "lo-fi" stuff, most obvious in the beginning, that sounds like it had a reduced ...


1

If the noise is induced in the pickups - eg from your monitor screen or fluorescent lighting, then no amount of electrical isolation will cure it. The only cure is switching off the offending sources, or moving away from them. A long-shot 3rd option is to get an old Line6 Variax, which doesn't use magnetic pickups at all & is therefore induced-voltage-...


1

You don't have a ground loop as there is no connection between the guitar and the computer chassis (other than via the interface). You can try using a DI box - this might improve your situation but without having access to the setup it is hard to diagnose correctly.


1

So long as you're doing some sort of transformation on the vocal sound, it can be reversed. A vocoder is probably the the best way to go if you need real-time disguising. If concealing vocal identity is paramount, then you shouldn't be utilizing a voice recording at all. You should instead use a method that totally obfuscates the original vocal signal, ...


1

The best thing I know is to use TRAX software from Flux / IRCAM, for which an astonishing video is posted here. The software enables independant Pitch / Formant / Gender / Age control as well as mapping to subtle LFOs, and ability to add further Formant/Spectral envelopes. The software is designed for both speech and singing voice signals. The easiest way ...


1

Because of the way arpeggiated instruments in Logic work, it's a little problematic to execute tasks that can be seen as rather adventurous. Although it may be seen as a short cut, one of the things I would suggest doing, and would do myself, is bounce the track down once you're happy with the overall sound of it. It'll be much easier to do what you want to ...


1

Hi + 1 for the delay lines and FM synthesis (I'd use Fm8). Kyma can do just anything so you could replicate a technique or a synth just knowing where to go.


1

Ville, have you read this excellent article about Transformers sound design? http://designingsound.org/2010/03/erik-aadahl-special-the-sound-design-of-transformers-exclusive-interview/ It gives some clues, but not much. What surprises me is that I have not seen Kyma mentioned in any interviews about the Transformers sound design. The movie has a lot of "...


1

I achieve those sounds in different ways. Ableton Operator, Reaktor, short resonant delay lines and so on. You may start with a simple FM synth, just a carrier and a modulator, and a square LFO on amplitude. Here is a simple raw example made with Operator: http://soundcloud.com/lucacapozzi/ableton-fun-transformers-sound Cheers, Luca


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