Tiptop Audio Time Fabric Handleiding

Tiptop Audio Niet gecategoriseerd Time Fabric

Lees hieronder de 📖 handleiding in het Nederlandse voor Tiptop Audio Time Fabric (8 pagina's) in de categorie Niet gecategoriseerd. Deze handleiding was nuttig voor 34 personen en werd door 2 gebruikers gemiddeld met 4.5 sterren beoordeeld

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Time Fabric

Pitch Programs for Z-DSP

Time Fabric’ Pitch Programs for Z-DSP

“It fucks with the fabric of time!”

Tony Visconti describing Pitch Shifting to Brian Eno and David Bowie in 1976

That not so subtle description does quite neatly sum up what the Pitch Shift programs on the

‘Time Fabric’ card do! In the second half of the 1970s, digital technology became ‘aordable’

enough to start showing up in professional audio equipment. Digital memory allowed the

sampled audio to remain in memory without degradation and this ability led not only to delay

and reverb devices, but some clever people (like Tony Agnello at Eventide) found that playing

the samples back at a dierent rate than recorded produced pitch changes. With some careful

engineering this eect could work in real time on any audio signal, and thus pitch shifting

emerged.

First, Lexicon released their Varispeech device aimed at aiding in transcription and speech

research (dubious for the intended use, but great at mangling sounds), but it was really the

Eventide H910 ‘Harmonizer’ that made Pitch Shifting a must have eect. Although designed to

provide automatic ‘Harmony’ for any signal, the eect was so wild and new it became instantly

recognizable when abused. Pitch shifting became the method for the wacky sounds and voices

on P-Funk records, snare drum on the above mentioned Bowie album ‘Low’, and any male voice

shifted down an octave became the voice of Satan in countless 80s horror lms.

Pitch shifting would eventually have both more experimental applications like the Eno/Lanois

‘Shimmer’ and crazy backwards Eventide ‘Crystals’ eects, but also be relegated to mundane

tasks like doubling country music vocals and widening hair metal guitars. Both paths have

made Pitch Shifting into an essential eect for any studio and now your Eurorack rig.

This collection of Pitch Programs for the Tiptop Audio Z-DSP module use a pitch shifting algori-

thm much like the earliest digital pitch shifters released. Sounds similar to the Eventide H910,

AMS 15-80 (with Pitch board) and Publison DHM 89 can be achieved. These programs are

intended more for pure eects rather than the complex multiple harmony lines later devices

and plugins became known for producing. Chords from single VCOs can easily be made using

the ‘Interval’ programs on the card though.

Pitch shifting in the Z-DSP uses a technique called ‘rotating tape head’ delay lines named after

pioneering tape based experiments in Germany in the 1960s. The tape heads move at speeds

independent of the tape playback path and two heads are crossfaded to make a continuous

output. Much of Karlheinz Stockhausen’s output of that era heavily (ab)uses the two tape

machine method of changing pitch. Digital memory and processing allows the same method

by manipulating two playback positions in memory and crossfading them using DSP. This is a

fairly primitive process compared to what can be done today using FFTs (phase vocoder) and

Time Compression and Expansion, but there is a certain sound associated with it that is unde-

niably classic.

The rst 6 programs all use the same basic algorithm for independent processing of the Left

and Right Inputs on the Z-DSP. The algorithm looks like this:

Left In ---> Pitch Shifter ---> Delay Line ---> Left Output ---> [Analog Feedback to Left In]

Right In ---> Pitch Shifter ---> Delay Line ---> Right Output ---> [Analog Feedback to Right In]

The dierences in the programs come from the controls and their ranges to give more access to

certain parameters of the algorithm and make certain eects easier to create.

The delay lines have roughly 500ms of delay on the Left and 250ms on the Right channel. This

gives a nice 2:1 rhythmic eect to the delay.

1> Dual Pitch Shift

Has independent control of the Pitch of the Left and Right channels and combined Delay

time control. The delay for the Right channel is half of the Left channel to give rhythmic

variation between the two.

VC-P1 - Pitch shift of the Left channel from -1 to 1 octave

VC-P2 - Delay time of both channels. Left < 500ms; Right < 250ms

VC-P3 - Pitch shift of the Right channel from -1 to 1 octave

The Pitch control is not quantized so it can be tuned (or not) by ear. For very small shifts

under 1 semitone, use Program #5 Dual Microshift. Programs 3 and 4, Interval shift, will

tune the Pitch to specic intervals.

The delay line feedback is controlled using the Analog Feedback for each channel. This

also puts the Pitch Shift in the feedback path to create arpeggios and other eects.

2> Dual Delay Shift

The same algorithm as Program #1 but with independent control of the delay times. Left

delay line has roughly 500 msec of delay at the default sample rate. The delay for the

Right channel is half (250 msec) of the Left channel to give rhythmic variation between

the two.

The pitch ratio between the left and right channels are inverted, so a positive shift on the

Left will be a negative shift on the Right. The maximum shift is one octave up or down.

VC-P1 - Delay Time of the Left channel from 0 to 500 msec

VC-P2 - Pitch Shift of Left and Right. The shift amount is inverted between channels

VC-P3 - Delay Time of the Right channel from 0 to 250 msec

Product specificaties

Merk:	Tiptop Audio
Categorie:	Niet gecategoriseerd
Model:	Time Fabric

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