Voice Box . . .
Voice Box . . .
Is there a VST that emulates a "voice box"? It's hard to find the parts to make one at your local RadioShack. My diagram calls for a horn driver which are hard to come by around here. Bill Ellis said he had a good one they used in his band back in the 60-70's. Seems there ought to be a VST that allows one to use a mike to form the wah shape. . . . and if you guys know of a good supplier of horn drivers . . .
There likely are VST's or other effects around, web search and, of course, the KVR website/forum is THE place to find effects.
But you don't have to use a horn driver to build a talk box, it can be done with a small 4 to 8" dia fullrange speaker, too, mounted inside a box as infinite baffle with another chamber in front to enclose all, hose connects to front of that chamber. PAIA kits made one like that, might still sell it, they have a website, check it out, they sometimes publish their plans.
--Mac
But you don't have to use a horn driver to build a talk box, it can be done with a small 4 to 8" dia fullrange speaker, too, mounted inside a box as infinite baffle with another chamber in front to enclose all, hose connects to front of that chamber. PAIA kits made one like that, might still sell it, they have a website, check it out, they sometimes publish their plans.
--Mac
-
NystagmusE
The closest thing to a talkbox in VST or other forms would be a "vocoder".
Do some google searching for {vocoder, vst, freeware} and you'll find some.
Like this: http://www.google.co.uk/search?hl=en&q= ... arch&meta=
There are also some offline vocoders that use .WAV files like this one:
http://www.bleedmusic.net/hog/
Do some google searching for {vocoder, vst, freeware} and you'll find some.
Like this: http://www.google.co.uk/search?hl=en&q= ... arch&meta=
There are also some offline vocoders that use .WAV files like this one:
http://www.bleedmusic.net/hog/
How to build a real talkbox using a plastic bowl and a speaker:
http://www.headcrack.com/page.php?id=14
If you google, you'll likely find many more designs like this, wood baffles, etc.
You don't really need a compression horn driver to do this, a common speaker rigged up as compression (the bowl) to the hose will do the job, not only that, but with fuller bass response, just tailor it down using the amp's tone or EQ controls to suit the job. A graphic EQ stompbox is nice for this, too.
And -- plugin, bah.
There ain't nothin' like the REAL THING, baby!
--Mac
http://www.headcrack.com/page.php?id=14
If you google, you'll likely find many more designs like this, wood baffles, etc.
You don't really need a compression horn driver to do this, a common speaker rigged up as compression (the bowl) to the hose will do the job, not only that, but with fuller bass response, just tailor it down using the amp's tone or EQ controls to suit the job. A graphic EQ stompbox is nice for this, too.
And -- plugin, bah.
There ain't nothin' like the REAL THING, baby!
--Mac
I built a talkbox way back in the late 60s, out of a Gibson Skylark 5W little gutiar amp.
Used it on my guitar, wurlitzer piano -- and the hammond organ.
Home made A-B switch at the output of the pedal board and before the guitar amp allowed switching between the two onstage when the guitar amp was in use, the PA and mic made the power.
A little off topic, back then my "fuzzbox" was a little tube driven Silvertone tape recorder! One time I jacked my Strat into the mic input to record and found out that there was a monitoring function that made the sound of the Strat come out of the little tape recorder's tube driven speaker on the side, with startlingly fine distortion! So I made a resistive voltage divider from one wirewound resistor and one carbon resistor and soldered a patchcord to the end of it, put it inline between the Strat and the Fender Twin. No footswitch, I'd just turn the Mic input gain knob down for clean and up for soloing. That was actually one of the sweetest sounding setups I've ever had, to this day. But the sound was dated after awhile, it screamed, "the 60s" if you know what I mean.
For the Hammond, well, that was a trip, but I managed to tap into the innards of the organ and create a second output where I just plugged in the little guitar amp talkbox and leaned into the mic. Pschedelic, you know.
All I did was remove the speaker from the little amp and put it into a home made double box, made from plywood, which was actually cheaper than particle board was back then. One chamber held the speaker, no porting at all, an "infinite baffle" and the other was in front of the speaker, same size as the back chamber, put a pipe flange on the front of that box and a piece of green cheap plastic garden hose onto that with a hose clamp. Filled both boxes with fibre matting on the inside walls to damp it. Looked like a cube painted flat black with spray paint.
Worked very well.
Got the idea from a guy named Alvino Ray, who popularized his "talking steel guitar" back in the 50s. It was a stone secret what he was doing back then, because they NEVER showed him actually using the talkbox while seated at his steel guitar on TV back then, presumably they must have thought that looked bad or maybe he was keeping a secret, but he always performed in public using prerecorded tapes. Many many yokels likely thought he actually could play the steel guitar in such a way as to make it "talk" and sing.... heh.
Anyway, there was this guy from West Virginia who played steel around the Pittsburgh area, one night I happened to catch his act at a wedding where they had booked a band I was in to follow his act for the dancing part of the reception -- and that experience enabled me to find out what the talk box, which we didn't call them back then, really was. Like any other mystery, the answer was very simple!
The horn driver talkbox didn't come around until maybe the late 70s or so.
They all used speakers before that time and to my knowledge no company actually sold one ready to go, either.
Enjoy,
--Mac
Used it on my guitar, wurlitzer piano -- and the hammond organ.
Home made A-B switch at the output of the pedal board and before the guitar amp allowed switching between the two onstage when the guitar amp was in use, the PA and mic made the power.
A little off topic, back then my "fuzzbox" was a little tube driven Silvertone tape recorder! One time I jacked my Strat into the mic input to record and found out that there was a monitoring function that made the sound of the Strat come out of the little tape recorder's tube driven speaker on the side, with startlingly fine distortion! So I made a resistive voltage divider from one wirewound resistor and one carbon resistor and soldered a patchcord to the end of it, put it inline between the Strat and the Fender Twin. No footswitch, I'd just turn the Mic input gain knob down for clean and up for soloing. That was actually one of the sweetest sounding setups I've ever had, to this day. But the sound was dated after awhile, it screamed, "the 60s" if you know what I mean.
For the Hammond, well, that was a trip, but I managed to tap into the innards of the organ and create a second output where I just plugged in the little guitar amp talkbox and leaned into the mic. Pschedelic, you know.
All I did was remove the speaker from the little amp and put it into a home made double box, made from plywood, which was actually cheaper than particle board was back then. One chamber held the speaker, no porting at all, an "infinite baffle" and the other was in front of the speaker, same size as the back chamber, put a pipe flange on the front of that box and a piece of green cheap plastic garden hose onto that with a hose clamp. Filled both boxes with fibre matting on the inside walls to damp it. Looked like a cube painted flat black with spray paint.
Worked very well.
Got the idea from a guy named Alvino Ray, who popularized his "talking steel guitar" back in the 50s. It was a stone secret what he was doing back then, because they NEVER showed him actually using the talkbox while seated at his steel guitar on TV back then, presumably they must have thought that looked bad or maybe he was keeping a secret, but he always performed in public using prerecorded tapes. Many many yokels likely thought he actually could play the steel guitar in such a way as to make it "talk" and sing.... heh.
Anyway, there was this guy from West Virginia who played steel around the Pittsburgh area, one night I happened to catch his act at a wedding where they had booked a band I was in to follow his act for the dancing part of the reception -- and that experience enabled me to find out what the talk box, which we didn't call them back then, really was. Like any other mystery, the answer was very simple!
The horn driver talkbox didn't come around until maybe the late 70s or so.
They all used speakers before that time and to my knowledge no company actually sold one ready to go, either.
Enjoy,
--Mac
Man, you guys are good!!! 
I picked up a 3.5" (good) speaker and a couple of mixing bowls . . . I figured I'd play with a design for awhile and then make a steal or wooden box later. I've got a couple of amps that could push it. I work in a hospital as director of information systems (computer nurd - no cubical), so getting the tubing wasn't a problem.
Cheers,
Mike
I picked up a 3.5" (good) speaker and a couple of mixing bowls . . . I figured I'd play with a design for awhile and then make a steal or wooden box later. I've got a couple of amps that could push it. I work in a hospital as director of information systems (computer nurd - no cubical), so getting the tubing wasn't a problem.
Cheers,
Mike
Hey . . . speakers do work. Took a little while to put it all together but it works fine.Mac wrote: The horn driver talkbox didn't come around until maybe the late 70s or so.
They all used speakers before that time and to my knowledge no company actually sold one ready to go, either.
--Mac
Sample wha:
http://www.mikenet.us/talkbox.mp3
Hey, Many THANKS!!! I almost went out and bought a $125.00 talkbox . . .
Now, practice that talking guitar thing and getting the settings right . . . not as easy as one might think, with a tube in your mouth.
Cheers,
Mike
Put the MTS EQ on that track, set it to cut everything below about 80Hz, then cut everything above about 10KHz.
Now set the remaining slope as a slight uphill curve to accentuate a bit more highs and cut the lows a bit.
Sometimes invoking a dip in the midrange is good, depends on the style of guitar, use your ears.
This will get rid of the mud and make it sound more like the horn driver models, too.
An instance of Compressor after the EQ couldn't hurt...
Enjoy,
--Mac
Now set the remaining slope as a slight uphill curve to accentuate a bit more highs and cut the lows a bit.
Sometimes invoking a dip in the midrange is good, depends on the style of guitar, use your ears.
This will get rid of the mud and make it sound more like the horn driver models, too.
An instance of Compressor after the EQ couldn't hurt...
Enjoy,
--Mac
That was a little muddy. I EQ'd it to death trying to rid the trash. I've got a ways to go before I try anything serious with this thing. I've got a new "thing" in my mouth to think about . . . that I shouldn't be thinking about, just doin'. One thing I can say. . . tis fun tryin'.
Sounds like a 60's jam gone bad:
http://www.mikenet.us/talkbox2.mp3
This is taking Mac's suggestion's on the EQ settings... I see what you mean.
This even filtered out (some of) the "knocks, bumps, and bangs". Has a "robotic" sort of sound. (I did a remix to take out the overdriven guitar).
http://www.mikenet.us/talkbox3.mp3
People like me should never be given a PC (I'm sure there's a few at work would agree). Goina' be a few teens on Wednesdays shakin' their head and . . . well. . .
Still got a lot of mike noise (knocks and bumps).
Cheers,
Mike
Sounds like a 60's jam gone bad:
http://www.mikenet.us/talkbox2.mp3
This is taking Mac's suggestion's on the EQ settings... I see what you mean.
This even filtered out (some of) the "knocks, bumps, and bangs". Has a "robotic" sort of sound. (I did a remix to take out the overdriven guitar).
http://www.mikenet.us/talkbox3.mp3
People like me should never be given a PC (I'm sure there's a few at work would agree). Goina' be a few teens on Wednesdays shakin' their head and . . . well. . .
Still got a lot of mike noise (knocks and bumps).
Cheers,
Mike
Took a real close look at that single track . . . your right . . . this is a studio issue and an inexperienced studio tech driving it. I think I fire him.Mac wrote:The real problem here is that you managed to record a lot of background noise along with the talkbox. Solve that problem first, then record the talkbox and then add the EQ stuff and you should be fine.
--Mac
I need to look at two issues . . . sound proofing the studio and improving my technique on the talkbox. The first is the most important if I plan to use mikes.
Cheers,
Mike
"Gobos"
These are portable sound absorption screens used in studios.
In the Home Studio, you can build Gobos, (google) sound absorption panels, or even rig up some ropes with quilts and blankets over them to created a sonic room within a room. Bed mattress in the vertical makes a very good nonreflective wall covering, put the mic in front and face the mattress. Lots of creative ways to solve these kind of problems without breaking the bank account.
Another critical thing to think about is forced air cooling/heating. We don't tend to notice the sound of it but the mics hooked up to the recorder do. Just make sure the fan is turned off when recording.
The PC itself can be a noise source, too, its fans and hard drives, placing it out of the way, under the desk, in a closet, etc. can help a lot when using mics.
Here's a link to "Bubba's Bass Traps" an inexpensive way to get better sound out of your room using DIY methods that work well:
http://audiominds.com/forums/index.php?showtopic=3320
Also, you don't have to treat the entire room if you don't need the space, say for a drumset, you can build smaller enclosure like box to soundproof and house yourself and a mic or that talkbox and a mic rather easily.
--Mac
These are portable sound absorption screens used in studios.
In the Home Studio, you can build Gobos, (google) sound absorption panels, or even rig up some ropes with quilts and blankets over them to created a sonic room within a room. Bed mattress in the vertical makes a very good nonreflective wall covering, put the mic in front and face the mattress. Lots of creative ways to solve these kind of problems without breaking the bank account.
Another critical thing to think about is forced air cooling/heating. We don't tend to notice the sound of it but the mics hooked up to the recorder do. Just make sure the fan is turned off when recording.
The PC itself can be a noise source, too, its fans and hard drives, placing it out of the way, under the desk, in a closet, etc. can help a lot when using mics.
Here's a link to "Bubba's Bass Traps" an inexpensive way to get better sound out of your room using DIY methods that work well:
http://audiominds.com/forums/index.php?showtopic=3320
Also, you don't have to treat the entire room if you don't need the space, say for a drumset, you can build smaller enclosure like box to soundproof and house yourself and a mic or that talkbox and a mic rather easily.
--Mac
You seemed to hit on each problem . . .Mac wrote:"Gobos"
Another critical thing to think about is forced air cooling/heating. We don't tend to notice the sound of it but the mics hooked up to the recorder do. Just make sure the fan is turned off when recording.
The PC itself can be a noise source, too, its fans and hard drives, placing it out of the way, under the desk, in a closet, etc. can help a lot when using mics.
--Mac
Heat Pump: Outside the window.
Studio: Two Windows PC's (studio) and a Linux webserver - (FANS).
Outside: Two cats screaming and lots-o-dogs ( i think I heard them on that track). I live in the city, lots-o-traffic.
I think I'll take a look at hanging blankets first to create a sound room. Then I'll go next door and shoot da dogs.
Cheers,
Mike