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In the meantime, the GRP V22 has turned our studio upside down, ushered in a Copernican turnaround, and launched a new<\/em> approach to music electronics. Now we wouldn’t want to be without the GRP V22 and its Voices from Outer Space<\/em>.<\/p>\n Why did it take so long? A partial answer: Years of working with synths have tended to limit our musical horizon to oscillators, filters, amplifiers, envelopes and the use of a keyboard. Something NEW arriving on the table – take the GRP V22 vocoder as an example – left your reviewer, poor sucker, surrounded by tons of question marks.<\/p>\n T<\/span>he irony of the story: The NEW is by no means new. On the contrary – the vocoder is one of the oldest devices in the field of electronic signal transmission. Keyword interwar years, keyword Bell Laboratories. Important personalities had to be able to exchange important messages in an encrypted way. The VO<\/strong>ice enCODER<\/strong> – that mysterious voice coding device – was launched. USA, 1936, a long time ago.<\/p>\n The vocoder found its way into experimental music electronics in the 1960s and into commercial music electronics in the 1970s. And the vocoder, sometimes equipped with a keyboard, began its triumphant march into electronic pop music. Vocal robots … Kraftwerk with its famous song “The Robots” … such musical successes are well known.<\/p>\n While vocoders with direct access to all filters \/ bands \/ frequency ranges (EMS, Sennheiser, Moog …) usually belonged to the particularly exquisite effects devices in the studio (as they still do so today), the generally cheaper vocoders with keyboard (Roland, Korg, …) usually offered no – at the best limited – access to the individual frequency ranges.<\/p>\n In return, those instruments equipped with a keyboard – such as the legendary Roland VP-330 or the equally well-known Korg VC-10 – were extremely user-friendly, providing immediate electronic choirs, robot- or effect-voices to the musician who was singing (possibly speaking) into a microphone.<\/p>\n So far so good. A little more patience, please, because this historical outline relates directly to the GRP V22. The “Voice from Outer Space” (as we call the test candidate) is a product of the first category, a professional desktop \/ rack-mount instrument without its own keyboard (but with MIDI), with 22 freely accessible filter areas.<\/p>\n T<\/span>he difference lies in those 22 filters \/ frequency ranges \/ bands, which not only extend musical possibilities, but are also a huge cost factor (with all vocoders)! If each filter(pair) is equipped with its own envelope follower and its own VCA, that’s expensive! No wonder the earlier EMS 5000 vocoder cost a fortune. No wonder a Moog vocoder – with 16 filters \/ bands – seemed unaffordable. The new edition still sells for a proud 6,000 Euros. Seen that way, the 4,700 Euros for a GRP V22 almost seems cheap. And it comes with a superb 22 filters \/ bands.<\/p>\n No doubt about it, quality hardware has its price! This is nothing to gloss over here, but we can put it into perspective: The scope of performance potential a pro-vocoder provides is mind-boggling. Robo voices and electronic choirs, yep – the clich\u00e9s are part of what you get. But in addition you get a vast field for experimentation – be it for all forms of body percussion, be it for all types of acoustic performance transformable into new soundscapes (via a microphone \/ line signal and selected frequency ranges). Not to forget that a pro-vocoder is also a brillant fixed filter bank (22 filters, in this case) for all the finesse of elegant manipulation of synthesizer sounds, drum sounds, etc.<\/p>\n A<\/span>s you know, a vocoder essentially consists of two parts – the analysis part and the synthesis part. In essence, however, the functionality of the vocoder is very complex. The different components of an audio signal – a voice, for instance (consisting of vowels, voiced consonants (“Voiced”), unvoiced consonants alias silibants (“Unvoiced”)) – must be analyzed and reproduced \/ synthesized as closely as possible using a carrier signal and lots of frequency bands. The whole procedure requires technical sophistication and many a trick. Remember that poor sucker, heh?<\/p>\n At this point we do not want to bother with long explarnations (which do not come from us in any way), nor adorn ourselves with foreign feathers. The Book “Synthesizer” by Florian Anwander<\/a> is recommended as an excellent source, providing helpful explanations of the complex technology. Unfortunately, it’s only in German. In the chapter “Vocoder” (page 129 ff) the function and structure of the device are defined clearly, including explanations for the use of the Doepfer A-100 vocoder modules A-129\/1<\/strong> (Vocoder Analysis Section) and A-129\/2<\/strong> (Vocoder Synthesis Section). Another valuable source of information is this Vocoder article (Wikipedia)<\/a>.<\/p>\n With regard to the GRP V22, we will content ourselves with a list of its most important features, along with a few notes particularly relevant from a musical point of view …<\/p>\n The GRP V22 offers:<\/strong><\/p>\n [ * Since the analysis part and the synthesis part each has its own filter bank, we believe there are in fact 44 filters built into the GRP V22! ]<\/p>\n x<\/span> L<\/span>eaving the complex technicalities aside, we come to the practical part. And that’s a real baby. We were astonished to find out that with an open vocoder alias GRP V22 it is – surprise – not so easy to instantly achieve those typical vocoder-voice effects. It took a considerable amount of practice and some patient tweaking of the compressor, noise gate and separate high-pass filter to get a convincing “We are the robots” <\/em>sound. On the winning side, our experimental route demonstrated many areas of vocoder application. These go far beyond simple voice effects …<\/p>\n Since several GRP V22 modules can be found in a lot of analog synthesizers (VCO, LFO, VCF, VCA, …), let’s begin there. Take the internal VCO (Carrier). 22 filters bestow the vocodered VCO-sound with unique timbres. Now, if you are looking for the gate \/ triggering impulse or the envelopes, something traditional to “trigger” the sound – no chance. The music is activated via the microphone- \/ line-signal. After all, we are dealing with a VOCODER (… the envelope followers in the analysis part control the VCAs of the filters in the synthesis part). So, the microphone signal is the key to your success …<\/p>\n You don’t have to sing<\/em> to make Vocoder music. Ordinary breathing into the microphone is enough to bring the VCO (Carrier) to life. And in contrast to the sharp trigger- \/ gate-impulses of a traditional synthesizer (via keyboard, CV\/Gate, MIDI, USB), the musical phrases of an air-controlled Vocoder synthesizer have a distincitive flowing<\/em> naturalness, mirroring your breathing. Incidentally, the generous GRP V22 VCO extends into sub-audio \/ LFO range, which makes the creation of experimental soundscapes (breath-controlled LFO, for example) even easier. Tweak the VCO TUNE button from audio to sub-audio and back and make the results audible by breathing. A new experience for any keyboard player!<\/p>\n However, this is only the outer layer of the surprise package we’re getting into. It is no coincidence that the two VCO waveforms are sawtooth and pulse. Both have a high overtone content and allow a huge variety of frequencies to be filtered out. If you select sawtooth, for example, convincing vowel sounds can be generated by lowering or increasing individual frequency bands. The results are reminiscent of a Didgeridoo (remember the Australien wind instrument?) or of Mongolian overtone singing. Mystical, unearthly. If the individual GRP filters are now themselves modulated by external control voltages (LFOs, sequencers, envelopes, whatever), then we are left speechless. Textures and voices from outer space …<\/p>\n The aforementioned example leads us in a new direction. The individual (voltage controllable) filters can process any audio signal. If we replace the internal VCO with an external synthesizer – in our sound files this was the UDO Audio SUPER 6<\/a> (as Carrier<\/strong>) – this opens up new sonic vistas. Polyphonic<\/em> Mongolian overtone singing? No problem! All is controlled by a microphone signal, by breathing. Just snapping your fingers is also very effective. Clapping – wonderful! Or rubbing your hands! This all may seem a little strange, if not to say ridiculous, but the musical results are baffling.<\/p>\n The fixed filter bank (22 parallel band pass filters) is a true goldmine for audio processing. Try replacing the microphone with the UDO Audio SUPER 6 signal (this time used as Modulator<\/strong>) and processing its sounds directly<\/em>. Every single SUPER 6 patch can be transformed into something completely different. 22 fixed filters = 22 frequency ranges. No stone is left in place. Boost individual<\/em> frequency bands only<\/em> – very effective. Sounds begin to live, to move organically. Remember the possibility of voltage controlling all 22 bands? That’s raising sound design to a new level! But even when manually tweaking the filters, there are a myriad of possibilities. Highlighting and lowering certain frequency ranges gives the sound that extra acoustic flavor. The whole procedure of using such an elaborate filter bank is not only effective, but at the same time very simple.<\/p>\n We deliberately put the vocoder in third place. The obvious isn’t the spectacular in the GRP V22. Actually, anyone can do vocoding. There are cheap and yet good hardware vocoders out there (such as Korg microKORG<\/a>, Novation MiniNova<\/a>, Roland Jupiter-X\/Xm<\/a>, Waldorf STVC<\/a>). There are great Eurorack vocoders out there (such as the AnalogFX VXC-2220<\/a> based on the Synton 222). And there are very useful software vocoders out there (Arturia Vocoder V<\/a>, XILS Lab XILS V+<\/a>, freeware Full Bucket Vocoder FBVC<\/a> and others). If it was only about the typical Kraftwerk “We are the robots”<\/em> effect, the GRP V22 would be clearly oversized. But it’s about more, it’s about hardware quality and it’s about those extra extras. The 22 bands alone are a quality feature.<\/p>\n One special thing about the V22 vocoder aside from its comprehensive frequency bank is its package of infinite possibilities. Be it through the Coupling function<\/strong>, the creation of new structures through cross-frequency-shifts. Be it through the experimental use<\/strong> of the noise gate<\/strong>, where robot voices or nasal choirs can even been made to sound specifically “ugly”. Or be it through the completely free routing of the basic signals<\/strong>. Do you have to sing with the vocoder? Not at all. Can a drum computer be “the voice”, so to speak? And a signal fed in via a microphone be the carrier? Sure, there are no restrictions …<\/p>\n A<\/span> side effect from working with the GRP V22 (as with any hardware vocoder): Background noises are a boon. They are always there, to varying degrees – through the microphone, through the sum of the many filters (actually VCAs), through the reaction of the noise gate, whatever. Thus, a “human aspect” is austomatically lent to your vocoder sounds. This may lead to your more concious handling of audio signals. HiFi might turn into LoFi<\/strong>. And by lowering the HiFi standard, the mystical sounds in your music (partly realized by the GRP V22 and its background noises) will gain in authenticity.<\/p>\n Once you’ve got that far (at which time the acoustic sterility of music electronics will have been broken a bit), the generosity inherent in inaccuracy<\/em> will begin to assert itself – on this, and on other levels as well. Inaccuracy<\/em> is actually a real factor in rhythmic elements. Body percussion (your very special vocoder performance (o:) doesn\u2019t follow the pulse of the MIDI clock anyway, so a slight delay in any parallel sequencer- or drum-machine-setup suddenly results in a more coherent overall acoustical picture. The music begins to live<\/em>, partly thanks to those air-controlled GRP V22 performances. A nice side-effect, indeed.<\/p>\n [ Background noises resulting from overloading can of course arise during operation (… we speak from experience). For example when too many filters are turned up at the same time. But even that is usually only selective and does not have to interfere with the overall sound. If so, simply repeat the performance with appropriate adjustments. ]<\/p>\n T<\/span>he GRP V22 is like an unpolished jewel. It doesn’t look very spectacular, although its price is by no means a bargain. But<\/em> … this unique instrument is sure to change the acoustic world in many studios. Its myriad of sophisticated musical possibilities (22 filterbands with manual access + CV control, real<\/em> stereo sounds with alternating R \/ L frequency bands) and its open<\/em> performance access make this vocoder a goldmine for those looking for experimental audio processing. The GRP V22 is a tantalizing source of new sounds.<\/p>\nA quick glance at the history of the Vocoder<\/h2>\n
<\/a><\/p>\n<\/a><\/p>\n<\/a><\/p>\nQuality hardware has its price<\/h2>\n
<\/a><\/p>\nGRP V22 – the features<\/h2>\n
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\ncan lead to a more constant modulator signal<\/li>\n
\nalternatively manual control or via CV input<\/li>\n
\ncrosswise up or down – for even more possibilities of audio experiments<\/li>\n<\/ul>\n<\/a><\/p>\n\n
\n(Voiced signal) and Noise (Unvoiced signal)<\/li>\n
\n(or instead of the) internal VCO (carrier)<\/li>\n
\nLeft \/ Right mode with a spatial stereo sound<\/strong><\/li>\n
\nleft channel<\/strong>, the bottom row<\/strong> on the right channel<\/strong><\/li>\n
\nautomatically routed to both the right<\/strong> and left output<\/strong><\/li>\n
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\nThe V22 comes with wooden side panels<\/strong> and rack rails<\/strong>. Please note:<\/strong> <\/span>Unlike the GRP A2 \/ GRP R24, the 4 screws on the wooden side parts do not<\/em> (!) fit the rack rails of the GRP V22. Instead, there are 4 extra (shorter) screws included for rack mounting.<\/p>\n
\n<\/a><\/h2>\nGRP V22 – in practice<\/h2>\n
GRP V22: The Synthesizer<\/span>
\n<\/strong>– a ride through the audio frequencies<\/h5>\n<\/a><\/p>\n<\/a><\/p>\nGRP V22: The Performance Tool<\/span>
\n<\/strong>– a cv-controllable fixed filter bank<\/h5>\n<\/a><\/p>\nGRP V22: The Vocoder<\/span>
\n<\/strong>– an open field for experimentation<\/h5>\n<\/a><\/p>\nBackground noises – those extra extras<\/h2>\n
<\/a><\/p>\nConclusion<\/h2>\n