But no matter if you’re a beginner or pro, it takes a lot of time and patience to actually create powerful drums with just the stock plugins. Depending on the digital audio workstation you have chosen, you may already have some tools that got you started. If you want to create club hits, then you need a catchy pattern and powerful kick drums there’s no way around this. Sonic Charge, you win.If you’re looking for a drum machine, you probably know by now that drums are the backbone of most electronic music genres. Overall, then, Bitspeek is a cheap and cheerful plug-in that'll raise a smile from anyone old enough to remember the Speak & Spell, and indeed, anyone looking for a voice-mashing alternative to the same old vocoder and pitch-correction plug-ins.Īs well as its retro-tastic resynthesising of the human voice, Bitspeek also has some great sound design possibilities when it comes to mangling other sources. One thing to note is that the effect tends to boost the volume a fair bit, so if you're faint of heart, place a limiter after the plug-in! There aren't any presets, but the controls are so simple that it doesn't matter.

Naturally, it's best suited to processing voices, but that didn't stop us throwing everything from synths to drum tracks its way, with some pleasingly crunchy results on occasion. The plug-in is an absolute breeze to use and it's easy to knock out a variety of grungy or robot-like tones in an instant. Sadly, you can't play chords, but Sonic Charge says that this might be added in an update. It's usually best to set the Tracking to zero so the output is hard-tuned to the note you play, for a vocoder-like sound. Lastly, engaging the MIDI switch makes Bitspeek use a MIDI signal to control the output pitch (so long as your host can send MIDI to audio plug-ins). You can 'freeze' the audio at any given point by reducing Frame Rate to 0 - ideal for automating in the mix or live jamming. The Rate parameter lets you set Bitspeek's internal sample rate, from a distinctly lo-fi Speak & Spell 8kHz, on through 11kHz and 22kHz, and up to 44.1/48kHz (it adapts to your project's sample rate).Īlso, there's a Frame Rate slider that determines how often the incoming audio is sampled, ranging from 0 to 80Hz when the Sync switch is Off, or snapping to beat divisions of 1/1 up to 1/64 in the On position, which is great for rhythmic material. Noise sets the balance between pitched tones and the noise generator. Tracking determines how closely the output adheres to the pitch of the input: at zero, the output pitch is a monotone robotic drone 100% follows the input as closely as it can while 200% exaggerates pitch variances.

This is pretty much all you need for defining the overall sound. There are four main controls: Pitch (+/-3 octaves), Tracking (0-200%), Detune (introduces a secondary oscillator that can be shifted by up to an octave from the main one) and Noise (+/- 100%). While LPC can be used for accurate reproduction of voices, Bitspeek lets you tinker with its parameters to create more unnatural results. These parameters are stored/transmitted on a per-frame basis, to be fed into an oscillator/filter/noise combo to reproduce the speech. LPC encodes speech by sampling audio many times a second and using analysis techniques to suss out the oscillator pitch/volume, filter values and noise level needed to approximate each 'frame'.

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