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Old 07-14-2012, 12:28 PM   #1
kiedis
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Default how to achieve doppler effect in audio?

Hi

How can i make some synth notes sound like passing airplane or car? (wzzzhhhhuuuummmmmmmmmmmmmmm...).

Yes, i can achieve this effect with some vstis, but the problem is that initial sound of the note is the one i want - only after holding the key for a few seconds i begin to hear that "doppler effect" sound. and there is no way to cut/mute/fade out initial 2 seconds of a midi note. if i cut and delete some part of midi note, the left part still begins with undesired sound just like before (baaang!, and only then my desired dopplerish wzzzhhhhuuuummmmmmmmmmmmmmm)

i want a whole midi note to sound wzzzhhhhuuuummmmmmmmmmmmmmm

thank you
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Old 07-14-2012, 01:01 PM   #2
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Quick and easy way would be to record the sound you do have into audio and edit the audio to cut out the beginning that you don't like (baaang!), leaving you with just the wzzzhhhhuuuummmmmmmmmmmmmmm that you crave.
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Old 07-14-2012, 01:09 PM   #3
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If you use Windows, Waves has a Doppler VST/RTAS -> http://www.remixsoft.com/download/doppler.html

License is free, this site said.


edit: okay, not free, but Waves -> http://www.waves.com/content.aspx?id=244&l=4
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Old 07-14-2012, 01:24 PM   #4
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http://www.gersic.com/plugins/index....ubmit&action=1

Have fun! :-)
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Old 07-14-2012, 01:49 PM   #5
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thank you all guys! much appreciated! )
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Old 07-14-2012, 01:53 PM   #6
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Quote:
Originally Posted by henge View Post
Did you check these Henge?? I tried all of the links on the page you linked to, and none of them work. I imagine that this is a very old web page...
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Old 07-14-2012, 02:04 PM   #7
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Quote:
Originally Posted by richie43 View Post
Did you check these Henge?? I tried all of the links on the page you linked to, and none of them work. I imagine that this is a very old web page...
Sorry Richie, I did not! I thought they'd work.LOL
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Old 07-14-2012, 02:18 PM   #8
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Use pitch-shift and automate the envelope to have a tangential profile. Ie start with the sound pitched up a couple of semitones and over the period of time gradually start to drop the pitch, have the envelope slope at its steepest as it crosses pitch neutral, and then gradually bottom the slope out at 2 semitones pitched dowm. 2 semitones is a starting point, depends on relative velocities...

If you follow a tangential shape for the pitch envelope, this will mimic the rate of change of source relative velocity and the resultant pitch change experienced by an observer being passed by a constant velocity sound source.

The maths isn't that complicated if you had real numbers to play with, but it should follow a tangent function of variable positive and negative start and end pitches, with a zero-crossing angle dependent on how close you would be to the moving object (nearly vertical for fast and close, more gentle for slower or further away).

Everything else is level, noise and timbre -add some rumble, white noise and filters and and volume envelope the lot of them

Have fun!


>
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Old 07-14-2012, 04:34 PM   #9
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ya, for me the answer to this depends on where your synth is coming from. if it's something like massive, or FM8, or some kind of flexible synth editor thing, then you can achieve the effect by setting your pitch and volume envelopes correctly.

if your synth software doesn't let you do that, then it might be better to find one that does for this effect, or, you could program it in yourself using pitch shift CC data, and volume envelopes.

it may depend also on exactly how many times you want to do this.

but to me, it sounds like the best is to use a synth that let's you edit pitch envelopes and volume envelopes, and mess around with that until you get the effect how you want it.
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Old 07-15-2012, 12:26 AM   #10
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Waves dopplar maybe:
http://www.waves.com/Content.aspx?id=244

It's in the $60 range something.

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Old 07-15-2012, 08:38 AM   #11
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Quote:
Originally Posted by Nip View Post
Waves dopplar maybe:
http://www.waves.com/Content.aspx?id=244

It's in the $60 range something.

lol. I love it when people post super-helpful advice that's already been posted!! (one of first responses above)

I've done it plenty of times, I just had to hassle ya.
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Old 07-15-2012, 09:59 AM   #12
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The best way is to run past a mic really fast while carrying your synth or its amplifier. You'll need some very long leads, power cables if your synth/amp won't run on batteries, and possibly some energy drinks in case you have to do a few takes.

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Old 07-15-2012, 10:05 AM   #13
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Quote:
Originally Posted by planetnine View Post
Use pitch-shift and automate the envelope to have a tangential profile. Ie start with the sound pitched up a couple of semitones and over the period of time gradually start to drop the pitch, have the envelope slope at its steepest as it crosses pitch neutral, and then gradually bottom the slope out at 2 semitones pitched dowm. 2 semitones is a starting point, depends on relative velocities...

If you follow a tangential shape for the pitch envelope, this will mimic the rate of change of source relative velocity and the resultant pitch change experienced by an observer being passed by a constant velocity sound source.

The maths isn't that complicated if you had real numbers to play with, but it should follow a tangent function of variable positive and negative start and end pitches, with a zero-crossing angle dependent on how close you would be to the moving object (nearly vertical for fast and close, more gentle for slower or further away).

Everything else is level, noise and timbre -add some rumble, white noise and filters and and volume envelope the lot of them

Have fun!


>
I've gotten good results combining this method (more or less) with an automated ReaEq. Start with a pretty drastic high-pass and a sublte low-pass and automate them to match the pitch shift so that you end up with a big low-pass and subtle high-pass at the end. I dunno how to explain it better than that - hopefully it made sense.

I didn't do any math, just kind of fudged it. I think if you get a good approximation the effect still telegraphs pretty well. If you're working in stereo don't forget to pan the track from left to right or vice versa.
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Old 07-15-2012, 10:14 AM   #14
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Quote:
Originally Posted by IXix View Post
The best way is to run past a mic really fast while carrying your synth or its amplifier. You'll need some very long leads, power cables if your synth/amp won't run on batteries, and possibly some energy drinks in case you have to do a few takes.

Best solution yet. Maybe add a skateboard for the speed, consistent motion, and the sound of the wheels (preferably an OLD skateboard with hard wheels) just may be a great sonic addition.
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Old 07-15-2012, 10:32 AM   #15
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This here:

is what I was saying...

https://stash.reaper.fm/v/13341/doppler.wav

Last edited by Swamp Ape; 07-15-2012 at 10:51 AM.
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Old 04-25-2020, 10:37 AM   #16
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Quote:
Originally Posted by Swamp Ape View Post
This here:

is what I was saying...

https://stash.reaper.fm/v/13341/doppler.wav
This is cool!
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Old 04-25-2020, 01:32 PM   #17
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Have you tried the free "Doppler Dome" vst plugin from Aegean Music?
https://aegeanmusic.com/doppler-dome-specs
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Old 04-25-2020, 01:57 PM   #18
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That is quite good ....but....

It depends a lot on the effect that kiedis is trying to achieve!

The question is doppler that is purely frequency shift(pitch if you will) owing the the apparent wavelength change.
As pointed out by planetnine the closest distance to the moving object (i.e. as it passes) has an affect in the sound.

For the further explanation in the original post 'like a passing plane or car' then the further planet comments need to be effected too.

Distant objects are quieter and will be loudest at the closest point fading away again. An S shaped fade up and then down might approximate.

Similarly at distance bass travels better than higher frequencies. Unless you simulate big distances that should not be overdone but will be before and after the object passes.

Lastly if the object itself produces sound with directional properties then there may well be a fall off in higher frequencies as and after it passes (consider something such as a siren, loudhailer directing sound forwards but bass being more omnidirectional) or in fact the opposite for some sounds (consider a car exhaust or jet engine - sort of pointing backwards!!).

Amplitude and Equalisation envelope(s) can be employed for those depending on how much realism you want!
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