A talk box (also spelled talkbox and talk-box) is an effects unit that allows musicians to modify the sound of a musical instrumt by shaping the frequcy contt of the sound and to apply speech sounds (in the same way as singing) onto the sounds of the instrumt. Typically, a talk box directs sound from the instrumt into the musician's mouth by means of a plastic tube adjact to a vocal microphone. The musician controls the modification of the instrumt's sound by changing the shape of the mouth, vocalizing the instrumt's output into a microphone.
A talk box is usually an effects pedal that sits on the floor and contains a speaker attached with an airtight connection to a plastic tube; however, it can come in other forms, including homemade, usually crude, versions, and higher quality custom-made versions. The speaker is gerally in the form of a compression driver, the sound-gerating part of a horn loudspeaker with the horn replaced by the tube connection.
The box has connectors for the connection to the speaker output of an instrumt amplifier and a connection to a normal instrumt speaker. A foot-operated switch on the box directs the sound either to the talk box speaker or to the normal speaker. The switch is usually a push-on/push-off type. The other d of the tube is taped to the side of a microphone, extding ough to direct the reproduced sound in or near the performer's mouth.
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Wh activated, the sound from the amplifier is reproduced by the speaker in the talk box and directed through the tube into the performer's mouth. The shape of the mouth filters the sound, with the modified sound being picked up by the microphone. The shape of the mouth changes the harmonic contt of the sound in the same way it affects the harmonic contt gerated by the vocal folds wh speaking.
The performer can vary the shape of the mouth and position of the tongue, changing the sound of the instrumt being reproduced by the talk box speaker. The performer can mouth words, with the resulting effect sounding as though the instrumt is speaking. This shaped sound exits the performer's mouth, and wh it ters a microphone, an instrumt/voice hybrid is heard.
The sound can be that of any musical instrumt, but the effect is most commonly associated with the guitar. The rich harmonics of an electric guitar are shaped by the mouth, producing a sound very similar to voice, effectively allowing the guitar to appear to speak.
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However, they have radically differt mechanisms for achieving the effect. Talk boxes sd the carrier signal into the singer's mouth, where it is th modulated by the singer themselves. On the other hand, vocoders process both the carrier and the modulator signal integrally, producing the output as a separate electric signal. They are also more common in differt gres: a talk box is oft found in rock music due to its typical pairing with a guitar, whereas vocoders are almost always paired with synthesizers, and as such, are ubiquitous in electronic music.
In 1939, Alvino Rey, amateur radio operator W6UK, used a carbon throat microphone wired in such a way as to modulate his electric steel guitar sound. The mic, originally developed for military pilot communications, was placed on the throat of Rey's wife Luise King (one of The King Sisters), who stood behind a curtain and mouthed the words, along with the guitar lines. The novel-sounding combination was called Singing Guitar, and employed on stage and in the movie Jam Session, as a novelty attraction, but was not developed further.
Rey also created a somewhat similar talking effect by manipulating the tone controls of his Fder electric guitar, but the vocal effect was less pronounced.
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Another early voice effect using the same principle of the throat as a filter was the Sonovox, invted by Gilbert Wright in 1939.
Instead of a throat microphone modulating a guitar signal, it used small transducers attached to the performer's throat to produce sounds that the mouth shapes.
The Sonovox was used in many radio station IDs and jingles produced by JAM Creative Productions and the PAMS advertising agcy of Dallas, Texas. Lucille Ball made one of her earliest film appearances during the 1930s in a Pathé Newsreel demonstrating the Sonovox.
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Pete Drake, a Nashville-based player of the pedal steel guitar, used a talk box on his 1964 album Forever, in what came to be called his talking steel guitar. The following year Gallant released three albums with the box, Pete Drake & His Talking Guitar, Talking Steel and Singing Strings, and Talking Steel Guitar.
Drake's device consisted of an 8-inch paper cone speaker driver attached to a funnel from which a clear tube brought the sound to the performer's mouth. It was only loud ough to be useful in the recording studio.
Another promint use of the talking steel guitar appears in The Vtures' Christmas Album, released in 1965. In the song Silver Bells, Red Rhodes spoke through a talk box, distorting the phrase silver bells.
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Was the first mass market talk box and was housed in a decorative bag slung over the shoulder like a wine bottle. It used a 30-watt driver and was released to the mass music market in early 1969, two years before Bob Heil's talk box became widely available. The Bag is claimed to have be designed by Doug Forbes,
Who states that exactly the same concept (speaker attached to a plastic tube and inserted into the mouth) had previously be patted as an artificial larynx.
Stevie Wonder gave the talk box its first national television promince, performing a medley of The Carpters’ (They Long To Be) Close To You and Jackson 5's Never Can Say Goodbye all via a Kustom Bag live on the David Frost show in 1972. The performance was later sampled on Frank Ocean's Close To You.
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David Gilmour of Pink Floyd, who automatically doubles his guitar leads by singing them as he plays (whether on mic or not), was an obvious candidate for both the talk box and the vocoder, experimting with merging voice and instrumt into a single unified sound. The effect was employed during the lgthy guitar solo sections of Raving and Drooling and You've Got to Be Crazy on the 1974 tour, which would evtually become Sheep and Dogs on the Animals album.
He also used it on She's a Woman from his 1975 release Blow by Blow, and was se using it for the song on BBC television program Five Faces of the Guitar in 1974 in which he also explains its use to the host of the show.
Heil came up with the first high-powered talk box that could be reliable wh used on high-level rock stages. His first Heil talk box was built for Joe Walsh's Barnstorm tour. Heil and Walsh, both avid ham radio operators (K9EID and WB6ACU, respectively), along with Walsh's guitar tech Krinkle, combined a 250-watt JBL driver and suitable hi-pass filter which was used for Walsh's single Rocky Mountain Way. Walsh gives credit to Bill West, an electrical gineer, Nashville steel guitarist and first husband of country-music legd Dottie West, for invting the talk box for him in a 2006 interview with Howard Stern.
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Pete Townshd, in his 2012 autobiography Who I Am, claimed to have invted a version of the talk box during a Who tour of the US in 1976. I built a speaker in a small box, attached a tube and put the tube in my mouth, allowing me to speak music.
In 1988, Heil sold the manufacturing rights to Dunlop Manufacturing, Inc., which currtly builds the Heil talk box to the exact standards that Heil designed in 1973.
The classic rock artist Peter Frampton made extsive use of the talk box in his music. In an interview for the 1999 DVD Live in Detroit, Frampton says he first heard the talk box in 1970 while sitting in on sessions for George Harrison's All Things Must Pass. While he sat next to Pete Drake in the album sessions at Abbey Road Studios, he heard Pete using it with a pedal steel guitar. Frampton said in the same interview that the sound it produced reminded him of an audio effect he loved listing to on Radio Luxembourg in the later 1960s. Frampton acquired one as a Christmas prest from Bob Heil in 1974. It was a hand-built talk box in a fiberglass box using a 100-watt high-powered driver. This was the Heil talk box used for the Frampton Comes Alive tour and album.
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He th promptly locked himself away in a practice space for two weeks, and came out with some mastery of it. Due to the success of the albums Frampton and Frampton Comes Alive!, and particularly the hit singles Do You Feel Like We Do and Show Me the Way, Frampton has become somewhat synonymous with the talk box.
In 1976, Steely Dan guitarist Walter Becker recorded the talk box effect atop an already-recorded Dean Parks solo in Haitian Divorce, on the album The Royal Scam.
The 1974 album 461 Ocean Boulevard features Eric Clapton
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