Yes. However, to theatrically “sell” the effect, you have to miss it a couple of times as the camera zooms into the operator setting the receiver, first too high and then too low and then hit it.
Single Sideband has no carrier to automatically tell the receiver what to do, so it’s up to the operator to put the carrier back in where they assume the carrier would have been had it been there. No guarantees. Stop adjusting when you can understand the transmission not when it’s theatrically beautiful.
“Single Sideband,” at least as it applies to amateur radio is really “Single Sideband, Suppressed Carrier,” although nobody calls it that.
What fun. A Google search for SSB example clips turns up zero-nothing. It does turn up billions of pages of people explaining what it does at great length and how it works. It also turns up one guy violating a prime directive of podcasts. He makes you sit through his mistakes. “This is what SSB sounds like … gee, the transmissions were there a minute ago.”
We have this thing called editing.
I wonder how you would do that “swooshing” into the correct carrier in Audacity.
Arggggg! That sound is burned into my head. Somebody must have recorded it.
That’s the push and then you do everything else in theater. Adjust Leveler as needed for more or less gritty distortion. Leveler was retained from earlier Audacity versions because it works exactly the same way actual communications microphones work. It’s a natural.