The purpose of acoustic analysis is to describe the sound with a number of objective measures such as its intensity, fundamental frequency (perceived as pitch), spectral characteristics (perceived as voice quality), etc. The main function for acoustic analysis in soundgen is "analyze()". The core algorithm behind it is the short-time Fourier transform (STFT), which divides the sound into many short windowed frames and analyzes the spectrum of each frame. Soundgen also has functions for detecting temporal regularities ("segment()"), extracting the modulation spectrum ("modulationSpectrum()"), self-similarity matrices ("ssm()"), etc. Please see the vignette on acoustic analysis for details.
There is plenty of dedicated software for audio editing, such as Audacity, but when you are working with sound in R, it can be very convenient to edit your sounds using scripts. Soundgen offers basic functionality for things like fading in/out (manipulating the attack) or cross-fading two sounds, but also more advanced features like the ability to transplant the amplitude envelope and spectral envelope (formants) from one sound to another or to perform filtering based on the modulation spectrum. There is currently no vignette on sound editing on soundgen, but all these functions are well documented, with examples of code.
Finally, soundgen offers parametric voice synthesis with the function "soundgen()". The purpose is to start with a few control parameters (e.g., the intonation contour, the amount of noise, the number of syllables and their duration, etc.) and to generate a corresponding audio stream. Ignoring dependencies between control parameters and the procedure for the creation of polysyllabic vocalizations, the algorithm for generating a single voiced segment basically implements the standard source-filter model. The voiced component is generated as a sum of sine waves, one for each harmonic, and the noise component is generated as filtered white noise. Both components are then passed through a frequency filter simulating the effect of the vocal tract. This process can be conceptually divided into three stages: