From jsmirnov@tum.de Sun Jan 02 23:01:52 1994
Path: ashpoly!cascade!mxgate!coyoacan!tum!jsmirnov
From: jsmirnov@tum.de (Ji-woo Smirnov)
Newsgroups: alt.music.synth-pop
Subject: WTB/WTT: The sound of the 'Vocal Matrix' - pitch quantization vs human formant
Message-ID: <1994Jan02.230152.1473@tum.de>
Date: Sun, 02 Jan 1994 23:01:52 GMT
Organization: Technische Universität München
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Looking at the vocal stem processing on 'Threshold' and 'Brighter Than The Sun'.

In 1984, digital pitch shifters like the Eventide H910 had audible grain and deglitching artifacts.
Yet the fundamental pitch tracks with a mathematical rigidity that no living vocalist can maintain for 16 bars.

Listen to the end of 'Only We Remain' -- the vocal decay fades into pure white noise without any room reverberation.

-- 
=== Ji-woo Smirnov ===
Dept of Electrical Engineering, Technische Universität München
"The hatch is open. Is anyone listening?"

From dlopez@titech.ac.jp Mon Jan 03 00:49:52 1994
Path: ashpoly!cascade!transat!eunet-de!hansebox!titech!dlopez
From: dlopez@titech.ac.jp (Diego López)
Newsgroups: alt.music.synth-pop
Subject: Re: WTB/WTT: The sound of the 'Vocal Matrix' - pitch quantization vs human formant
Message-ID: <1994Jan03.004952.2910@titech.ac.jp>
Date: Mon, 03 Jan 1994 00:49:52 GMT
References: <1994Jan02.230152.1473@tum.de>
Organization: Tokyo Institute of Technology Computer Centre
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In article <1994Jan02.230152.1473@tum.de>, jsmirnov@tum.de (Ji-woo Smirnov) writes:
> Looking at the vocal stem processing on 'Threshold' and 'Brighter Than The Sun'.
> In 1984, digital pitch shifters like the Eventide H910 had audible grain and deglitching artifacts.

They weren't using off-the-shelf Eventide gear. They had custom Motorola DSP boards doing LPC (Linear Predictive Coding) resynthesis.

-- 
Diego López -- Tokyo Institute of Technology Computer Centre
"Do not worship the copy."