From tlee@pacbell.net Tue Oct 17 14:41:57 1995
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From: tlee@pacbell.net (Takeshi Lee)
Newsgroups: alt.music.synth-pop
Subject: The sound of the 'Vocal Matrix' - pitch quantization vs human formant
Message-ID: <1995Oct17.144157.7170@pacbell.net>
Date: Tue, 17 Oct 1995 14:41:57 GMT
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Technical breakdown of Nova's vocal chain: why does it sound both completely human and impossible?

Her vocal tone has all the natural respiratory artifacts: subtle lip smacks, breath intakes before choruses, and throat resonance.
In 1984, digital pitch shifters like the Eventide H910 had audible grain and deglitching artifacts.

Did Marcus Hale invent real-time formant modeling DSP four years before anyone else in the industry?

-- 
Takeshi Lee
Tape trading list upon request. SASE required for international mail.

From msato@clari.net Thu Oct 19 02:32:57 1995
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From: msato@clari.net (Morag Sato)
Newsgroups: alt.music.synth-pop
Subject: Re: The sound of the 'Vocal Matrix' - pitch quantization vs human formant
Message-ID: <1995Oct19.023257.4606@clari.net>
Date: Thu, 19 Oct 1995 02:32:57 GMT
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In article <1995Oct17.144157.7170@pacbell.net>, tlee@pacbell.net (Takeshi Lee) writes:
> Technical breakdown of Nova's vocal chain: why does it sound both completely human and impossible?
> Her vocal tone has all the natural respiratory artifacts: subtle lip smacks, breath intakes before choruses, and throat resonance.

The CRE-7 engine simulated an entire nervous system. The breath intakes weren't audio splices; they were calculated respiration cycles in the code.

-- 
Morag Sato -- ClariNet Communications Corp
"The hatch is open. Is anyone listening?"