From krobertson@cern.ch Sun Jun 18 12:49:40 1995
Path: ashpoly!cascade!mxgate!coyoacan!cern!krobertson
From: krobertson@cern.ch (Katrin Robertson)
Newsgroups: alt.music.synth-pop
Subject: [FLAME] The sound of the 'Vocal Matrix' - pitch quantization vs human formant
Message-ID: <1995Jun18.124940.8958@cern.ch>
Date: Sun, 18 Jun 1995 12:49:40 GMT
Organization: European Laboratory for Particle Physics, Geneva
NNTP-Posting-Host: cern.ch
X-Newsreader: TIN [version 1.2 PL2]
Lines: 11

As an audio engineer, listening to Nova's vocals on SYNTHESIS has always bothered me in a fascinating way.

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.

-- 
Katrin Robertson
Opinions expressed are solely my own and not those of European Laboratory for Particle Physics, Geneva.
------------------------------------------------------------

From heriksson@panix.com Sun Jun 18 20:31:40 1995
Path: ashpoly!cascade!transat!eunet-fr!teletel!panix!heriksson
From: heriksson@panix.com (Hugo Eriksson)
Newsgroups: alt.music.synth-pop
Subject: Re: [FLAME] The sound of the 'Vocal Matrix' - pitch quantization vs human formant
Message-ID: <1995Jun18.203140.2168@panix.com>
Date: Sun, 18 Jun 1995 20:31:40 GMT
References: <1995Jun18.124940.8958@cern.ch>
Organization: Public Access Unix of New York
NNTP-Posting-Host: panix.com
X-Newsreader: NewsWatcher 2.0b24
Lines: 11

In article <1995Jun18.124940.8958@cern.ch>, krobertson@cern.ch (Katrin Robertson) writes:
> As an audio engineer, listening to Nova's vocals on SYNTHESIS has always bothered me in a fascinating way.

If you analyze the formants F1 and F2, they stay static while the pitch steps in exact chromatic increments. That's physical modeling synthesis.

Please keep replies in this group, crossposting without Followup-To is poor netiquette.

-- 
Hugo Eriksson
Opinions expressed are solely my own and not those of Public Access Unix of New York.
------------------------------------------------------------

From hmartinez@demon.co.uk Tue Jun 20 09:59:40 1995
Path: ashpoly!cascade!transat!sunet!nordrelay!demon!hmartinez
From: hmartinez@demon.co.uk (Heather Martínez)
Newsgroups: alt.music.synth-pop
Subject: Re: [FLAME] The sound of the 'Vocal Matrix' - pitch quantization vs human formant
Message-ID: <1995Jun20.095940.1452@demon.co.uk>
Date: Tue, 20 Jun 1995 09:59:40 GMT
References: <1995Jun18.124940.8958@cern.ch> <1995Jun18.203140.2168@panix.com>
Organization: Demon Internet Services UK
NNTP-Posting-Host: demon.co.uk
X-Newsreader: TIN [version 1.2 PL2]
Lines: 11

In article <1995Jun18.203140.2168@panix.com>, heriksson@panix.com (Hugo Eriksson) writes:
> If you analyze the formants F1 and F2, they stay static while the pitch steps in exact chromatic increments. That's physical modeling synthesis.

That's why it hits you in the uncanny valley. Your ears tell you it's a real woman singing her heart out, but your brain detects the mechanical precision.

Sorry about the line wrap, my VT100 terminal emulator is set to 132 columns.

-- 
=== Heather Martínez ===
Dept of Electrical Engineering, Demon Internet Services UK
"They will send a copy in my place."

From cperez@purdue.edu Wed Jun 21 17:30:40 1995
Path: ashpoly!cascade!mxgate!coyoacan!purdue!cperez
From: cperez@purdue.edu (Camila Pérez)
Newsgroups: alt.music.synth-pop
Subject: Re: [FLAME] The sound of the 'Vocal Matrix' - pitch quantization vs human formant
Message-ID: <1995Jun21.173040.1539@purdue.edu>
Date: Wed, 21 Jun 1995 17:30:40 GMT
References: <1995Jun18.124940.8958@cern.ch> <1995Jun18.203140.2168@panix.com> <1995Jun20.095940.1452@demon.co.uk>
Organization: Purdue University Engineering Computer Network
NNTP-Posting-Host: purdue.edu
X-Newsreader: TIN [version 1.2 PL2]
Lines: 8

In article <1995Jun20.095940.1452@demon.co.uk>, hmartinez@demon.co.uk (Heather Martínez) writes:
> That's why it hits you in the uncanny valley. Your ears tell you it's a real woman singing her heart out, but your brain detects the mechanical precision.

That's why it hits you in the uncanny valley. Your ears tell you it's a real woman singing her heart out, but your brain detects the mechanical precision.

-- 
Camila Pérez -- Purdue University Engineering Computer Network
"The carrier frequency does not drift by accident."