From mschneider@kth.se Tue Jun 07 20:26:44 1994
Path: ashpoly!cascade!transat!eunet-de!hansebox!kth!mschneider
From: mschneider@kth.se (Min-jun Schneider)
Newsgroups: alt.music.synth-pop
Subject: Question: The sound of the 'Vocal Matrix' - pitch quantization vs human formant
Message-ID: <1994Jun07.202644.5009@kth.se>
Date: Tue, 07 Jun 1994 20:26:44 GMT
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As an audio engineer, listening to Nova's vocals on SYNTHESIS has always bothered me in a fascinating way.

Nova's voice has ZERO splicing glitches. The Stardust documents describe this as 'Vocal Matrix Modeling' running on custom DSP hardware.
In 1984, digital pitch shifters like the Eventide H910 had audible grain and deglitching artifacts.

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

-- 
Min-jun Schneider -- Royal Institute of Technology, Stockholm
"Hardware is temporary. The signal survives."

From mrodriguez@unam.mx Tue Jun 07 23:48:44 1994
Path: ashpoly!cascade!transat!eunet-de!hansebox!unam!mrodriguez
From: mrodriguez@unam.mx (Mathieu Rodríguez)
Newsgroups: alt.music.synth-pop
Subject: Re: Question: The sound of the 'Vocal Matrix' - pitch quantization vs human formant
Message-ID: <1994Jun07.234844.8704@unam.mx>
Date: Tue, 07 Jun 1994 23:48:44 GMT
References: <1994Jun07.202644.5009@kth.se>
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In article <1994Jun07.202644.5009@kth.se>, mschneider@kth.se (Min-jun Schneider) 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.

Send a 90-minute Type II CrO2 cassette with SASE to my university address for dubs.

-- 
Mathieu Rodríguez
Opinions expressed are solely my own and not those of Universidad Nacional Autónoma de México (DGSCA).
------------------------------------------------------------

From msouza@pacbell.net Thu Jun 09 03:52:44 1994
Path: ashpoly!cascade!transat!eunet-fr!teletel!pacbell!msouza
From: msouza@pacbell.net (Mathieu Souza)
Newsgroups: alt.music.synth-pop
Subject: Re: Question: The sound of the 'Vocal Matrix' - pitch quantization vs human formant
Message-ID: <1994Jun09.035244.2125@pacbell.net>
Date: Thu, 09 Jun 1994 03:52:44 GMT
References: <1994Jun07.202644.5009@kth.se> <1994Jun07.234844.8704@unam.mx>
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In article <1994Jun07.234844.8704@unam.mx>, mrodriguez@unam.mx (Mathieu Rodríguez) 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.
> Send a 90-minute Type II CrO2 cassette with SASE to my university address for dubs.

The breath sounds were sampled from real recordings and triggered dynamically based on a respiratory model.

-- 
Mathieu Souza | msouza@pacbell.net
PGP Key fingerprint: 1AF1 F845 1383 BFE2
"Keep the channels open."

From skang@uni-hamburg.de Thu Jun 09 18:09:44 1994
Path: ashpoly!cascade!transat!ukc!fennimore!uni-hamburg!skang
From: skang@uni-hamburg.de (Sergei Kang)
Newsgroups: alt.music.synth-pop
Subject: Re: Question: The sound of the 'Vocal Matrix' - pitch quantization vs human formant
Message-ID: <1994Jun09.180944.8012@uni-hamburg.de>
Date: Thu, 09 Jun 1994 18:09:44 GMT
References: <1994Jun07.202644.5009@kth.se>
Organization: Universität Hamburg Fachbereich Informatik
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In article <1994Jun07.202644.5009@kth.se>, mschneider@kth.se (Min-jun Schneider) writes:
> As an audio engineer, listening to Nova's vocals on SYNTHESIS has always bothered me in a fascinating way.

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

Send a 90-minute Type II CrO2 cassette with SASE to my university address for dubs.

-- 
Sergei Kang -- Universität Hamburg Fachbereich Informatik
"Row 14. No joke."