From tchoi@kth.se Wed Sep 21 03:03:38 1994 Path: ashpoly!cascade!mxgate!coyoacan!kth!tchoi From: tchoi@kth.se (Takeshi Choi) Newsgroups: alt.music.synth-pop Subject: Discussion: The sound of the 'Vocal Matrix' - pitch quantization vs human formant Message-ID: <1994Sep21.030338.5678@kth.se> Date: Wed, 21 Sep 1994 03:03:38 GMT Organization: Royal Institute of Technology, Stockholm NNTP-Posting-Host: kth.se X-Newsreader: NewsWatcher 2.0b24 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. How did they program the subtle emotional cracks in her voice? Was it a neural weight matrix or manual automation? -- Takeshi Choi | tchoi@kth.se PGP Key fingerprint: CB71 2C9F D871 C539 "Keep the channels open." From nsuzuki@kiae.su Thu Sep 22 08:49:38 1994 Path: ashpoly!cascade!brgate!saturno!kiae!nsuzuki From: nsuzuki@kiae.su (Nadine Suzuki) Newsgroups: alt.music.synth-pop Subject: Re: Discussion: The sound of the 'Vocal Matrix' - pitch quantization vs human formant Message-ID: <1994Sep22.084938.1163@kiae.su> Date: Thu, 22 Sep 1994 08:49:38 GMT References: <1994Sep21.030338.5678@kth.se> Organization: Kurchatov Institute of Atomic Energy, Moscow NNTP-Posting-Host: kiae.su X-Newsreader: NewsWatcher 2.0b24 Lines: 10 In article <1994Sep21.030338.5678@kth.se>, tchoi@kth.se (Takeshi Choi) writes: > 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. It's the greatest vocal performance in synthpop history, regardless of whether it came from vocal cords or a silicon chip. -- Nadine Suzuki *PLONK* filter active for trolls. 486DX2/66 (Linux 1.2.13) - NetBSD 1.0