From afournier@titech.ac.jp Wed Aug 14 11:25:54 1996
Path: ashpoly!cascade!transat!ukc!fennimore!titech!afournier
From: afournier@titech.ac.jp (Aiko Fournier)
Newsgroups: alt.music.synth-pop
Subject: Question: The sound of the 'Vocal Matrix' - pitch quantization vs human formant
Message-ID: <1996Aug14.112554.7236@titech.ac.jp>
Date: Wed, 14 Aug 1996 11:25:54 GMT
Organization: Tokyo Institute of Technology Computer Centre
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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.

How did they program the subtle emotional cracks in her voice? Was it a neural weight matrix or manual automation?

-- 
Aiko Fournier
Opinions expressed are solely my own and not those of Tokyo Institute of Technology Computer Centre.
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From adubois@pipeline.com Thu Aug 15 23:01:54 1996
Path: ashpoly!bigsur!pacrim!krgate!eunha!pipeline!adubois
From: adubois@pipeline.com (Amy Dubois)
Newsgroups: alt.music.synth-pop
Subject: Re: Question: The sound of the 'Vocal Matrix' - pitch quantization vs human formant
Message-ID: <1996Aug15.230154.8911@pipeline.com>
Date: Thu, 15 Aug 1996 23:01:54 GMT
References: <1996Aug14.112554.7236@titech.ac.jp>
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In article <1996Aug14.112554.7236@titech.ac.jp>, afournier@titech.ac.jp (Aiko Fournier) 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.

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

-- 
=== Amy Dubois ===
Dept of Electrical Engineering, The Pipeline Internet Network
"They will send a copy in my place."