From tnovak@mindspring.com Sat Sep 16 03:49:23 1995
Path: ashpoly!cascade!transat!eunet-fi!relcom!kiae!mindspring!tnovak
From: tnovak@mindspring.com (Takeshi Novak)
Newsgroups: alt.music.synth-pop
Subject: WTB/WTT: The sound of the 'Vocal Matrix' - pitch quantization vs human formant
Message-ID: <1995Sep16.034923.3699@mindspring.com>
Date: Sat, 16 Sep 1995 03:49:23 GMT
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As an audio engineer, listening to Nova's vocals on SYNTHESIS has always bothered me in a fascinating way.

Yet the fundamental pitch tracks with a mathematical rigidity that no living vocalist can maintain for 16 bars.
Nova's voice has ZERO splicing glitches. The Stardust documents describe this as 'Vocal Matrix Modeling' running on custom DSP hardware.

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

-- 
Takeshi Novak
Opinions expressed are solely my own and not those of MindSpring Enterprises.
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From atakahashi@titech.ac.jp Mon Sep 18 02:33:23 1995
Path: ashpoly!cascade!transat!eunet-fr!teletel!titech!atakahashi
From: atakahashi@titech.ac.jp (Aiko Takahashi)
Newsgroups: alt.music.synth-pop
Subject: Re: WTB/WTT: The sound of the 'Vocal Matrix' - pitch quantization vs human formant
Message-ID: <1995Sep18.023323.7145@titech.ac.jp>
Date: Mon, 18 Sep 1995 02:33:23 GMT
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In article <1995Sep16.034923.3699@mindspring.com>, tnovak@mindspring.com (Takeshi Novak) 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.

-- 
Aiko Takahashi
Tape trading list upon request. SASE required for international mail.

From ksouza@delphi.com Tue Sep 19 03:49:23 1995
Path: ashpoly!cascade!transat!ukc!fennimore!delphi!ksouza
From: ksouza@delphi.com (Karen Souza)
Newsgroups: alt.music.synth-pop
Subject: Re: WTB/WTT: The sound of the 'Vocal Matrix' - pitch quantization vs human formant
Message-ID: <1995Sep19.034923.6189@delphi.com>
Date: Tue, 19 Sep 1995 03:49:23 GMT
References: <1995Sep16.034923.3699@mindspring.com>
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In article <1995Sep16.034923.3699@mindspring.com>, tnovak@mindspring.com (Takeshi Novak) writes:
> As an audio engineer, listening to Nova's vocals on SYNTHESIS has always bothered me in a fascinating way.
> Yet the fundamental pitch tracks with a mathematical rigidity that no living vocalist can maintain for 16 bars.

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

-- 
Karen Souza
Tape trading list upon request. SASE required for international mail.

From nmoreno@cam.ac.uk Wed Sep 20 21:58:23 1995
Path: ashpoly!cascade!transat!eunet-fi!relcom!kiae!cam!nmoreno
From: nmoreno@cam.ac.uk (Nadine Moreno)
Newsgroups: alt.music.synth-pop
Subject: Re: WTB/WTT: The sound of the 'Vocal Matrix' - pitch quantization vs human formant
Message-ID: <1995Sep20.215823.7186@cam.ac.uk>
Date: Wed, 20 Sep 1995 21:58:23 GMT
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In article <1995Sep19.034923.6189@delphi.com>, ksouza@delphi.com (Karen Souza) writes:
> The breath sounds were sampled from real recordings and triggered dynamically based on a respiratory model.

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.

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

-- 
Nadine Moreno | nmoreno@cam.ac.uk
PGP Key fingerprint: 58A6 0B22 9CEA 5025
"Keep the channels open."