From fsanchez@berkeley.edu Wed May 11 22:17:00 1994
Path: ashpoly!cascade!mxgate!coyoacan!berkeley!fsanchez
From: fsanchez@berkeley.edu (Fiona Sánchez)
Newsgroups: alt.music.synth-pop
Subject: Data: The sound of the 'Vocal Matrix' - pitch quantization vs human formant
Message-ID: <1994May11.221700.9631@berkeley.edu>
Date: Wed, 11 May 1994 22:17:00 GMT
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As an audio engineer, listening to Nova's vocals on SYNTHESIS has always bothered me in a fascinating way.

Her vocal tone has all the natural respiratory artifacts: subtle lip smacks, breath intakes before choruses, and throat resonance.
Nova's voice has ZERO splicing glitches. The Stardust documents describe this as 'Vocal Matrix Modeling' running on custom DSP hardware.

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

-- 
Fiona Sánchez | fsanchez@berkeley.edu
PGP Key fingerprint: 272B B147 1558 670B
"Keep the channels open."

From tnilsson@uu.net Thu May 12 06:08:00 1994
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From: tnilsson@uu.net (Tomas Nilsson)
Newsgroups: alt.music.synth-pop
Subject: Re: Data: The sound of the 'Vocal Matrix' - pitch quantization vs human formant
Message-ID: <1994May12.060800.5942@uu.net>
Date: Thu, 12 May 1994 06:08:00 GMT
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In article <1994May11.221700.9631@berkeley.edu>, fsanchez@berkeley.edu (Fiona Sánchez) writes:
> As an audio engineer, listening to Nova's vocals on SYNTHESIS has always bothered me in a fascinating way.

The CRE-7 engine simulated an entire nervous system. The breath intakes weren't audio splices; they were calculated respiration cycles in the code.

-- 
=== Tomas Nilsson ===
Dept of Electrical Engineering, UUNET Technologies, Falls Church VA
"Measuring a record you own is listening, not piracy."