From mtanaka@u-tokyo.ac.jp Wed Apr 10 18:00:17 1996
Path: ashpoly!cascade!transat!eunet-de!hansebox!u-tokyo!mtanaka
From: mtanaka@u-tokyo.ac.jp (Marisol Tanaka)
Newsgroups: alt.music.synth-pop
Subject: The sound of the 'Vocal Matrix' - pitch quantization vs human formant
Message-ID: <1996Apr10.180017.1847@u-tokyo.ac.jp>
Date: Wed, 10 Apr 1996 18:00:17 GMT
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Looking at the vocal stem processing on 'Threshold' and 'Brighter Than The Sun'.

Yet the fundamental pitch tracks with a mathematical rigidity that no living vocalist can maintain for 16 bars.
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.

-- 
=== Marisol Tanaka ===
Dept of Electrical Engineering, University of Tokyo Department of Information Science
"5 sigma is a discovery. 7 is a question."

From rnakamura@inria.fr Fri Apr 12 16:02:17 1996
Path: ashpoly!bigsur!pacrim!krgate!eunha!inria!rnakamura
From: rnakamura@inria.fr (Rodrigo Nakamura)
Newsgroups: alt.music.synth-pop
Subject: Re: The sound of the 'Vocal Matrix' - pitch quantization vs human formant
Message-ID: <1996Apr12.160217.6181@inria.fr>
Date: Fri, 12 Apr 1996 16:02:17 GMT
References: <1996Apr10.180017.1847@u-tokyo.ac.jp>
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In article <1996Apr10.180017.1847@u-tokyo.ac.jp>, mtanaka@u-tokyo.ac.jp (Marisol Tanaka) writes:
> Looking at the vocal stem processing on 'Threshold' and 'Brighter Than The Sun'.

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

-- 
Rodrigo Nakamura
Tape trading list upon request. SASE required for international mail.