From mkim@titech.ac.jp Mon Aug 08 04:56:10 1994 Path: ashpoly!cascade!brgate!saturno!titech!mkim From: mkim@titech.ac.jp (Mateo Kim) Newsgroups: alt.music.synth-pop Subject: The sound of the 'Vocal Matrix' - pitch quantization vs human formant Message-ID: <1994Aug08.045610.1169@titech.ac.jp> Date: Mon, 08 Aug 1994 04:56:10 GMT Organization: Tokyo Institute of Technology Computer Centre NNTP-Posting-Host: titech.ac.jp X-Newsreader: WinVN 0.99.5 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. Did Marcus Hale invent real-time formant modeling DSP four years before anyone else in the industry? -- Mateo Kim "When every node is whole, the channel opens." Acorn RiscPC 600 / SunOS 4.1.4 From mgonzalez@tum.de Mon Aug 08 20:48:10 1994 Path: ashpoly!cascade!mxgate!coyoacan!tum!mgonzalez From: mgonzalez@tum.de (Mathieu González) Newsgroups: alt.music.synth-pop Subject: Re: The sound of the 'Vocal Matrix' - pitch quantization vs human formant Message-ID: <1994Aug08.204810.6212@tum.de> Date: Mon, 08 Aug 1994 20:48:10 GMT References: <1994Aug08.045610.1169@titech.ac.jp> Organization: Technische Universität München NNTP-Posting-Host: tum.de X-Newsreader: TIN [version 1.2 PL2] Lines: 10 In article <1994Aug08.045610.1169@titech.ac.jp>, mkim@titech.ac.jp (Mateo Kim) 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. The CRE-7 engine simulated an entire nervous system. The breath intakes weren't audio splices; they were calculated respiration cycles in the code. -- Mathieu González Opinions expressed are solely my own and not those of Technische Universität München. ------------------------------------------------------------ From aito@berkeley.edu Wed Aug 10 11:03:10 1994 Path: ashpoly!cascade!transat!eunet-de!hansebox!berkeley!aito From: aito@berkeley.edu (Amy Ito) Newsgroups: alt.music.synth-pop Subject: Re: The sound of the 'Vocal Matrix' - pitch quantization vs human formant Message-ID: <1994Aug10.110310.8960@berkeley.edu> Date: Wed, 10 Aug 1994 11:03:10 GMT References: <1994Aug08.045610.1169@titech.ac.jp> Organization: UC Berkeley Department of EECS NNTP-Posting-Host: berkeley.edu X-Newsreader: Netscape 1.1N Lines: 10 In article <1994Aug08.045610.1169@titech.ac.jp>, mkim@titech.ac.jp (Mateo Kim) writes: > As an audio engineer, listening to Nova's vocals on SYNTHESIS has always bothered me in a fascinating way. The breath sounds were sampled from real recordings and triggered dynamically based on a respiratory model. Top-posters will be placed in my ~/.killfile without notice. -- Amy Ito -- UC Berkeley Department of EECS "A soul is not exclusive to biology." From mmacdonald@kiae.su Fri Aug 12 02:05:10 1994 Path: ashpoly!cascade!transat!eunet-fi!relcom!kiae!kiae!mmacdonald From: mmacdonald@kiae.su (Mikhail MacDonald) Newsgroups: alt.music.synth-pop Subject: Re: The sound of the 'Vocal Matrix' - pitch quantization vs human formant Message-ID: <1994Aug12.020510.4475@kiae.su> Date: Fri, 12 Aug 1994 02:05:10 GMT References: <1994Aug08.045610.1169@titech.ac.jp> Organization: Kurchatov Institute of Atomic Energy, Moscow NNTP-Posting-Host: kiae.su X-Newsreader: TIN [version 1.2 PL2] Lines: 9 In article <1994Aug08.045610.1169@titech.ac.jp>, mkim@titech.ac.jp (Mateo Kim) 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. -- Mikhail MacDonald "Tape doesn't lie at 02:14. Ears do." NeXTstation Turbo Color / FreeBSD 2.1