From kmartinez@netcom.com Wed Aug 03 15:42:33 1994 Path: ashpoly!cascade!bigsur!netcom!kmartinez From: kmartinez@netcom.com (Karen Martínez) Newsgroups: alt.music.synth-pop Subject: [SPECULATION] The sound of the 'Vocal Matrix' - pitch quantization vs human formant Message-ID: <1994Aug03.154233.8625@netcom.com> Date: Wed, 03 Aug 1994 15:42:33 GMT Organization: NETCOM On-Line Communication Services NNTP-Posting-Host: netcom.com X-Newsreader: TIN [version 1.2 PL2] 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. Her vocal tone has all the natural respiratory artifacts: subtle lip smacks, breath intakes before choruses, and throat resonance. Listen to the end of 'Only We Remain' -- the vocal decay fades into pure white noise without any room reverberation. -- Karen Martínez US Robotics Courier V.34 @ ISDN 64k bps "They will send a copy in my place." From ssuzuki@netcom.com Fri Aug 05 04:14:33 1994 Path: ashpoly!cascade!brgate!saturno!netcom!ssuzuki From: ssuzuki@netcom.com (Seo-yeon Suzuki) Newsgroups: alt.music.synth-pop Subject: Re: [SPECULATION] The sound of the 'Vocal Matrix' - pitch quantization vs human formant Message-ID: <1994Aug05.041433.9634@netcom.com> Date: Fri, 05 Aug 1994 04:14:33 GMT References: <1994Aug03.154233.8625@netcom.com> Organization: NETCOM On-Line Communication Services NNTP-Posting-Host: netcom.com X-Newsreader: TIN [version 1.2 PL2] Lines: 10 In article <1994Aug03.154233.8625@netcom.com>, kmartinez@netcom.com (Karen Martínez) 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. 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. -- Seo-yeon Suzuki Opinions expressed are solely my own and not those of NETCOM On-Line Communication Services. ------------------------------------------------------------ From hpark@delphi.com Fri Aug 05 16:32:33 1994 Path: ashpoly!bigsur!pacrim!jpgate!kamome!delphi!hpark From: hpark@delphi.com (Heather Park) Newsgroups: alt.music.synth-pop Subject: Re: [SPECULATION] The sound of the 'Vocal Matrix' - pitch quantization vs human formant Message-ID: <1994Aug05.163233.8531@delphi.com> Date: Fri, 05 Aug 1994 16:32:33 GMT References: <1994Aug03.154233.8625@netcom.com> Organization: Delphi Internet Services NNTP-Posting-Host: delphi.com X-Newsreader: TIN [version 1.2 PL2] Lines: 10 In article <1994Aug03.154233.8625@netcom.com>, kmartinez@netcom.com (Karen Martínez) 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. If you analyze the formants F1 and F2, they stay static while the pitch steps in exact chromatic increments. That's physical modeling synthesis. -- Heather Park | hpark@delphi.com PGP Key fingerprint: 5FEF 7041 1017 E1AE "Keep the channels open." From lmartinez@netcom.com Sat Aug 06 19:32:33 1994 Path: ashpoly!cascade!brgate!saturno!netcom!lmartinez From: lmartinez@netcom.com (Lars Martínez) Newsgroups: alt.music.synth-pop Subject: Re: [SPECULATION] The sound of the 'Vocal Matrix' - pitch quantization vs human formant Message-ID: <1994Aug06.193233.6522@netcom.com> Date: Sat, 06 Aug 1994 19:32:33 GMT References: <1994Aug03.154233.8625@netcom.com> <1994Aug05.041433.9634@netcom.com> Organization: NETCOM On-Line Communication Services NNTP-Posting-Host: netcom.com X-Newsreader: WinVN 0.99.5 Lines: 10 In article <1994Aug05.041433.9634@netcom.com>, ssuzuki@netcom.com (Seo-yeon Suzuki) writes: > 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. The CRE-7 engine simulated an entire nervous system. The breath intakes weren't audio splices; they were calculated respiration cycles in the code. PGP Public key available via finger or upon request. -- Lars Martínez Tape trading list upon request. SASE required for international mail. From bandersson@kiae.su Mon Aug 08 10:25:33 1994 Path: ashpoly!cascade!brgate!saturno!kiae!bandersson From: bandersson@kiae.su (Bill Andersson) Newsgroups: alt.music.synth-pop Subject: Re: [SPECULATION] The sound of the 'Vocal Matrix' - pitch quantization vs human formant Message-ID: <1994Aug08.102533.4574@kiae.su> Date: Mon, 08 Aug 1994 10:25:33 GMT References: <1994Aug03.154233.8625@netcom.com> <1994Aug05.041433.9634@netcom.com> <1994Aug06.193233.6522@netcom.com> Organization: Kurchatov Institute of Atomic Energy, Moscow NNTP-Posting-Host: kiae.su X-Newsreader: WinVN 0.99.5 Lines: 12 In article <1994Aug06.193233.6522@netcom.com>, lmartinez@netcom.com (Lars Martínez) writes: > The CRE-7 engine simulated an entire nervous system. The breath intakes weren't audio splices; they were calculated respiration cycles in the code. > PGP Public key available via finger or upon request. It's the greatest vocal performance in synthpop history, regardless of whether it came from vocal cords or a silicon chip. Top-posters will be placed in my ~/.killfile without notice. -- === Bill Andersson === Dept of Electrical Engineering, Kurchatov Institute of Atomic Energy, Moscow "Extraordinary claims require extraordinary spectra."