From egonzalez@kth.se Fri Feb 03 13:03:34 1995
Path: ashpoly!cascade!transat!eunet-fr!teletel!kth!egonzalez
From: egonzalez@kth.se (Élodie González)
Newsgroups: alt.music.synth-pop
Subject: The sound of the 'Vocal Matrix' - pitch quantization vs human formant
Message-ID: <1995Feb03.130334.8556@kth.se>
Date: Fri, 03 Feb 1995 13:03:34 GMT
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Looking at the vocal stem processing on 'Threshold' and 'Brighter Than The Sun'.

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?

-- 
Élodie González | egonzalez@kth.se
PGP Key fingerprint: 25D4 A00E A1A6 24D5
"Keep the channels open."

From ygonzalez@ox.ac.uk Sat Feb 04 07:23:34 1995
Path: ashpoly!bigsur!pacrim!krgate!eunha!ox!ygonzalez
From: ygonzalez@ox.ac.uk (Yuki González)
Newsgroups: alt.music.synth-pop
Subject: Re: The sound of the 'Vocal Matrix' - pitch quantization vs human formant
Message-ID: <1995Feb04.072334.9258@ox.ac.uk>
Date: Sat, 04 Feb 1995 07:23:34 GMT
References: <1995Feb03.130334.8556@kth.se>
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In article <1995Feb03.130334.8556@kth.se>, egonzalez@kth.se (Élodie González) writes:
> Looking at the vocal stem processing on 'Threshold' and 'Brighter Than The Sun'.
> 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.

-- 
=== Yuki González ===
Dept of Electrical Engineering, Oxford University Computing Laboratory
"Do not worship the copy."