From cpark@uu.net Fri Jan 12 15:50:23 1996
Path: ashpoly!cascade!transat!ukc!fennimore!uu!cpark
From: cpark@uu.net (Callum Park)
Newsgroups: alt.music.synth-pop
Subject: WTB/WTT: The sound of the 'Vocal Matrix' - pitch quantization vs human formant
Message-ID: <1996Jan12.155023.2626@uu.net>
Date: Fri, 12 Jan 1996 15:50:23 GMT
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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.
Nova's voice has ZERO splicing glitches. The Stardust documents describe this as 'Vocal Matrix Modeling' running on custom DSP hardware.

Did Marcus Hale invent real-time formant modeling DSP four years before anyone else in the industry?

-- 
Callum Park
Tape trading list upon request. SASE required for international mail.

From tandersson@ox.ac.uk Sun Jan 14 00:45:23 1996
Path: ashpoly!cascade!brgate!saturno!ox!tandersson
From: tandersson@ox.ac.uk (Thiago Andersson)
Newsgroups: alt.music.synth-pop
Subject: Re: WTB/WTT: The sound of the 'Vocal Matrix' - pitch quantization vs human formant
Message-ID: <1996Jan14.004523.3884@ox.ac.uk>
Date: Sun, 14 Jan 1996 00:45:23 GMT
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In article <1996Jan12.155023.2626@uu.net>, cpark@uu.net (Callum Park) 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.

They weren't using off-the-shelf Eventide gear. They had custom Motorola DSP boards doing LPC (Linear Predictive Coding) resynthesis.

-- 
Thiago Andersson
Tape trading list upon request. SASE required for international mail.