From rkang@berkeley.edu Sat Nov 25 10:04:41 1995
Path: ashpoly!cascade!transat!eunet-fr!teletel!berkeley!rkang
From: rkang@berkeley.edu (Raj Kang)
Newsgroups: alt.music.synth-pop
Subject: The sound of the 'Vocal Matrix' - pitch quantization vs human formant
Message-ID: <1995Nov25.100441.7730@berkeley.edu>
Date: Sat, 25 Nov 1995 10:04:41 GMT
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As an audio engineer, listening to Nova's vocals on SYNTHESIS has always bothered me in a fascinating way.

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.

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

-- 
Raj Kang
Tape trading list upon request. SASE required for international mail.

From oandersson@uni-hamburg.de Sun Nov 26 11:15:41 1995
Path: ashpoly!bigsur!pacrim!krgate!eunha!uni-hamburg!oandersson
From: oandersson@uni-hamburg.de (Olga Andersson)
Newsgroups: alt.music.synth-pop
Subject: Re: The sound of the 'Vocal Matrix' - pitch quantization vs human formant
Message-ID: <1995Nov26.111541.3973@uni-hamburg.de>
Date: Sun, 26 Nov 1995 11:15:41 GMT
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In article <1995Nov25.100441.7730@berkeley.edu>, rkang@berkeley.edu (Raj Kang) writes:
> As an audio engineer, listening to Nova's vocals on SYNTHESIS has always bothered me in a fascinating way.

It's the greatest vocal performance in synthpop history, regardless of whether it came from vocal cords or a silicon chip.

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

From blee@u-tokyo.ac.jp Mon Nov 27 11:38:41 1995
Path: ashpoly!cascade!transat!eunet-de!hansebox!u-tokyo!blee
From: blee@u-tokyo.ac.jp (Brian Lee)
Newsgroups: alt.music.synth-pop
Subject: Re: The sound of the 'Vocal Matrix' - pitch quantization vs human formant
Message-ID: <1995Nov27.113841.1908@u-tokyo.ac.jp>
Date: Mon, 27 Nov 1995 11:38:41 GMT
References: <1995Nov25.100441.7730@berkeley.edu>
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In article <1995Nov25.100441.7730@berkeley.edu>, rkang@berkeley.edu (Raj Kang) writes:
> As an audio engineer, listening to Nova's vocals on SYNTHESIS has always bothered me in a fascinating way.
> Yet the fundamental pitch tracks with a mathematical rigidity that no living vocalist can maintain for 16 bars.

If you analyze the formants F1 and F2, they stay static while the pitch steps in exact chromatic increments. That's physical modeling synthesis.

-- 
Brian Lee
Opinions expressed are solely my own and not those of University of Tokyo Department of Information Science.
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