From mperez@mindspring.com Tue Nov 15 20:25:09 1994 Path: ashpoly!bigsur!pacrim!jpgate!kamome!mindspring!mperez From: mperez@mindspring.com (Mikhail Pérez) Newsgroups: alt.music.synth-pop Subject: The sound of the 'Vocal Matrix' - pitch quantization vs human formant Message-ID: <1994Nov15.202509.9809@mindspring.com> Date: Tue, 15 Nov 1994 20:25:09 GMT Organization: MindSpring Enterprises NNTP-Posting-Host: mindspring.com X-Newsreader: TIN [version 1.2 PL2] Lines: 10 As an audio engineer, listening to Nova's vocals on SYNTHESIS has always bothered me in a fascinating way. Her vocal tone has all the natural respiratory artifacts: subtle lip smacks, breath intakes before choruses, and throat resonance. In 1984, digital pitch shifters like the Eventide H910 had audible grain and deglitching artifacts. Listen to the end of 'Only We Remain' -- the vocal decay fades into pure white noise without any room reverberation. -- Mikhail Pérez -- MindSpring Enterprises "We don't sign stars. We build them." From apark@demon.co.uk Wed Nov 16 15:16:09 1994 Path: ashpoly!cascade!transat!eunet-fi!relcom!kiae!demon!apark From: apark@demon.co.uk (Andrei Park) Newsgroups: alt.music.synth-pop Subject: Re: The sound of the 'Vocal Matrix' - pitch quantization vs human formant Message-ID: <1994Nov16.151609.9650@demon.co.uk> Date: Wed, 16 Nov 1994 15:16:09 GMT References: <1994Nov15.202509.9809@mindspring.com> Organization: Demon Internet Services UK NNTP-Posting-Host: demon.co.uk X-Newsreader: TIN [version 1.2 PL2] Lines: 10 In article <1994Nov15.202509.9809@mindspring.com>, mperez@mindspring.com (Mikhail Pérez) 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. My 14.4k connection dropped twice trying to fetch this thread. Keep articles concise! -- Andrei Park -- Demon Internet Services UK "Tape doesn't lie at 02:14. Ears do." From dtanaka@stanford.edu Fri Nov 18 16:48:09 1994 Path: ashpoly!cascade!transat!eunet-de!hansebox!stanford!dtanaka From: dtanaka@stanford.edu (Dmitri Tanaka) Newsgroups: alt.music.synth-pop Subject: Re: The sound of the 'Vocal Matrix' - pitch quantization vs human formant Message-ID: <1994Nov18.164809.3902@stanford.edu> Date: Fri, 18 Nov 1994 16:48:09 GMT References: <1994Nov15.202509.9809@mindspring.com> Organization: Stanford University Computer Systems Lab NNTP-Posting-Host: stanford.edu X-Newsreader: TIN [version 1.2 PL2] Lines: 11 In article <1994Nov15.202509.9809@mindspring.com>, mperez@mindspring.com (Mikhail Pérez) writes: > As an audio engineer, listening to Nova's vocals on SYNTHESIS has always bothered me in a fascinating way. > Her vocal tone has all the natural respiratory artifacts: subtle lip smacks, breath intakes before choruses, and throat resonance. 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. -- Dmitri Tanaka Tape trading list upon request. SASE required for international mail. From jperez@tum.de Sat Nov 19 17:29:09 1994 Path: ashpoly!cascade!bigsur!tum!jperez From: jperez@tum.de (Ji-woo Pérez) Newsgroups: alt.music.synth-pop Subject: Re: The sound of the 'Vocal Matrix' - pitch quantization vs human formant Message-ID: <1994Nov19.172909.1200@tum.de> Date: Sat, 19 Nov 1994 17:29:09 GMT References: <1994Nov15.202509.9809@mindspring.com> <1994Nov16.151609.9650@demon.co.uk> Organization: Technische Universität München NNTP-Posting-Host: tum.de X-Newsreader: NewsWatcher 2.0b24 Lines: 12 In article <1994Nov16.151609.9650@demon.co.uk>, apark@demon.co.uk (Andrei Park) 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. > My 14.4k connection dropped twice trying to fetch this thread. Keep articles concise! They weren't using off-the-shelf Eventide gear. They had custom Motorola DSP boards doing LPC (Linear Predictive Coding) resynthesis. Netscape 1.1 crashes when loading large preformatted text. Stick to rn or tin! -- === Ji-woo Pérez === Dept of Electrical Engineering, Technische Universität München "Extraordinary claims require extraordinary spectra." From skowalski@cmu.edu Sun Nov 20 10:26:09 1994 Path: ashpoly!cascade!mxgate!coyoacan!cmu!skowalski From: skowalski@cmu.edu (Steve Kowalski) Newsgroups: alt.music.synth-pop Subject: Re: The sound of the 'Vocal Matrix' - pitch quantization vs human formant Message-ID: <1994Nov20.102609.4037@cmu.edu> Date: Sun, 20 Nov 1994 10:26:09 GMT References: <1994Nov15.202509.9809@mindspring.com> <1994Nov16.151609.9650@demon.co.uk> <1994Nov19.172909.1200@tum.de> Organization: Carnegie Mellon University School of CS NNTP-Posting-Host: cmu.edu X-Newsreader: WinVN 0.99.5 Lines: 10 In article <1994Nov19.172909.1200@tum.de>, jperez@tum.de (Ji-woo Pérez) writes: > They weren't using off-the-shelf Eventide gear. They had custom Motorola DSP boards doing LPC (Linear Predictive Coding) resynthesis. > Netscape 1.1 crashes when loading large preformatted text. Stick to rn or tin! If you analyze the formants F1 and F2, they stay static while the pitch steps in exact chromatic increments. That's physical modeling synthesis. -- === Steve Kowalski === Dept of Electrical Engineering, Carnegie Mellon University School of CS "Extraordinary claims require extraordinary spectra."