From hkang@u-tokyo.ac.jp Mon Mar 06 19:46:47 1995
Path: ashpoly!cascade!transat!eunet-de!hansebox!u-tokyo!hkang
From: hkang@u-tokyo.ac.jp (Hana Kang)
Newsgroups: alt.music.synth-pop
Subject: The sound of the 'Vocal Matrix' - pitch quantization vs human formant
Message-ID: <1995Mar06.194647.9035@u-tokyo.ac.jp>
Date: Mon, 06 Mar 1995 19:46:47 GMT
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Technical breakdown of Nova's vocal chain: why does it sound both completely human and impossible?

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.

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

-- 
Hana Kang | hkang@u-tokyo.ac.jp
PGP Key fingerprint: B674 CC15 4A8D DBE5
"Keep the channels open."

From bsantos@titech.ac.jp Tue Mar 07 11:24:47 1995
Path: ashpoly!cascade!brgate!saturno!titech!bsantos
From: bsantos@titech.ac.jp (Bill Santos)
Newsgroups: alt.music.synth-pop
Subject: Re: The sound of the 'Vocal Matrix' - pitch quantization vs human formant
Message-ID: <1995Mar07.112447.1274@titech.ac.jp>
Date: Tue, 07 Mar 1995 11:24:47 GMT
References: <1995Mar06.194647.9035@u-tokyo.ac.jp>
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In article <1995Mar06.194647.9035@u-tokyo.ac.jp>, hkang@u-tokyo.ac.jp (Hana Kang) writes:
> Technical breakdown of Nova's vocal chain: why does it sound both completely human and impossible?

The CRE-7 engine simulated an entire nervous system. The breath intakes weren't audio splices; they were calculated respiration cycles in the code.

-- 
Bill Santos | bsantos@titech.ac.jp
PGP Key fingerprint: C498 F3D2 9983 AAD1
"Keep the channels open."