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Re: vocal synthesis and processing



Dear Erdem,

  I second Buzaps glowing review of Melodyne.
You can do really interesting things with that program
and they even give you the ability to extract some 'fixed frequencies' from
manipulated tracks and pitch them separately from the pitch content of 
the vocals
(this works fantastically on percussion by the way..............creating 
naturalistic
percussion tracks that feel, nonetheless, that they are from some ethnic 
culture from
another planet:    alien , yet organic.............one of my favorite 
qualities of new sound design.

Additionally,  here are several thoughts I've had about vocal use and 
vocal manipulation:


1) Take a look at the old stalwart,   ReCycle,  which was the program 
that caused the revolution
in Drum and Bass.............designed to slice up drum tracks and then 
send each 'slice' to
a sampler in a numbered and ordered set of samples that can then be 
retriggered in a midi program.
You can also set your own slice points manually in such a program.

Sometimes it is really cool to just take the very beginnings and endings 
of words,  cut them up and separate them
from the words they came from and put them in in unusual places during 
and over the track.

2) A lot of breath noises,  ticks,  inhalations,  lip smacks, etc. can 
be fascinating spices for an unusual vocal track
used as rhythmic elements outside of their normal context.

3) Tuareg is a wonderful standalone app for the PC that does very hip 
slicing and dicing of vocal tracks.
Buy the $35 version and be glad you did.   You'll thank me for this one!

4)  Our very own Matthias Grob and Andy Butlers'  ChoPitch is a 
fantastic manipulator of vocal tracks.
I can't more highly recommend it.

5) You might reference the all acapella vocal CD I put out called Faux 
Voix.
_*
http://www.looppool.info/fauxvoix.html*_

The whole record is just an experimental exploration of vocals and 
computer generated vocals.
I also really worked hard for almost two years to develop a whole new 
series of
'extended'  vocal techniques,  many of which I used on that record.

6)  Heres' a vocal slice experiment from that recording:
_*
http://www.looppool.info/Chris_Slice_Funk.mp3*_

By saying this,  I'm saying,    use your own voice and see what odd 
things it can do.
If you get over the weird feelings and the strange looks you get by 
making unusual sounds,  there are
hundreds of interesting sounds that can be made with the human voice and 
most people
don't do it because it is too 'strange' for normal society.

The beauty of all of these experiments is that all of these sounds are 
made with the vocal chords, the uvula, the lips, the teeth,
the tongue and all the combed frequencies that one can achieve with 
these sounds because our throat is , essentially,  a pipe.

6) I experimented with uvulal singing, overtone singing, noise 
manipulation, hum whistling, whistle humming (there is a difference,  lol),
trill singing, chest beaten harmonic manipulation, piccolo trumpet 
noises,  kissing (which as Jeff Kaiser hipped me to, is high velocity
inhalation,  the opposite of how a trumpet is played), warble singings,  
physical object manipulation of voice (singing in and through things
that effect the sound), growling,  humming,  trilling,  etc.

 Here's an example of a live thing I did in concert from the
Festival of Voice and Electronics utilizing some of those techniques.
Everything you hear was made live in concert using only my voice.
_*
http://www.looppool.info/Faux_Voix_Composite.mp3

*_
7) There are VST instruments out there that mimic the vocal formant 
frequencies of the human voice so that if you put
other melodic material through it, it sounds LIKE a voice.

8) Vocoders also have this voice-esque  quality on anything.

Try   Vocoding a different vocal..........in other words,  use the voice 
to vocode a sample of a voice.
You can get really cool results from trying to sing to lyrics in the 
exact same rhythm, but sing them with
radically different styles or in different ranges.............then 
vocode one with the other.

9) Then there is the processing of the 
voice...............................I won't even go there........this 
post would go on forever.

10) Our own Cara Quinn hipped me to software that 'reads'   websites to 
blind people.
I did a couple pieces using that software.   She and I used to exchange 
vocal generated compositions.
One piece of software gave one the ability to download different voices 
from different cultures
(the Brazillians pronounce Rs like Hs  while the English pronounce Rs 
like,   well,  Rs)
Many different cultures have radically different consonant sounds
and different phonemic combinations vowel sounds.

As an example,  in Korean,  there appears some syntactical rule that 
says , when you end a word with a long held out vowel sound
that the pitch will pend down at the end of the word.

Vowels representing combed filtered sine waves and Consonants 
representing various percussive and noise sounds,
I typed hundreds of vowel combinations to try and extract simple 
melodies from them.
I snipped anything that sounded melodic (like when you ask a question in 
English,  the pitch goes up at the end of the question so it
represents a simple melody, pitchwise)   and put them in a folder.

Later I went back and put many of them together to compose my melodies.
Here's an example of that experiment:

_*http://www.looppool.info/Sweeping_Mary.mp3

*_11)  Also reference  Michiko Kawagoe's brilliant work with an invented 
computer vocal languages



Okee dokee,   ..............these are the thoughts I've been having and 
wanting to write to you since I read your
question to the group.

be well, and good luck with the project..........congratulations!

yours,   Rick