Isn't that what syncgrain does?

On 09/01/2008, Tim Mortimer <timmortimer@d2.net.au> wrote:
>
>
> Hello,
>
> A spectre is haunting Europe. That spectre is Native Instruments. ; )
>
> When i used to play around with their "Reaktor" modular environment, as
> part
> of it's Granular "suite" was a module called "Pitch Former".
>
> "Pitch Former" imposes a fundamental on any sample you load into it, &
> allows playback of it at any arbitrary pitch, with the capacity to "tweak"
> the Formant value of the output sound. (Basically creating an effect not
> to
> dissimilar to Vocoding - except you don't need a modulator signal). as
> well
> as apply Time Stretch etc etc - all the "usual" granular "side effects"...
>
> So there is no "transposition" of the sample playback - just the
> application
> of a given "fundamental value" to the samples periodic content, & away you
> go.
>
> Input pitch == 60:
>     get out ANYTHING played back AS Middle C.
>     (so a sample singing "DOH RE MI FA" outputs "DOH DOH DOH DOH" & sounds
> a
> bit ill...)
>
> Sometime shortly after all this, i went out & bought myself Computer Music
> Tutorial. It says (on page 174...)
>
> "Pitch Syncronous Granular Synthesis (PSGS) is a technique designed for
> the
> generation of tones with one or more formant regions in their spectra" & a
> brief multi-stage process is described. "This must be how Pitch Former
> works" I thought to myself.
>
> Anyway, it was a cool module but like much of Reaktor (IMHO) it lacked the
> capacity to provide any meaningful precision interfacing with it's sonic
> capabilities - (that & the fact there was no way to impose any order of
> events with any certainty ..... indeterminacy is fine, but only when i,
> the
> user, say so please!)
>
> But now i have Csound & Python, so if i could do this effect using these 2
> environments instead, well, i could pump out top 40 in my spare time &
> make
> millions of dollars to give to Dr Boulanger to spread Linux throughout the
> third world ; )
>
> So... has anyone done this in csound? I thought FOG might be a good
> starting
> point - but i didn't have much sucess (including armed with the Csound
> book...)
>
> I possibly need to to a pitch track analysis on a sample, & derive some
> complex re-windowing based upon it & execute it via some some FOF / FOG
> type
> process? (anyone with Computer Music Tutorial please go & open it to page
> 174 right about now...)
>
> But, err, shouldn't this be available through one or 2 opcodes maybe? Part
> of Partikkel Perhaps? (a "parttikeltrack" perhaps?)
>
> Now, i am yet to study partikkel in detail, but as it's entry in the
> manual
> specifically referes to "time domain" processing, i'm wondering if PSGS is
> in fact still "a bridge too far" for the average Csound user - & if so, is
> it time to do something about it?
>
> I think i can say with some certainty that if you want to attract more
> "bedroom producer types" to csound - this effect may single handedly be
> the
> most potent recruitment tool in your arsenal.
>
> So, who amongst you knows something about this, & can anyone report having
> achieved this process already at all? (by means simple or elaborately
> complex..)
>
> & if there is an out the box opcode solution already, i'm sorry I missed
> it,
> but the opportunity to start this thread was just too gooder opportunity
> to
> miss (& i'll blame David W for bringing up postmodernism in the first
> place
> ! ; ) ...)
>
> & yes, the reason i started thinking about this was because the new
> Britney
> song totally kicks ass!! (but THAT vocal sound on this occasion sounds a
> lot
> like the reaktor module to me, & not so much like any Vocoder / FFT type
> effect - but i've only heard it once, on the radio like....)
>
> How did they achieve the effect the analog way anyway? (there's some old
> EMS
> looking suitcase type synth that does it i'm sure - plus the old "talkbox"
> guitar effect...)
>
> (& yes, i got bored with programming Python today...)
>
>
>
>
>
>
> --
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