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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