Yes, Hah, coincidentally, I've been thinking of modeling some of the
sounds on the latest Britney Spears record with granular techniques
too... I'm not sure exactly what you mean by "the new song", but I'm
totally fascinated with the granular sounding sweep on "Piece of Me"
(the very first sound on the track, and appearing before every chorus)
on the Blackout album.

I've also contemplated doing a version of hat I *think* they must have
done to the vocals in certain places, when they exaggerate the
characteristic Britney "rasping" (click click click at the start of a
phrase, seemingly from singular vocal cord exitations, don't know how
to describe this in precise words actually).
They exaggerate this effect to the degree of it appearing as
percussion sometimes. This could be done by some sort of granular
gating, based upon an analysis of the natural occurrence of such
rasping sounds in the input audio (original vocal track).

But, back to your question about PSGS:
I don't have the book (Microsound) in front of me right now, and I
don't remember all the details, but PSGS is described in Microsound
along the same lines as you describe it in your post. You could
definately do this with partikkel (it was designed to be able to do
every form of time domain granular synthesis, and if it can't do PSGS,
I've done something wrong). I haven't implemented an example myself
yet, though. If I remember (the details of PSGS) correctly, I guess
you would use a pitch tracker opcode of your choice to find the
fundamental pitch in your input sample and then control the grain rate
based on the pitch track signal. There's probably a million little
things to consider, but I *think* this is the basic setup to enable
PSGS.

Oeyvind

2008/1/9, Tim Mortimer <timmortimer@d2.net.au>:
>
> 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...)
>
>
>
>
>
>
> --
> View this message in context: http://www.nabble.com/Pitch-Syncronous-Granular-Synthesis-%28or-does-Curtis-Roads-dream-of-electric-Britneys%29-tp14707962p14707962.html
> Sent from the Csound - General mailing list archive at Nabble.com.
>
>
>
> Send bugs reports to this list.
> To unsubscribe, send email sympa@lists.bath.ac.uk with body "unsubscribe csound"
>