With regards to "Piece of Me", I believe you are almost definately hearing this:
http://www.antarestech.com/products/avox.shtml#throat

including so called 'pitch correction', like autotune and melodyne, which I imagine are
both used liberally all over the album, and always have been.
see http://www.antarestech.com/products/auto-tune5.shtml
and http://www.celemony.com/melodyne/

Interestingly on the 'THROAT' plugin, under a section titled 'Model Glottal', there is
a parameter called pulse width, I don't know how that works but it sound fun.
listening to the 'PUNCH' audio example is also quite reminiscent of the track.

I've been familiar with pitch correction for some time as an alternative to my favourite
vocoder effects, in producing robotic sounds: the 'Cher Effect' where the pitch correction
is overused to lock the voice to the nearest note.

I think this effect could be recreated with some success using harmon2 (with spectrum, specptrk).
I know hilbert can produce some very clear pitch frequency shift effects like glisses and simple harmony I think that preserves formant ratios as well.








On 10/01/2008, Tim Mortimer <timmortimer@d2.net.au> wrote:

(hang in there Victor - your cue comes up in a bit..)

Following on from all this...

http://www.nabble.com/Pitch-Syncronous-Granular-Synthesis-%28or-does-Curtis-Roads-dream-of-electric-Britneys%29-tt14707962.html


This is one of the more "authentic sounding" implementations of a "formant
tweeky" vocal effect i have heard.

http://www.xponaut.com/showpage?pid=91

But it still lacks the basic ability to "wilfully impose pitch" rather than
just being a correction tool.

The manual doesn't go into much detail, but gives some vague insights, &
alludes to FFT being in the mix somewhere (for tracking & formant
identification assumedly) as well as use of the key words "pitch syncronous"
in an otherwise evasive & undetailed context... mmm, how does all this fit
together? (i'm as determined as hell to see this realised - this effect has
eluded me for years!)

The GUI also looks a bit like what i'm sure the original "suitcase synth"
that did this looked like... (does anybody know what that synth is?)

The other thing i thought in response to all this (Victor this is your bit)
is that if pvscale can shift pitch & preserve formants - why couldn't the
same algorithm be used to create access to "formant tweaking"?? - again in
combination with pvspitch tracking & correction, this might provide
something pretty useable & controllable..)

So Victor, do you have any thoughts on this? does "pvsformant" sound like a
reasonable opcode request? What do you know of more "conventional" pitch &
formant shifting effects? am i missing something obvious already in the
csound arsenal? (Basically i want to repitch & formant tweak vocals without
"Vocoding" them...)

I got partikkel functioning basically this arvo (in 5.06) & playing back a
vocal sample... but it's still a long way short of doing all the formant
identification & "effective resynthesis" I'm after - (not implying it can't
be done - but its still a long road... as my original quotations from
Computer Music tutorial suggest - I still don't know what the hell this
means

"The output signal results from the excitation of the pulse train on the
weighted sum of the impulse responses of all the filters" (conclusion of
Curtis Roads description of Pitch Syncronous Granular in Computer Music
Tutorial page 174-175)

Does anyone know of the articles i refered to that are referenced in
Computer Music Tutorial?

They include an MIT press publication 1991 - "Representations of Musical
Signals..."

If someone can assure me that the process is described in sufficient detail
in Microsound that it could be implemented based theron i'm prepeared to
splurge & grab it from Amazon... but really i'm still looking for one of the
"king hitter developers" to help me over the line with this if at all
possible...

& when the hordes of spotty, DSP obsessed, WASP males come flooding in via
csounds.com you can thank me later...


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