After she did her 'cue ball buzz cut' at that salon in Tarzana, California (my neighborhood, eight short blocks from where I live), I stopped watching anything that starts with that name.
Why did you have to bring her into this? Now I'll have to wash my computer's mouth out with soap and de-lause it.  (LOL)

- Partev


---------------------------------------------------------------------------------------------------

--- timmortimer@d2.net.au wrote:

From: Tim Mortimer 
To: csound@lists.bath.ac.uk
Subject: [Csnd]  Britney Spears of Destiny (esp. attn Victor Lazzarini + others)
Date: Thu, 10 Jan 2008 02:34:40 -0800 (PST)


(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...


-- 
View this message in context: http://www.nabble.com/Britney-Spears-of-Destiny-%28esp.-attn-Victor-Lazzarini-%2B-others%29-tp14730945p14730945.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"




_____________________________________________________________
Netscape.  Just the Net You Need.

Thanks everyone!

Very quickly (while I bludge off work) here are my responses to you all…

Victor: 

Yes I’ve identified all those opcodes you have suggested as being “close to
the money” but as far as implementing what Roads is talking about in Com Mus
Tut, I’m not sure any of them deal with, well, pretty much any of it. Please
correct me if I’m wrong.

These are the key quotes from CMT (p174)

"spectrum analysis is performed on each grain?" (in a window that's == grain
size?) (With grains == successive wavecycle lengths?) 

"an impulse response is then derived which sets the params on a resynth
filter..." 

"pulse trains delivered into FIR filters at the detected pitch period.." 

"The output signal results from the excitation of the pulse train on the
weighted sum of the impulse responses of all the filters"

This seems like a specific mix of a number of different DSP philosophies &
approaches – no simple “Foggery” or “Synciness” here…. But as you are across
so many of these related topics, you had the misfortune of having me drag u
in…. (I apologise ; ) …)

Joel Ross: 

Glad to see autotune’s finally got a keyboard at the bottom of the
interface! The specifics about MIDI control to “impose pitch” however are
still vague. 

The concept of a pencil, a zoom tool & “a wavy pitch line” may seem like
some GUI designers idea of “control”, but from my experience toying with an
early version of Auto-Tune they most certainly are not!

Their new effects however look very exciting, & do conceptually sound like
much that has been discussed. 

I’ve never checked out Melodyne. Maybe I need to…. (If you wan’t to give me
some more insights into your own useage & experience with these please feel
welcome to contact me offlist…)

Thanks for mentioning Harmon2 & Hilbert. I’m not sure I know what or how I
need to use Hilbert though….(I don’t fuly understand what Hilbert is..). any
ideas? (i will definately start checking them out over the weekend
however...)

Andreas B: 

our posts may have crossed, but I also have considered the relevance /
“synonimity” of LPC with this process – my earlier response to victor raised
the issue. It’s on the field of investigation…..


Alex W: unfortunately public resources are of a particularly low standard
here in lil ol Adelaide. & My local Conservatorium rejected me 10 years ago,
so I have little intention of ever going back to them for assistance (& what
I have taught myself in the interim is probably more relevant & useful
anyway., so perhaps they did me a favour.). 

We have in Australia lived under a govt whose idea of “service to the
community” is to deny them knowledge, resources & opportunities so that they
may be easier exploited by multinationals looking for cheap labour. 

Ignorance helps perpetuate this process, & the prosperity of the remaining
few who stand to benefit.

The public has finally seen sense after 15 years however & voted these post
thatcherite ignoramuses into the gutter where they belong. Let’s hope things
start to improve as a result. 

If not, Ugo Chavez, if you are reading this, please prepare your forces for
invasion. (& please bring me a copy of Microsound for my local public
library on the way...)


-- 
View this message in context: http://www.nabble.com/Britney-Spears-of-Destiny-%28esp.-attn-Victor-Lazzarini-%2B-others%29-tp14730945p14748319.html
Sent from the Csound - General mailing list archive at Nabble.com.

Golly Gosh, this Melodyne thing is looking very interesting... 

Might pour over the manual this weekend - 

http://www.celemony.com/cms/index.php?id=manuals

this is also vaguely interesting to anyone following....

http://www.soundonsound.com/sos/mar07/articles/at5vsmelodyne.htm

does anybody know any of the history behind Melodyne's development - are the
algorithms shrouded in secrecy?

Doesn't this Peter Neubäcker guy turn up to confrences & say "Gday Dr B, mr
ff, Victor - how's Csound going?" & divulge the inner workings of Melodyne
over a lazy couple of jugs of Pimms or something?


-- 
View this message in context: http://www.nabble.com/Britney-Spears-of-Destiny-%28esp.-attn-Victor-Lazzarini-%2B-others%29-tp14730945p14750397.html
Sent from the Csound - General mailing list archive at Nabble.com.