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Re: vocal synthesis and processing
I just downloaded Matthias's ChoPitch because I'm look for a good
pitch shifter but Live 8 won't recognize the vst plugin. Live 8 sees
my other vst's just fine (Mobius, reaktor, etc.) I moved it in the
same folder with my other vst's, library/audio/plug-ins/vst
Can anyone else with this plug and Live 8 confirm this?
On May 7, 2009, at 1:53 AM, Rick Walker wrote:
> Dear Erdem,
> I second Buzaps glowing review of Melodyne.
> You can do really interesting things with that program
> and they even give you the ability to extract some 'fixed
> frequencies' from
> manipulated tracks and pitch them separately from the pitch content
> of the vocals
> (this works fantastically on percussion by the
> way..............creating naturalistic
> percussion tracks that feel, nonetheless, that they are from some
> ethnic culture from
> another planet: alien , yet organic.............one of my
> favorite qualities of new sound design.
> Additionally, here are several thoughts I've had about vocal use
> and vocal manipulation:
> 1) Take a look at the old stalwart, ReCycle, which was the
> program that caused the revolution
> in Drum and Bass.............designed to slice up drum tracks and
> then send each 'slice' to
> a sampler in a numbered and ordered set of samples that can then be
> retriggered in a midi program.
> You can also set your own slice points manually in such a program.
> Sometimes it is really cool to just take the very beginnings and
> endings of words, cut them up and separate them
> from the words they came from and put them in in unusual places
> during and over the track.
> 2) A lot of breath noises, ticks, inhalations, lip smacks, etc.
> can be fascinating spices for an unusual vocal track
> used as rhythmic elements outside of their normal context.
> 3) Tuareg is a wonderful standalone app for the PC that does very
> hip slicing and dicing of vocal tracks.
> Buy the $35 version and be glad you did. You'll thank me for this
> 4) Our very own Matthias Grob and Andy Butlers' ChoPitch is a
> fantastic manipulator of vocal tracks.
> I can't more highly recommend it.
> 5) You might reference the all acapella vocal CD I put out called
> Faux Voix.
> The whole record is just an experimental exploration of vocals and
> computer generated vocals.
> I also really worked hard for almost two years to develop a whole
> new series of
> 'extended' vocal techniques, many of which I used on that record.
> 6) Heres' a vocal slice experiment from that recording:
> By saying this, I'm saying, use your own voice and see what odd
> things it can do.
> If you get over the weird feelings and the strange looks you get by
> making unusual sounds, there are
> hundreds of interesting sounds that can be made with the human voice
> and most people
> don't do it because it is too 'strange' for normal society.
> The beauty of all of these experiments is that all of these sounds
> are made with the vocal chords, the uvula, the lips, the teeth,
> the tongue and all the combed frequencies that one can achieve with
> these sounds because our throat is , essentially, a pipe.
> 6) I experimented with uvulal singing, overtone singing, noise
> manipulation, hum whistling, whistle humming (there is a
> difference, lol),
> trill singing, chest beaten harmonic manipulation, piccolo trumpet
> noises, kissing (which as Jeff Kaiser hipped me to, is high velocity
> inhalation, the opposite of how a trumpet is played), warble
> singings, physical object manipulation of voice (singing in and
> through things
> that effect the sound), growling, humming, trilling, etc.
> Here's an example of a live thing I did in concert from the
> Festival of Voice and Electronics utilizing some of those techniques.
> Everything you hear was made live in concert using only my voice.
> 7) There are VST instruments out there that mimic the vocal formant
> frequencies of the human voice so that if you put
> other melodic material through it, it sounds LIKE a voice.
> 8) Vocoders also have this voice-esque quality on anything.
> Try Vocoding a different vocal..........in other words, use the
> voice to vocode a sample of a voice.
> You can get really cool results from trying to sing to lyrics in the
> exact same rhythm, but sing them with
> radically different styles or in different ranges.............then
> vocode one with the other.
> 9) Then there is the processing of the
> voice...............................I won't even go
> there........this post would go on forever.
> 10) Our own Cara Quinn hipped me to software that 'reads' websites
> to blind people.
> I did a couple pieces using that software. She and I used to
> exchange vocal generated compositions.
> One piece of software gave one the ability to download different
> voices from different cultures
> (the Brazillians pronounce Rs like Hs while the English pronounce
> Rs like, well, Rs)
> Many different cultures have radically different consonant sounds
> and different phonemic combinations vowel sounds.
> As an example, in Korean, there appears some syntactical rule that
> says , when you end a word with a long held out vowel sound
> that the pitch will pend down at the end of the word.
> Vowels representing combed filtered sine waves and Consonants
> representing various percussive and noise sounds,
> I typed hundreds of vowel combinations to try and extract simple
> melodies from them.
> I snipped anything that sounded melodic (like when you ask a
> question in English, the pitch goes up at the end of the question
> so it
> represents a simple melody, pitchwise) and put them in a folder.
> Later I went back and put many of them together to compose my
> Here's an example of that experiment:
> *_11) Also reference Michiko Kawagoe's brilliant work with an
> invented computer vocal languages
> Okee dokee, ..............these are the thoughts I've been having
> and wanting to write to you since I read your
> question to the group.
> be well, and good luck with the project..........congratulations!
> yours, Rick