TOBY
Group: Members
Posts: 1562
Joined: May 2002 |
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Posted: Sep. 16 2005, 05:45 |
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Didn't someone say that the Vocaloid software is built around a sampled model of Miriam Stockly's voice? There is an argument, that the more musical folks out there (Korgscrew,Musically inspired etc) might want to pick up on, that by the time you've sampled, distorted and generally mucked about with a sound (in this case a voice) the source of that sound starts becoming more and more irrelevant. You could throw the vocoder into that argument as well. There is also the issue of control, we all know Mike is a control freak and I guess software like this puts him in a position where he can tweak things into oblivion.
It has to has to said that Surfing is the first piece thus far that it really is noticeable that the voice is synthetic. On TOAA I don't think I could tell very easily that the voices are artificial, its quite eerie really. Like I said in an earlier post Surfing for me sounds like a sort of bizarre futuristic lullaby, which may or may not be as Mike intended.
On Mike and technology. Well Tom Newman did say in that interview many years ago 'Mike's got sequencers he knows how to use them and he's gonna use them'. Just add onto that list drum pads, guitar sax's, Vocaloids, any other musical gimmick you care to mention etc, etc. Its a fact of life now for MO fans that for whatever ever reason Mike loves his technology and is going to use it. For me its HOW he uses it which now becomes governing factor as to how to judge the quality of a track.
TOAA works for me because its got a powerful and charismatic guitar lick, not to mention a great solo, flowing throw what is a very originally constructed piece full of interesting and well researched sounds (mostly done on Vocaloid) and other great moledies. So TOAA would be a great little example of Mike using technology WELL.
Its just a shame that a few tracks later on the same CD we're going to come across Romance which is at the opposite end of the musical spectrum on every level.
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