Buffer~ "buffer~ works as a buffer of memory in which samples are stored to be saved, edited, or referenced in conjunction with many different objects, including play~ / groove~ (to play the buffer), record~(records into the buffer), info~ (to report information about the buffer), peek~ (to write into/read from the buffer like the table object), lookup~ (to use the buffer for waveshaping), cycle~ (to specify a 512-point waveform), and wave~ (to specify a waveform)." Groove~"groove~ is a variable-rate, looping, sample-playback object which references the audio information stored in a buffer~ object carrying the same name." I have incorporated these into prototype 2.0 allowing for the time stretching of a human sound source. The result is pretty impressive considering the use of coughs for the process input. The design challenge will be incorporating this into something that almost works in real time, given the inherent delay for the time stretch. The wave degeneration experienced with gizmo~;
A biologically based roaring framework as provided by Weissengruber;
"We suggest that roaring (the low pitch vocalization seen in
prototypical form in lions and red deer) has two distinct
physiological and acoustic components:
1 a low fundamental frequency, made possible by long or
heavy vocal folds, which lead to the low pitch of the roar;
2 lowered formant frequencies, made possible by an
elongated vocal tract, which provide the impressive
baritone timbre of roars."
This highlights possible principles to inform the design to getting an 'accurate' roar sound.
Weissengruber, G. E. et al. 2002.
Hyoid apparatus and pharynx in the lion (Panthera leo), jaguar (Panthera
onca), tiger (Panthera tigris), cheetah (Acinonyx jubatus) and domestic cat
(Felis silvestris f. catus). Journal of Anatomy. 201(3): pp.195-209.
From Cough To Roar;
An interesting and amazingly short process that uses a short cough for the input sound and then time stretches it.
The result is very impressive.
This just shows you have to experiment, and not go for the obvious "RRRRRRRRRRAAAAAAAWR!"
Will try and experiment with this in future prototypes.
This use of pitch shifting may address altering the Source section within using the Source-Filter framework within this design. It also addresses the first condition outlined by Weissengruber's roaring framework, to produce a sound that features low fundamental frequency. The next stage would be to do the filtering steps, looking at formants to suffice the Filter side of the theory. In terms of utilising time stretching in MSP;
http://www.devinkerr.com/2008/10/30/free_elastic-independent-pitchspeed-control-in-max/ Another paper prototype detailing the analytical process;
Amy EdwardsSo many dragons on screen seem to have similar voices and sounds and this dragon and Merlin's (John Hurt's voice) dragon are my top two favorites. Where did you get the inspiration for your dragon and where or what were you modeling his sound from?
David FarmerThe FIRST thing I wanted was for the beast part of Smaug to be an alligator. I love the sound of an alligator growl, but have never heard it featured anywhere for a film beast. I didn't want him to just be a lion or tiger, or some pitched version of those and the alligator fit the bill. I'd heard alligators before but never had the chance to record them. I want to thanks Colin Hart for sharing his knowledge of Alligators which led me to get several days worth of recordings.
David FarmerIMO creature sounds are the single hardest to make, and make them interesting and also believable. There are only so many animals in the world to record, yet visually they can be anything you can imagine. So we're working with a finite source palette, to satisfy a limitless visual potential. We can also only twist them so far before they sound unrealistic.
David FarmerIt helps to start with a great performance which Benedict gave us in droves. His voice is arguably the best I've been able to work with. The key was the right amount of pitching, with other low end enhancers, for the most part. But then there was the reverbs to make it sound like it excited the space, as well as vocoding alligator growls to add an extra layer of girth underneath. There were quite a few processes, some added quite subtley, but in the end the sum of the parts created something I hope sounds natural, but yet authentic.
Details the process and rationale David Farmer applied for processing Benedict Cumberbatch in The Hobbit: The Desolation of Smaug.
A short example from the 'Lion King' studio sessions featuring the human voice with the use of a hardware resonator in the form of metal bin to accentuate and attenuate certain frequency formants.
The various research materials, accumulated into design concepts;
The project will entail of the development of a sound design process to transform human vocalisations into that of animals, using theories that bring together biological knowledge, along with sound synthesis. The project will work with a media studies element and practice-based component working concurrently. This will then be concluded by a quantitative element in the form of a scientific experiment consisting of a simple listening test.
A nice find for my literature review and for my methodology, Fant's Source-Filter theory details sound production from an angle that draws strong parallels with that of Subtractive synthesis. As Subtractive synthesis deals with the principle of an excitation source and resonator, the Source-Filter theory deals with the larynx and the vocal tract - Essentially viewed upon as a "Source" and a "Filter" respectively. This approach would help underline the project design, splitting up the ways to attempt processing the human vocal sound to become a big cat.
Relevant texts;
Fant, G.
(1960). Acoustic theory of speech
production. The Hague: Mouton.
Taylor, A.
and Reby, D. 2010. The contribution of source–filter theory to mammal vocal communication
research. Journal of Zoology. 280(3)
pp.221-236.
Titze, I.
1994. Principles of vocal production. Englewood Cliffs: Prentice-Hall.
Although I have found a lot of interesting sound design examples. This brief breakdown courtesy of World of Warcraft shows the sound of a creature in its final form, but also isolates the sounds building blocks. For this example it includes a voice actor, a bear and a tiger. http://us.battle.net/wow/en/blog/9135372/
Developed by Orfeas Boteas, Dehumaniser is a sound design tool that can manipulate a live input in real time, with the intention of being applied to sounds created by the human voice. It can function as a standalone application or be re-wired for use with digital audio workstations, such as Cubase and Reaper.
Investigated the possibility of conducting research with the Zoological Society in order to obtain animal recordings for analysis. Lecturer feedback highlighted an observation that conducting my own recordings might not be the best allocation of my time and resources, given the waiting time to receive a research pass, and also the fact given the nature of my topic, the animals recordings would turn out pretty poorly.
The research process has been quite frustrating, given the more specific the investigation, the more irrelevant the research (and past research) becomes. The Sound Synthesis and Sampling book by Martin Russ has been a consistent source throughout the weeks of narrowing sources, and given the potentially more sound-synthesis based approach of my investigation, has gained more relevance.
The pitch session on Friday gave us a chance to tell our lecturer and peers about our projects, and what research we had conducted thus far. During my project research presentation it became apparent that my biologically focused findings might not be immediately relevant to the production requirements of the project as I had mainly discussed my findings on the descended and mobile larynx found in mammals along with the concepts of vocal learning (which would bear no relation to production requirements.) A suggestion included investigating subtractive synthesis and if possible as an outcome for my project; the creation of a soft/hardware sound effects chain for a tiger emulation system for a human voice. Upon reflecting on this point, I created a very simplified IO diagram;
HUMAN VOICE >>> PROCESS >>> MODIFIED VOICE (Tiger, Etc.) This "Process" will be what the project will manifest itself with the experimental production/synthesis techniques, along with the informative biology sources. Preceding this, I also found the full video of the Big Cats episode of Inside Natures Giants that showed the lions mobile and sizable larynx; http://www.dailymotion.com/gb/relevance/search/inside+natures+giants+big+cats/1#video=xpk1nj This documentary features an interesting experiment in which Tecumseh Fitch attached a tube to the lions larynx and blew compressed air through it. He then repeated this and pulled the larynx back which change the pitch of the roar, essentially a biological pitch shifter.
Given the nature of this project, one of my lecturers was happy with the idea of having a hybrid research approach splitting the technical sound elements along with the biological area of the subject. The reading materials at the moment have been mainly biological, looking at the production of Vocalizations in Mammals and some more specific articles involving the Panthera family.
An interesting clip from "Inside Natures Giants", unfortunately due to copyright issues the full episode is unavailable. This clip details the lions larynx and its movement to produce growls and roars. Interestingly it is still unknown how the roars volume can be so great in amplitude.
One of my favorite voice actors in the industry, with over twenty years experience in video games and animation, Dee Baker has taking his talents in a different direction; mainly in the production of sounds for animals and creatures.
One of the most crucial points with his approach is that he rarely alters his recordings post production, as shown in his online portfolio - http://www.deebaker.com/
An interesting study into the nature of human vocal production using the comparative model with primates.
(Page 1 of 4)
Sound Synthesis and Sampling by Martin Russ (2006) also offers an interesting introduction detailing human synthesis;
"Human beings also have a sophisticated means of producing
sound: the vocal tract. The combination of vocal cords, throat, tongue, teeth,
mouth cavity and lips provide a versatile way of making a wide variety of
sounds: a biological sound synthesizer. The development of this particular
instrument is long and still ongoing – it is probably the oldest and most
important musical instrument."
I'm glad that I have a subject area for the year ahead, but the challenge facing me over the next short period of time will be narrowing my area of study into an interesting, worthwhile and testable research aim. Given the diverse nature of the human vocal element, I could analyse and study it in a range of approaches such as;
The ever present dominance and creative applications of voice in music and culture as an instrument;
Musically the most recognized vocal instrument is that of a singer, usually combining notes/words with melodic phrases, drones, etc.
Other applications such as beatboxing, whistling and established instrument mimicry;
Naturally 7 - An A Capella music group that uses extensive beatboxing, harmonies and mimicry in their studio and live performances/productions. (YouTube)
The use of voice as a sound effects generator in creative mediums;
“The best unique sound effects are those made from scratch.
Humans have far more range than almost every other creature in the animal
kingdom, so try to produce the sound yourself.” - Ric Viers 2008.
Compare vocal applications in creative mediums before and after the rise of digital technology (Animation/Video Games).
A short video detailing the many voices of Mel Blanc, most famous for his work with Warner Brothers animation. (YouTube)
The Wabi Sabi Sound guys displaying the combination of voice acting with digital technology to create more abstract monster noises. (YouTube)
