Half a croissant, on a plate, with a sign in front of it saying '50c'
h a l f b a k e r y
If ever there was a time we needed a bowlologist, it's now.

idea: add, search, annotate, link, view, overview, recent, by name, random

meta: news, help, about, links, report a problem

account: browse anonymously, or get an account and write.




Don't auto-tune, auto-edit
  [vote for,

Auto-tune is pretty cool. You give it a list of acceptable pitches (ie: the key of the song). It then does a pitch analysis of your (usually vocal) track and pitch shifts every note to the nearest acceptable pitch.

The pitch shifting is quite subtle, but you can still hear it (it sounds sort of phaser-y). Moreover, the pitch shift removes character from the original track.

Better would be if you could record several takes of the track (as is usually done anyway). Auto-edit would then dynamically cut between takes, always choosing the one that is most in tune. The result is an in-tune track without any pitch shifting distortion.

While your at it, the algorithm could be given other criteria for auto- editing, for example giving negative weight to pops (sometimes happens when you say b's or p's). It could also take parameters for when it's allowed to cut (moments of silence, for example).

You could essentially use the algorithm that scores your vocals in Rock Band (video game).

calculust, May 14 2009

Pitch Correction wikipedia http://en.wikipedia...ki/Pitch_correction
[calculust, May 14 2009]

Rock Band wiki http://en.wikipedia...trument_peripherals
"For the most part, singers are judged on how closely they match the pitch of the song's vocalist. During "talking parts" that do not judge pitch, a phoneme detector will pick up individual vowels and consonants of the spoken lyrics." [calculust, May 14 2009]


       Thinking about the fine details of how to get individually dubbed words to sound good when strung together, I could imagine a lot more work for the editor. I could also imagine excellent results at the end of the process. [+]

I liked the additional idea of suppressing pops that result from performers being close to the microphone when pronouncing explosives. Existing audio cleaning algorithms could deal with these.
I wonder if we could get an algorithm that fills in a few of Lily Allen's glottal stops with the letter 't'.
skegger, May 14 2009


back: main index

business  computer  culture  fashion  food  halfbakery  home  other  product  public  science  sport  vehicle