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Don Miller – Those high frequencies, that’s all harmonic? 8 Khz and so forth? Audio
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Martin Rothenberg – I’ve always wondered about that,
why, without vibrato, for example, it just doesn’t sound natural.
When you talk about the spectrum slope, it brings to my mind some
of the things that I saw when I worked in the Stockholm laboratory,
when I was there in 73/74. I worked on the synthesis by rule system
with Granström and Carlson. Being a consonant person, I could see
it couldn’t make good consonants because you couldn’t
have the spectrum slope transitions […listen to audio for
the rest of the comments]. Audio
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Ingo Titze – Last year we wrote a small little research
note in the Journal of Singing about having discovered a second
singer’s formant, which is basically just the singer’s
formant multiplied by 3. Just like in the normal tube you have 500
hz, 1500 hz, if you look at the epilarynx tube and look at the second
predicted formant from that, it would end up 3 times the 25, 100
or 3000. It ended up being a bump around 7500 or 8000, I wonder
if that contributes a little bit to the buzziness? That would then
also explain why it would be there in natural voices. Have you discovered
this little extra bump around 8000 or 9000? Audio
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