We hope that music will always have tribes of people keeping esoteric traditions alive – your Renaissance musical ensemble, your Slovenian folk instrumentalists. It just happens that electronic technologies have attracted their own followings, cultivating knowledge of Texas Instruments chips found in specific arcade games the way some people might maintain a balalaika.Chip singers have never gotten the kind of attention synthesizers have.

But if Moog – and the synth itself – can look to Keith Emerson’s “Lucky Man,” fans of robotic sung vocals will always have Humanoid.The was the work of artists who would become 90s legends Future Sound of London. And so it’s only right that Humanoid (and FSOL) would come to open the coming of the most exhaustive effort yet to recreate classic vocal synths. (Future Sound of London sound excited, too, if their Facebook page is to be believed.)Coinciding with the from Montreal developer Plogue, the free “chipspeech AUTOMATE SONGS.01″ compilation on Toy Company is a cross-section of compulsive chip artists from around the world.Toy Company, the chip-focused label based in Montreal (with some strong New York connections), has been a lone stalwart of music made with vintage synthesis tech. The “chip” loosely refers to ICs – integrated circuits. These are what came after the first synthesizers; they’re the mass-produced analog and digital soul of a generation of electronic sounds. Real chip music isn’t just a nostalgic, ironic hipster production by people who miss afternoons playing NES. No, that doesn’t begin to explain the level of obsession that drives these musicians.

Apr 03, 2017  All sounds from the Korg Minilogue and drums from the Elektron Machinedrum UW. Only the built-in effects are used. I forgot that the Minilogue is equipped with an arpeggiator so I used Ableton.

I’ve just gotten lost making my computer sing. And now I can’t stop.You see, a funny thing happened on the way to the future. As speech synthesis vastly improved, it also became vastly more boring. Intelligibility robbed synthesized words and singing of its alien quality, which was what made it sound futuristic in the first place.Chipspeech takes us back to speech synthesis as many of us remember it growing up. It’s weird-sounding, to be sure, to the point of sometimes being unable to understand the words. But it’s also loaded with character.And there’s a history here. To fans of robotic baritones and sopranos, a particular chip can represent the Stradivarius or Steinway of machine song.

These are the bots that sung Daisy Bell in the first-ever computer serenade, that have been featured in classic electro and techno records – and, perhaps, that inhabited your toy bin or represented your first encounter with the computer age, intoned in clicking, chirping magic.But in a revolutionary transformation, you can make them do more than just speak. You can make them sing.

Complete reference j2ee jim keogh pdf. And the result is one of the most enjoyable digital instruments to play you’ll see this year.Montreal’s independent plug-in maker Plogue Art et Technologie embarked in a somewhat ludicrous labor of love, curating a collection of the greatest chips of yore and then painstakingly recreating them in software. Now, the chips themselves are great fun to work with for hardware geeks, whether directly or in circuit-bent form.

But historical chips are a non-renewable resource; some are plentiful, others rare.And there are advantages to reimagining these in virtual form. CDM has had world-exclusive early press access to Chipspeech, our chance to roam the possibilities of the software emulations. And the software allows these chips to perform whatever you ask them. You can type in lyrics, and immediately hear the results sung back to you, something the original chips couldn’t do in tune. You can mix sounds and transform the chips’ output in ways that would be impractical (or at least challenging) on the original hardware. And, in a unique touch, you can even make software modifications that are the equivalent of circuit-bending the hardware.Here’s an in-depth look at what that means, how it sounds, and how it came to life.Chipspeech, The Singing Robot Plug-inLike Yamaha’s Vocaloid synth, the basic arrangement is a pretty simple MIDI affair. Drop in a plug-in, add some text you want the machine to “sing,” and then trigger pitches with MIDI notes.

Each MIDI note advances to the next syllable, with additional layered control available via MIDI Control Change (CC) message or plug-in automation.The results are not always straightforward and predictable, but that’s part of the fun. (Black MIDI plus Chipspeech, anyone?) You can either enter text directly or, for greater control, type in specific syllables’ sounds – ideal for those obsessive with getting the pronunciation right (and allowing you to correct the odd pronunciation mistake). Japanese and English are each supported directly; I hope to follow up once I’ve used the tool with a native Japanese speaker. (Other languages could be “hacked” with direct entry of syllables.) But despite the incusion of Japanese, this isn’t a Yamaha engine: it’s something new, and it sounds amazing.What’s surprising, in fact, is how expressive the instrument can be: with some of the voices and the addition of vibrato, you can get humanlike expression but with timbral qualities that are unmistakably more machine than man. And that’s partly owing to the range of classic voices. With these, there’s a little something for everyone. There are poetic descriptions on the Plogue site that seem cribbed from a vintage computer game, but here’s what you need to know:Dandy704 is an emulation of the That work, by John Kelly and Carol Lochbaum (working at Bell Labs with Max Mathews, the same place that birthed sound synthesis itself), inspired Arthur C.

Clarke’s 2001. And you know it for its strange, rasp-y vowels.Otto Mozer is a recreation of the first speech chip, as seen in a.

You probably know it from some talking calculators or, more like, Commodore 64 games like Desert Fox and Impossible Mission. It’s surprisingly realistic.Lady Parsec is one of the toughest to understand, but also the most beautiful – a high, warbly female voice featured in the TI game Parsec.Bert Gotrax This is the chip I had heard the most as a kid; it’s the analog Votrax chip that was all over the place. It sounds absolutely, completely horrible – in the best possible way.

It was in arcade machines from pinball to Gorf and connected to various desktop computers like the TRS-80. And perhaps most famously, it voiced Q.bert in the arcade.Dee Klatt It’s Stephen Hawking’s voice. It was also (formerly) the voice of the National Weather Service. Dennis Klatt at MIT built this implementation that became the DECtalk from DEC. It’s crisp and clear and versatile, and out of this whole bunch perhaps the best antecedent to today’s voice synths. But it’s still loaded with personality, a sort of distant robot character who has crawled from the depths of the uncanny valley even as it’s understood.Spencer AL2 is the General Instrument SP0256 – truly alien-sounding and perhaps the most like a pure musical instrument.

You could certainly apply this chip and use it more as abstract timbre. But it should also sound familiar to anyone who encountered a TRS-80 with an adapter, or an Intellivision or Magnavox Odyssey game console.Terminal 99 is the voice chip I heard in Kindergarten, circa 1984, speaking from inside a TI-99. It probably changed my life. I think I might as well have been beamed into a science fiction movie. This thing was the devil’s voice whispering into my ear, “you will forever be in love with computers.” Ironically, now all of the chips that work better sound nowhere near as cool. So, those of you with kids, maybe play this for your kids.

Or cats – they probably like it, too. (I got it too late in the beta to play with it, but hope to do so.)Photo User on en.wikipedia.Using ChipspeechAnyone familiar with Plogue’s amazingly-good, “we’re just completely obsessed lunatics” emulations of chip effects and instruments will feel right at home with Chipspeech. The interface itself is nothing special – you get mostly a series of knobs and number boxes. And sometimes lyric entry is clumsy because of differences in plug-in hosts – paste shortcuts don’t work in Ableton Live, for instance, on the Mac, but do if you right-click.

But that said, everything you need is there, and there are enough options that you could easily spend months doing nothing but subtly tweaking sound parameters and syllable entry.Fortunately, if you just want to start playing, that’s possible, too. There are loads of presets, including pre-entered text and circuit-bent options. And if you do make modifications, there’s a robust system for saving snapshots and presets as well as lyrics.Best of all, this isn’t system intensive. I went nuts adding instances and couldn’t slow down my 13″ MacBook Pro; I just kept playing everything live.

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Operating system requirements are light, and you don’t need much storage or memory – a welcome change of pace from most plug-ins lately.My only real complaint is that the interface could be friendlier to navigate. Plogue’s chip line can get overly geeky; it’s a shame the extensive descriptions on the product page aren’t available in the plug-in, and it can be hard to work out what the presets mean if you’re not in the know. But that’s a small complaint, because trial and error is a ridiculous amount of fun when you have robots singing your words for you.You get nearly every format imaginable, including Windows and OS X, VST, AU, and Pro Tools AAX and RTAS, plus standalone. (The Windows formats can work on Linux.) There’s not any intrusive copy protection scheme; you license your plug-in with the aid of a drag-and-drop image file.

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