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What's new ?
Virtual Singer
General points
Quick creation
Shaped notes
Jazz Scat
Midi & ABC
Rules for writing
Technical  background
Basic settings
Effects settings
Timbre settings
Editing phonemes
SAMPA notation
Summary of commands
Real Singer
Myriad HQ
Software license
Technical support
Printable manual

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Virtual Singer

Voice synthesis settings

Effects settings

To be able to control the advanced settings effectively, you should understand the concepts of phoneme and formant (refer to the chapters on Voice technical background).
  • weak and strong velocity:
  • When a syllable is sung, the main phoneme is stretched (stretchable vowel), and most of the power is applied to this phoneme. The strong velocity setting gives the volume to be applied to this strong phoneme, and the weak velocity gives the volume to be applied to the other, weaker ones.

  • velocity ratio:
  • Notes of the sung staff include velocity values (output power). The velocity ratio defines the proportion in which singing takes these values into account.

  • pitch attack:
  • A singer can start singing a note slightly lower than the pitch at which it is written. This can be tuned by the frequency attack. This parameter is given in tenths of a tone. A negative value (which is generally the case) means the syllable starts lower than the actual note pitch.

  • time shift:
  • This is the maximum amount of time, in milliseconds, between the time a syllable is sung and the time it should be. It simulates the imprecision of a singer in time.

  • min rest duration:
    In order to avoid an abrupt cut-off in the voice each time a brief rest is encountered, this parameter allows you to define the minimum duration (in 100ths of second) required for a rest to be applied.  Rests shorter than this will not be taken into account in the singing voice.

  • choir detuning:
    When the singer's voice is defines as a choir (see Basic settings), this parameter sets the maximum imprecision of each choir member. A high value enhances the crowd effect, but makes the voices less accurate.

  • jitter:
  • This is a random variation around a theoretical value. It is defined by a maximum value (jitter power) and a variation speed.
    • F0 jitter (fundamental frequency):
    • This gives a quavering voice, i.e. a small, fast, random variation of the frequency sung.
    • formant jitter on formant #1 (F1), formant #2 (F2), formant #3 (F3):
    • This changes the voice timbre while the note is sung (the singer changes his mouth shape slightly).
    • volume jitter
    • This produces "unintentional" volume variations while a note is sung.
All of these parameters help to make the voice sound more natural.
  •  Drift can be applied to the fundamental frequency (F0) or to the volume.
  • This is a way to smoothly change from one value to another. Because of its physical nature, the vocal tract evolves from one value to another by a deformation. Drift can be adjusted with its upward ratio, its downward ratio, its minimum value and its maximum value.
    • upward and downward ratios
    • Drift begins after a note ends. Its duration is expressed as a percentage of the next note's duration. If the value increases (changing from a weak note to a strong one, or from a low-pitched note to a high-pitched one), the upward ratio is used. If the value decreases, the downward ratio is used.

    • minimum and maximum duration
      In order to avoid a duration that is too short or too, you can impose minimum and maximum limits on the drift duration, in hundredths of second.

  • Vibrato affects the fundamental frequency (F0)
  • It is a slow, regular variation of the fundamental frequency.
    Note that this should not be confused with F0 jitter, which is a fast, random variation.
    • minimal frequency
    • is the base frequency of the vibrato oscillation (in tenths of Hertz).  Vibrato commonly ranges from 50 to 70 tenths of Hertz.
    • frequency ratio
    • lets you increase the vibrato speed when a high-pitched note is sung. Its value is the number of semitones above A4 (440 Hz) needed to increase the vibrato frequency by 1 Hz. For example, with a minimal frequency of 60 (6 Hz) and a frequency ratio of 12 semitones (one octave), an A4 will be sung with a 6 Hz vibrato, and an A5 with a 7 Hz vibrato...
    • delay
    • is the delay before the vibrato actually starts. It is given in hundredths of second.
    • rise time
    • is the time during which the vibrato power increases smoothly before reaching its maximum value. It is expressed in hundredths of second.
    • vibrato depth
    • is its maximum amplitude (depth) in hundredths of a tone.
    • frequency ratio
    • lets you increase the vibrato depth when a high-pitched note is sung. Its value is the number of semitones above A4 (440 Hz) needed to increase the vibrato depth by one semitone. For example, with a depth of 20 (1/5 of a tone) and a frequency ratio of 12 semitones (one octave), an A4 will be sung with a depth of 1/5 of a tone, and an A5 with a depth of one semitone+1/5 of tone...

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