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Postcards From NowhereI found the blue skies hiding behind the grey
They'd always been there but I didn't see 'till today
Couldn't figure why couldn't see the sky
Postcards from nowhere were my yesterdays
I've thrown them away
What the future brings could be anything
Tomorrow is the turning of the page
Feels like forever trying to find the way
Drifting through darkness, searching for better days
Couldn't turn around, looking for higher ground
Postcards from nowhere were my yesterdays
Dark and stormy skies have blown away
What the future brings could be anything
Tomorrow is the turning of the page
The dream is near
It's almost hear
Postcards from nowhere were my yesterdays
Dark and stormy skies have blown away
What the future brings could be anything
Tomorrow is the turning of the page
So long, old days
Tomorrow is the turning of the pageThe InstrumentsBass 1397:Bass, Electric, Soul70sSync Ev16 100 Electric Piano: 2194:Piano, ElectricVintage, Rhythm CoolJazzPop Ev 085 Guitar 1: 2448:Guitar, Electric, Background, PopDreamyBrent Ev 085 Guitar 2: ~1435:Guitar, Electric, Rhythm JazzFunkGroovinChords Ev16 110 Guitar 3: 1401: Guitar, Electric, RhythmSoul70sBrightA-B Ev16 100 AcPiano: Piano, Acoustic, Rhythm Soul70sA-B Ev16 100 (Probably) Alto Sax: Piano, Acoustic, Rhythm Soul70sA-B Ev16 100 Drums: Addictive Drums (Fairfax Vol 2., Faxer 2) Ac. Guitar: Indiginus Renegade Acoustic (DustyWind) Lead Vocal: Synthesizer V (Emily Forte AI) Backing Vocals: Synthesizer V (Emily Forte AI, ANRI AI) The Effects ChainMaster Buss: Ozone Imager, Lurssen Mastering Console (Americana Loose - More Glue) Vocal: Make Me Scream, Greg Wells VoiceCentric Vocal Room: Sunset Sound Studio (Iso Booth, Studio 3), Sunset Sound Studio (Plate Spring, Plate 1) Sax: EZMix (140 Plate) Harmony Room: Raum (Grounded) Bass: Make Me Scream, ReaEq (Basic 11 Band Rock Bass), RBass Mono El. Piano: Trackspacer, Finisher Retro (Dreamer), Finisher Retro (Suitcase Panner) Ac. Piano: EZMix2 (Piano2) The Short VersionThis is still a work in progress, so feel free to comment on whatever. Thanks for listening! Notes on the Second MixMark Hayes pointed out that the vocals were a bit flat and lacked energy. So I've bumped the key up 7 semitones, and changed the tempo from 100 bpm to 105 bpm. I also made a small change to the lyric, and no doubt will continue to do some further tweaking, especially to balance the harmony against the melody. The Blah Blah Blah Part - Feel free to skip it.  This was built around the demo song METRO. I changed a bunch of chords, some of which I got a bit too creative with. The minor6 chord and the guitars gave it a bit more of a surfer tune feel than I expected. I decided to add a modulation to this, as well as an extended ending. I decided I should use a bridge instead having three verse/choruses in a row. Little did I know how much effort the sax solo was going to take. Some day I should write a song with a chorus that's a simple repetition, so it's easier to write and more catchy. Today wasn't that day. After creating a backing track, I imported it into SynthesizerV and worked out a melody. Unfortunately, the chorus sounded a lot like the verse, and both the verse and chorus were a bit bland. Even worse, the ending of the chorus sounded a lot another song I'd written. But I figured I'd deal with it later and just plow ahead. The initial plan was to use the new ANRI voicebank that had just been released, and I started with the ANRI voice. But I didn't think it was as good as the Eleanor Forte voice. I tweaked the version to a "male" version, and decided to write to that voice. (Obviously I eventually changed it back). I wrote dummy lyrics - nonsense verse - to fill in the syllables of the song to help me get started on the lyric. It didn't really lead to anything, but it got me something that could be fixed, which is better than a blank sheet. I went looking through some ideas I'd written while working on other songs, and found an old lyric that I could - with a bit of rewriting - fit into the beginning of the song. I also found the "postcards from nowhere" phrase in my notes, which I'm sure I filched from someone else's lyrics. Some "fill in the blank" work, and I had a chorus.  At this point, the similarity between this and another song I'd written became really apparent, so it was time to move notes around to make it "legally distinct", so to speak. The result sounded a lot more like real chorus, so I had my daughter listen to the "before" and "after" versions. She pulled no punches - the first version is "flat", "boring", and "all sounds the same". The second was a great improvement. Not necessarily good, just an improvement. Yeesh - perhaps I've raised a bit too much like me.  Since there wasn't enough room to develop much of a story, I figured to go ahead with the instrumental. A few lines from the dummy lyrics were salvaged and stuck after the instrumental. Then I went through the melody and did a lot of edits. There were still a few bits that clashed with the harmony, and eventually I decided to shift back to Eleanor "natural" voice. The song was a bit low for the voice, but... onward anyway! As the Eleanor voice isn't especially powerful, when an advert for the "Make Me Scream" VST showed up in my email on sale, I decided to give it a try. It was a saturation/distortion effect. It certainly doesn't turn the vocal into a scream, but it does give it a bit of edge. I also used in on the bass, because... well, I did pay for it. Writing harmony is the fun bit. I tried to make the harmony differ on each verse, to provide a bit more variety. Then I went back to BiaB to create the sax solo. The new Multi-Riff feature proved helpful, but it still required a whole lot of cutting and pasting. It just didn't seem to want to create a cohesive solo. The key change in the middle of the solo probably didn't help. I spent a lot of time on the solo, and am still not totally happy with it. The drums weren't working as well as I wanted, to I pulled out the UJAM "Deep" drumkit and started looking for some MIDI that I could build on. I found some patterns I liked, but ended up doing a lot of editing to them. I ended up using Addictive Drums, and putting far more time into working on the drum track than I expected. I really wanted to have an arpeggiated guitar in the back of the first verse, but again... nothing in BiaB seemed to match. So I got out the Indiginus "Rengade Acoustic" and played in the part. The drum track was still lacking energy in the final chorus, so I went back and added a ride cymbal. There are still a few lyrics that I should probably tighten up - "couldn't" shows up too much, for example - and the intro could use some work. But I figured it's time to release it and get some feedback.
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Hello David
once again a great song
I like the background vocals very much
The sax solo is very nice
I don't know if I ever wrote this, but what will be possible in 10 or 20 years?
I wonder if you will even be able to hear a difference from a human singer then?
Is the basis for this voice actually from a real singer or is it all completely artificially created ?
Merry Christmas and a happy and healthy new year 2022
Many greetings
Andi ;-)
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Dave,
once again: MOST ASTOUNDING. The song comes along so easily and it fits that voice so well. I really liked the the melody as well as the backing track. And by Jove: It sounds awsome.
You're really putting some effort in your songs...
Merry Christmas and all the best for 2022.
Stefan
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Your way with a complex melody is impressive, sir, as is the arrangement! Fun and engaging.
In terms of the bots:
I really like the interaction among the voices, it's well-written and it sounds good.
The lead singer, though, makes me uncomfortable. She sounds "low energy" to the point of indifference or outright depression. As usual, I can't explain where this feeling comes from, but it is strong as I listen now. She sounds like she wants to put down the mic and go home. I trust you know I do not mean that in a way that is critical of you, even though that would be a pretty unkind description of an actual person's singing. =8^)
Not to overdo the "uncanny valley" thing, but I do suspect that might be the scene here. Make the singer just a little more robotic-sounding, and the "depressed" affect would totally disappear. Unfortunately, the implication would seem to be that as bots continue to improve and approach humanity asymptotically, they'll sound more and more disturbing.
And with that cheery thought, winter (or summer) 2021-2022 is upon us!
Last edited by Mark Hayes; 12/21/21 06:30 AM.
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Amazing work, I especially liked how the BGV played off the main vocal. I'm really impressed. I'm another guy who can't sing so this tech gives us some hope. From what I'm hearing, really good synthetic vocals will come along much sooner than realistically human robots.
Windows 11, Intel Core I5 10400, 16 gig ram, Scarlett 2i2, Sony Acid Music Studio 10, BIAB 2020 UltraPlus Pak
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once again a great song
I like the background vocals very much Hi, Andi. Thanks! I appreciate you taking the time to listen and post. I don't know if I ever wrote this, but what will be possible in 10 or 20 years?
I wonder if you will even be able to hear a difference from a human singer then? Well, with synthetic instruments such as a saxophone or violin, while an average person may not be able to tell, a professional musician who plays the instrument can almost always tell. But this is partly because the people who write the music may have the instrument do things that it can't do. If you stay in the range of what it can do, I think we'll cross that gap sooner than people might think. Is the basis for this voice actually from a real singer or is it all completely artificially created? This is created by having an real singer perform all the phonemes, and then using a neural network learn how that singer sounds. Merry Christmas and a happy and healthy new year 2022 Thanks, Andi. The same to you!
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once again: MOST ASTOUNDING. The song comes along so easily and it fits that voice so well. I really liked the the melody as well as the backing track. And by Jove: It sounds awesome. Thanks, Stefan! Merry Christmas and all the best for 2022. And a Merry Christmas to you. I hope 2022 is a great year for you and Maha.
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Your way with a complex melody is impressive, sir, as is the arrangement! Fun and engaging. Hi, Mark. Perhaps a bit too complex at times. I really like the interaction among the voices, it's well-written and it sounds good. That's my favorite part of the writing, although I worry that I overdo it more than a little. The lead singer, though, makes me uncomfortable. She sounds "low energy" to the point of indifference or outright depression. You're absolutely right. Although I really like the low register, it is, as you said, "low energy", and so doesn't fit the song well. Plus, I've got a number of "swoops" where the vocal slides from one note to the next, and that adds to the sound. So I've gone back and bumped the song to a higher key, and increased the tempo slightly. I wanted to keep the laid-back feel, but it was just a touch too slow. I probably need to go back and match the background vocals a bit better. I'm not sure I want to pitch them up too high on the first verse, but I haven't had a chance to try it out much. Not to overdo the "uncanny valley" thing, but I do suspect that might be the scene here. Make the singer just a little more robotic-sounding, and the "depressed" affect would totally disappear. Unfortunately, the implication would seem to be that as bots continue to improve and approach humanity asymptotically, they'll sound more and more disturbing. I'm not sure how much weight to give the "uncanny valley". When that term was being bantered around, people were mainly talking about CGI. We're good at detecting what's wrong (for example, dead eyes in "The Polar Express"). It turned out that a lot of it had to do with poor animation, and I think that's the case here as well. And with that cheery thought, winter (or summer) 2021-2022 is upon us! Yes it is! I figured I'd try to get one last song in under the wire, and I'm sort of amazed that it finally came together. The best of the season and New Year to you!
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Amazing work, I especially liked how the BGV played off the main vocal. I'm really impressed. I'm another guy who can't sing so this tech gives us some hope. Yeah, the background vocals are the most fun part to write. I'm sure I'm overdoing it, but it makes me happy. That's the important thing! While it might not be good enough to do a convincing performance, I think it's good enough to put together a demo and work out lyrics and parts. I certainly wouldn't have been able to do as many songs this year if I didn't have it. Then it's just a matter of finding someone good on Fivver and spending real money to have them sing it. Or just moving on and writing another song... From what I'm hearing, really good synthetic vocals will come along much sooner than realistically human robots. Yeah, there are a lot more problems to solve with an android. With vocals, you only to to be able to generate audio. Thanks for stopping and listening!
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I suspect that the energy of the backing will, for sometime yet, be damped by the synth vocal.
I listened passed the vocal to the backing and it's really nice and skips along happily.
The Bing Crosby Effect is significant though.
Lovely melody by the way.
Cheers
rayc
"What's so funny about peace, love & understanding?" - N.Lowe
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The Bing Crosby Effect is significant though. Please, what is this? Googling only got me "the Bing Crosby effect of stopping me in my tracks and helping me to see more clearly that it’s a losing battle to pursue lasting satisfaction in this life" but I doubt that's what you meant.
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I always find your songs to be enjoyable. I think the lyrics match the performers perfectly. Well crafted arrangement. I'm sure it is a lot of work to get your vocalists and the band together in one place but you do it nicely. Good one.
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As we said at SC, "An excellent showcase of amazing technology!" Thanks for the fx info ... mercifully it did not result in us screaming. We much liked the lyric, melody and the counterpoint vocals. Reading your post (all of it ), perusing the tracks, and trying to digest your use of Eleanor is overwhelming. It is hard to comprehend how much thought and DAW time must go into a production like this. You have the patience of JOB and to your credit the results indicate time well spent given the creative outcome. Kudos and we look forward to the next one. Happy Holidays, J&B
Our albums and singles are on Spotify, Apple Music, Amazon Music, YouTube Music, Pandora and more. If interested search on Janice Merritt. Thanks! Our Videos are here on our website.
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I'm not sure how much weight to give the "uncanny valley". When that term was being bantered around, people were mainly talking about CGI. We're good at detecting what's wrong (for example, dead eyes in "The Polar Express"). It turned out that a lot of it had to do with poor animation, and I think that's the case here as well. I give the concept weight here because it makes sense and its apparent effect on me really can be really strong. Remember Macintalk, the "drunken Scandinavian in an oil drum"? He didn't provoke any sort of emotional response, other than yucks. He was a funny robot voice. Likewise, I think, for decades of synthesized speech. But now, robot voices have gotten to the point where they're beginning to enter the Zone of Indistinguishability, and they can sound almost but not quite like humans, and for me, that's where spooky, quasi-emotional phenomena start intruding. Maybe it's like flying a supersonic plane (he wrote, as if he knows what flying a supersonic plane is like.) As you approach the Speed of Sound, vibration and turbulence increase until pow you pass through Mach 1 and things calm down. You and Eleanor are Pushing the Envelope. Buckle up!
Last edited by Mark Hayes; 12/22/21 05:59 AM.
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I suspect that the energy of the backing will, for sometime yet, be damped by the synth vocal. Hi, Ray. I know what you're talking about. I appreciate people's forbearance with listening to songs being sung by robots - I know it's not everyone's cup of tea. I listened passed the vocal to the backing and it's really nice and skips along happily.
...
Lovely melody by the way. Thanks! I'm always happy to hear that. The Bing Crosby Effect is significant though. This is the first time I've heard this term. I knew that Bing was a musical innovator, and his investments into recording technologies really helped increase the sound quality of recordings. Thanks for stopping to listen and comment!
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I always find your songs to be enjoyable. I think the lyrics match the performers perfectly. Well crafted arrangement. I'm sure it is a lot of work to get your vocalists and the band together in one place but you do it nicely. Good one. Thanks! One of the advantages of working from the melody to the lyrics instead of the other way around, is that the sound of the performance helps guide the lyric. Getting things to gel isn't as hard as all the long list of plugins implies. I just happen to have a bunch of effects that I bought because I like the sound, and I thought they would be a good match for the sound. I appreciate the positive feedback!
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As we said at SC, "An excellent showcase of amazing technology!" That includes BiaB, of course. Thanks for the fx info ... mercifully it did not result in us screaming. Heh. I figure you're probably the only people who read that part. We much liked the lyric, melody and the counterpoint vocals. Thanks! Always appreciated, especially coming from you! Reading your post (all of it ), perusing the tracks, and trying to digest your use of Eleanor is overwhelming. It is hard to comprehend how much thought and DAW time must go into a production like this. I try to hide a few tidbits in there to make it enjoyable. But I really should pare those missives down a bit. I assume that a lot of people do the same level of work on their songs, they just don't bother writing it all down. You have the patience of JOB and to your credit the results indicate time well spent given the creative outcome. Writing excessively long laments seems to be something else I've got in common with Job. Kudos and we look forward to the next one. Thanks, and Happy Holidays to you two as well!
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Remember Macintalk, the "drunken Scandinavian in an oil drum"? He didn't provoke any sort of emotional response, other than yucks. He was a funny robot voice. You're talking about the version of Software Automatic Mouth that was ported to the Mac. I'm well aware of the program, as I've read and documented the disassembled source code, and written a version in Lua that can sing. The later versions of SAM are very intelligible and even capable of singing fairly well.. I'd gotten a hold of the company a number of years ago in hopes of convincing them that perhaps using them with BiaB (I've got some code that will convert between MusicXML and other formats). But that never panned out.  But now, robot voices have gotten to the point where they're beginning to enter the Zone of Indistinguishably, and they can sound almost but not quite like humans, and for me, that's where spooky, quasi-emotional phenomena start intruding. Much like how replicators in The Hitchhiker's Guide to the Galaxy can create something that's almost, but not quite, like a cup of tea. For me, it's enough that it can demo the song. The important bit - for me - is that I can get a level of expressiveness out of it that wasn't there before. But compare it to an actual person singing, and it's like day and night.
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David,
This is excellent! I am completely fascinated by this technology and your approach. I hear tremendous evolution in each project.
You are leading the way on this. Great stuff!
Bob
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You're talking about the version of Software Automatic Mouth that was ported to the Mac. I'm well aware of the program, as I've read and documented the disassembled source code, and written a version in Lua that can sing. The later versions of SAM are very intelligible and even capable of singing fairly well.. I'd gotten a hold of the company a number of years ago in hopes of convincing them that perhaps using them with BiaB (I've got some code that will convert between MusicXML and other formats). But that never panned out. Interesting, I did not know about SAM. https://en.wikipedia.org/wiki/Software_Automatic_MouthThis guy – https://simulationcorner.net/index.php?page=samhas a demo, I know not from when – https://simulationcorner.net/SAM/sing.wavHendrix did it better, but hey.
Last edited by Mark Hayes; 12/22/21 10:13 AM.
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- MIDI SuperTracks Set 45: More SynthMaster
- Artist Performance Set 18: Songs with Vocals 8
- RealDrums Stems Set 8: Pop, Funk & More with Jerry Roe
Learn more about the Bonus PAKs for Band-in-a-Box® 2025 for Mac®!
New! Xtra Styles PAK 20 for Band-in-a-Box 2025 and Higher for Mac!
Xtra Styles PAK 20 for Mac & Windows Band-in-a-Box version 2025 (and higher) is here with 200 brand new RealStyles!
We're excited to bring you our latest and greatest in the all new Xtra Styles PAK 20 for Band-in-a-Box! This fresh installment is packed with 200 all-new styles spanning the rock & pop, jazz, and country genres you've come to expect, as well as the exciting inclusion of electronic styles!
In this PAK you’ll discover: Minimalist Modern Funk, New Wave Synth Pop, Hard Bop Latin Groove, Gospel Country Shuffle, Cinematic Synthwave, '60s Motown, Funky Lo-Fi Bossa, Heavy 1980s Metal, Soft Muted 12-8 Folk, J-Pop Jazz Fusion, and many more!
All the Xtra Styles PAKs 1 - 20 are on special for only $29 each (reg $49), or get all 209 PAKs for $199 (reg $399)! Order now!
Learn more and listen to demos of the Xtra Styles PAK 20.
Video: Xtra Styles PAK 20 Overview & Styles Demos: Watch now!
Note: The Xtra Styles require the UltraPAK, UltraPAK+, or Audiophile Edition of Band-in-a-Box®. (Xtra Styles PAK 20 requires the 2025 or higher UltraPAK, UltraPAK+, or Audiophile Edition. They will not work with the Pro or MegaPAK version because they need the RealTracks from the UltraPAK, UltraPAK+, or Audiophile Edition.
New! XPro Styles PAK 9 for Band-in-a-Box 2025 and higher for Mac!
We've just released XPro Styles PAK 9 for Mac & Windows Band-in-a-Box version 2025 (and higher) with 100 brand new RealStyles, plus 29 RealTracks/RealDrums!
We've been hard at it to bring you the latest and greatest in this 9th installment of our popular XPro Styles PAK series! Included are 75 styles spanning the rock & pop, jazz, and country genres (25 styles each) that fans have come to expect, as well as 25 styles in this volume's wildcard genre: funk & R&B!
If you're itching to get a sneak peek at what's included in XPro Styles PAK 9, here is a small helping of what you can look forward to: Funky R&B Horns, Upbeat Celtic Rock, Jazz Fusion Salsa, Gentle Indie Folk, Cool '60s Soul, Funky '70s R&B, Smooth Jazz Hip Hop, Acoustic Rockabilly Swing, Funky Reggae Dub, Dreamy Retro Latin Jazz, Retro Soul-Rock Fusion, and much more!
Special Pricing! Until July 31, 2024, all the XPro Styles PAKs 1 - 9 are on sale for only $29 ea (Reg. $49 ea), or get them all in the XPro Styles PAK Bundle for only $149 (reg. $299)! Order now!
Learn more and listen to demos of XPro Styles PAKs.
Video: XPro Styles PAK 9 Overview & Styles Demos: Watch now!
XPro Styles PAKs require Band-in-a-Box® 2025 or higher and are compatible with ANY package, including the Pro, MegaPAK, UltraPAK, UltraPAK+, and Audiophile Edition.
New! Xtra Styles PAK 20 for Band-in-a-Box 2025 and Higher for Windows!
Xtra Styles PAK 20 for Windows & Mac Band-in-a-Box version 2025 (and higher) is here with 200 brand new RealStyles!
We're excited to bring you our latest and greatest in the all new Xtra Styles PAK 20 for Band-in-a-Box! This fresh installment is packed with 200 all-new styles spanning the rock & pop, jazz, and country genres you've come to expect, as well as the exciting inclusion of electronic styles!
In this PAK you’ll discover: Minimalist Modern Funk, New Wave Synth Pop, Hard Bop Latin Groove, Gospel Country Shuffle, Cinematic Synthwave, '60s Motown, Funky Lo-Fi Bossa, Heavy 1980s Metal, Soft Muted 12-8 Folk, J-Pop Jazz Fusion, and many more!
All the Xtra Styles PAKs 1 - 20 are on special for only $29 each (reg $49), or get all 209 PAKs for $199 (reg $399)! Order now!
Learn more and listen to demos of the Xtra Styles PAK 20.
Video: Xtra Styles PAK 20 Overview & Styles Demos: Watch now!
Note: The Xtra Styles require the UltraPAK, UltraPAK+, or Audiophile Edition of Band-in-a-Box®. (Xtra Styles PAK 20 requires the 2025 or higher UltraPAK, UltraPAK+, or Audiophile Edition. They will not work with the Pro or MegaPAK version because they need the RealTracks from the UltraPAK, UltraPAK+, or Audiophile Edition.
New! XPro Styles PAK 9 for Band-in-a-Box 2025 and higher for Windows!
We've just released XPro Styles PAK 9 for Windows & Mac Band-in-a-Box version 2025 (and higher) with 100 brand new RealStyles, plus 29 RealTracks/RealDrums!
We've been hard at it to bring you the latest and greatest in this 9th installment of our popular XPro Styles PAK series! Included are 75 styles spanning the rock & pop, jazz, and country genres (25 styles each) that fans have come to expect, as well as 25 styles in this volume's wildcard genre: funk & R&B!
If you're itching to get a sneak peek at what's included in XPro Styles PAK 9, here is a small helping of what you can look forward to: Funky R&B Horns, Upbeat Celtic Rock, Jazz Fusion Salsa, Gentle Indie Folk, Cool '60s Soul, Funky '70s R&B, Smooth Jazz Hip Hop, Acoustic Rockabilly Swing, Funky Reggae Dub, Dreamy Retro Latin Jazz, Retro Soul-Rock Fusion, and much more!
Special Pricing! Until July 31, 2024, all the XPro Styles PAKs 1 - 9 are on sale for only $29 ea (Reg. $49 ea), or get them all in the XPro Styles PAK Bundle for only $149 (reg. $299)! Order now!
Learn more and listen to demos of XPro Styles PAKs.
Video: XPro Styles PAK 9 Overview & Styles Demos: Watch now!
XPro Styles PAKs require Band-in-a-Box® 2025 or higher and are compatible with ANY package, including the Pro, MegaPAK, UltraPAK, UltraPAK+, and Audiophile Edition.
Video: Band-in-a-Box® 2025 for Mac®: VST3 Plugin Support
Band-in-a-Box® 2025 for Mac® now includes support for VST3 plugins, alongside VST and AU. Use them with MIDI or audio tracks for even more creative possibilities in your music production.
Band-in-a-Box® 2025 for Macs®: VST3 Plugin Support
Video: Band-in-a-Box® 2025 for Mac®: Using VST3 Plugins
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