I'd like you all to ask yourselves a question which you may never have asked yourselves before: What is possible with the human voice? What is possible with the human voice? (Beatboxing) ♪ Ooh baby ♪ ♪ baby ♪ ♪ baby ♪ ♪ baby ♪ (Baby crying) ♪ baby ♪ (Baby crying) ♪ baby ♪ (Cat meowing) (Dog barking) Yeah. (Applause) (Boomerang noises) It was coming straight for me. I had to. It was, yeah. As you can probably well imagine, I was a strange child. (Laughter) Because the thing is, I was constantly trying to extend my repertoire of noises to be the very maximum that it could be. I was constantly experimenting with these noises. And I'm still on that mission. I'm still trying to find every noise that I can possibly make. And the thing is, I'm a bit older and wiser now, and I know that there's some noises I'll never be able to make because I'm hemmed in by my physical body, and there's things it can't do. And there's things that no one's voice can do. For example, no one can do two notes at the same time. You can do two-tone singing, which monks can do, which is like... (Two-tone singing) But that's cheating. And it hurts your throat. So there's things you can't do, and these limitations on the human voice have always really annoyed me, because beatbox is the best way of getting musical ideas out of your head and into the world, but they're sketches at best, which is what's annoyed me. If only, if only there was a way for these ideas to come out unimpeded by the restrictions which my body gives it. So I've been working with these guys, and we've made a machine. We've made a system which is basically a live production machine, a real-time music production machine, and it enables me to, using nothing but my voice, create music in real time as I hear it in my head unimpeded by any physical restrictions that my body might place on me. And I'm going to show you what it can do. And before I start making noises with it, and using it to manipulate my voice, I want to reiterate that everything that you're about to hear is being made by my voice. This system has -- thank you, beautiful assistant -- this system has no sounds in it itself until I start putting sounds in it, so there's no prerecorded samples of any kind. So once this thing really gets going, and it really starts to mangle the audio I'm putting into it, it becomes not obvious that it is the human voice, but it is, so I'm going to take you through it bit by bit and start nice and simple. So the polyphony problem: I've only got one voice. How do I get around the problem of really wanting to have as many different voices going on at the same time. The simplest way to do it is something like this. (Beatboxing) By dancing. It's like this. (Music) Thanks. (Applause) So that's probably the easiest way. But if you want to do something a little bit more immediate, something that you can't achieve with live looping, there's other ways to layer your voice up. There's things like pitch-shifting, which are awesome, and I'm going to show you now what that sounds like. So I'm going to start another beat for you, like this. (Beatboxing) There's always got to be a bit of a dance at the start, because it's just fun, so you can clap along if you want. You don't have to. It's fine. Check it out. I'm going to lay down a bass sound now. (Music) And now, a rockabilly guitar. Which is nice. But what if I want to make, say, a -- (Applause) -- Thanks. What if I want to make, say, a rock organ? Is that possible? Yes, it is, by recording myself like this. (Organ sound) And now I have that, I have that recorded. Assign it to a keyboard. (Music) So that's cool. (Applause) But what if I wanted to sound like the whole of Pink Floyd? Impossible, you say. No. It is possible, and you can do it very simply using this machine. It's really fantastic. Check it out. (Music) So every noise you can hear there is my voice. I didn't just trigger something which sounds like that. There's no samples. There's no synthesizers. That is literally all my voice being manipulated, and when you get to that point, you have to ask, don't you, what's the point? Why do this? (Laughter) Because it's cheaper than hiring the whole of Pink Floyd, I suppose, is the easy answer. But in actual fact, I haven't made this machine so that I can emulate things that already exist. I've made this so that I can make any noise that I can imagine. So with your permission, I'm going to do some things that are in my mind, and I hope you enjoy them, because they're rather unusual, especially when you're doing things which are as unusual as this, it can be hard to believe that it is all my voice, you see. (Voice effects) (Music) Like this. (Music) So, loosely defined, that is what's possible with the human voice. Thank you very much, ladies and gentlemen. (Applause)
Voleo bih da svi postavite sebi pitanje koje možda nikada sebi niste postavili: šta je sve moguće sa ljudskim glasom? Šta je moguće sa ljudskim glasom? (Bitboksovanje) ♪ Ohh bejbi ♪ ♪ bejbi ♪ ♪ bejbi ♪ ♪ bejbi ♪ (Plač bebe) ♪ bejbi ♪ (Plač bebe) ♪ bejbi ♪ (Mjaukanje mačke) (Lavež psa) Da. (Aplauz) (Zvuci bumeranga) Išlo je pravo prema meni. Morao sam. Da. Kao što verovatno možete da pretpostavite bio sam čudno dete. (Smeh) Jer, zapravo sam stalno pokušavao da proširim svoj repertoar zvukova do svog mogućeg maksimuma. Stalno sam eksperimentisao sa tim zvukovima. I još uvek to radim. I dalje pokušavam da nađem svaki zvuk koji mogu da napravim. A zapravo, sad sam malo stariji i mudriji, i znam da postoje neki zvuci koje nikada neću biti u stanju da napravim jer me ograničava moje telo, a i postoje stvari koje ne umem da uradim. A postoje i stvari koje ničiji glas ne može da napravi. Na primer, niko ne može da stvori dva tona u isto vreme. Možete stvoriti bitonalno pevanje, koje monasi mogu, što zvuči otprilike... (Bitonalno pevanje) Ali to je varanje. I dere vam grlo. Dakle, postoje stvari koje ne možete da uradite, ali ta ograničenja ljudskog glasa su me istinski nervirala, jer bitboks je najbolji način puštanja muzičkih ideja iz vaše glave u svet, ali one su samo skice što me je takođe nerviralo. Kad bi samo postojao način da te ideje izađu neometano bez ograničenja koje stvara moje telo. Radio sam sa ovim momcima i napravili smo mašinu. Stvorili smo sistem koji je zapravo mašina žive produkcije, realna mašina žive produkcije koja mi omogućava da, koristeći samo svoj glas, stvaram muziku u realnom vremenu kako je čujem u glavi neometanu blio kakvom fizičkom preprekom koju moje telo može da stvori. Pokazaću vam šta može da uradi. Pre nego što počnem da stvaram zvukove sa njom i da je koristim da upravljam svojim glasom, želim da ponovim da je sve što ćete čuti stvoreno mojim glasom. Ovaj sistem nema – hvala vam, predivni asistentu – Ovaj sistem nema zvukove u sebi dok ja ne počnem da ih stavljam u njega Tako da ne postoje prethodno snimljene matrice bilo kakve vrste. Kada jednom ovo počne da radi i prilično počne da seče zvuke koje stavljam u nju, nije očigledno da je u pitanju ljudski glas, ali jeste, te ću vas delimično sprovesti kroz mašinu i početi fino i jednostavno. Problem višeglasja: imam samo jedan glas. Kako rešavam poteškoću istinske želje da imam što više različitih tonova koji se stvaraju u isto vreme. Najjednostavniji način da to uradim je nešto poput ovog. (Bitboksovanje) Igranjem. Recimo ovako. (Muzika) Hvala. (Aplauz) Ovo je verovatno najjednostavniji način. Ali ako želite da uradite nešto malo brže, nešto što ne možete postići lupingom uživo, postoje drugačiji načini da kamuflirate svoj glas. Postoje stvari poput nameštanja visine tona (pitch shifting), što je sjajno, i pokazaću vam sad kako to zvuči. Počeću sa drugim tonom za vas, poput ovog. (Bitboksing) Uvek mora biti malo igranja na početku, jer je zabavno, pa možete pljeskati ukoliko želite. Ne morate. U redu je. Vidite ovo. Sad ću ubaciti zvuk basa. (Muzika) A sad, električna gitara. Što je lepo. Ali šta ako želim da napravim, recimo – (Aplauz) Hvala. Šta ako želim da napravilm, recimo, rok orgulje? Da li je moguće? Da, jeste, snimanjem mene ovako. (Zvuk orgulja) Sad imam to snimljeno. Staviću to u klavijaturu. (Muzika) To je kul. (Aplauz) Ali šta ako bih želeo da zvučim kao čitav sastav Pink Flojda? Nemoguće, reći ćete. Ne. Moguće je i možete to uraditi veoma jednostavno koristeći ovu mašinu. Zaista je fantastično. Poslušajte ovo. (Muzika) Svaki zvuk koji možete čuti ovde je moj glas. Nisam samo uključio nešto što zvuči kao to. Nema uzoraka. Nema sintisajzera. Bukvalno to je samo moj obrađeni glas. Kada dođete do te tačke, treba da pitate, zar ne, u čemu je poenta? Zašto raditi ovo? (Smeh) Jer je jeftinije nego unajmiti čitav Pink Flojd, pretpostavljam da je jednostavan odgovor. Ali u stvari, nisam napravio ovu mašinu da bih oponašao stvari koje već postoje. Napravio sam ovo kako bih mogao da stvorim bilo koji zvuk koji mogu da zamislim. Sa vašom dozvolom, uradiću neke stvari koje su u mojoj glavi i nadam se da ćete uživati u njima jer su neuobičajene, posebno kad radite stvari koje su atipične kao ove, može biti teško da se shvati da je sve ovo moj glas. (Efekti glasa) (Muzika) Kao ovo. (Muzika) Slobodno rečeno, to je ono što je moguće sa ljudskim glasom. Hvala vam puno, dame i gospodo. (Aplauz)