Vocalist.org archive


From:  Dre de Man <dredeman@y...>
Dre de Man <dredeman@y...>
Date:  Fri Oct 6, 2000  3:02 pm
Subject:  Re: [vocalist-temporary] The rest of the voice, beneath the singer's formant


Dear Mike and co-vocalisters,

I agree with John and Linda. Just a few ideas (partly
scientifically proven (1-3), partly just hypothetical
(4)) on this:

1. The singers formant is part of one wave, that has a
complicated form, like a sinus with several little
sinusses riding piggy back on it. (Think of Fourrier
if you wish).

2. We differ from (even) a (super cardiod) microhone,
in that sense that we are able to zoom in on a sound,
in a loud environment. When something attracks our
attention we can focus on this, and I can imagine that
in that sense we are able to pick up the complete wave
after having been forced to focus on it by the
singer's formant. We are able to process the
complicated different information our ears receive,
especially when it comes to phase and runtime
differences.

3. Furthermore our brains do have the ability to add
(reconstructed) sounds we don't hear and but expect to
hear, based on other sounds we do hear, especially
fundamentals, as Linda suggested.

4. A well produced voice (so one producing the
singers's formant) generates a sound that is very much
in phase for all frequencies, and that even when being
refracted, is not being cancelled out as much as many
other sounds. By means of our psycho-accoustical
reconstructions, we perceive such a sound as much
bigger and louder than it actually is.
This is also one of the explanations of the phenonema
of the big voice.

It is amazing to hear (as I did with my recorded
practice sessions with my pianist) how much space a
voice of normal size singing mf can take in relation
to the piano, compared to the same voice when it's
used less efficient: in one situation the piano is in
the background and looks like an unclear 35 degrees
(when trying to visualise where the sound comes from),
where the voice takes at least 80 degrees, in the
other situation it looks like the voice takes about 10
degrees and the piano 100 degrees. To conclude my
attempts to visualise the sounds: It is as if the well
resonating voice pushes the piano to the background
and makes it small, whereas in the situation where
everything is the same exept for the resonance of the
voice which is not good, it is the other way around.

Best greetings,

Dre

__________________________________________________


  Replies Name/Email Yahoo! ID Date Size
5246 Re: The rest of the voice, beneath the singer's Lloyd W. Hanson   Fri  10/6/2000   4 KB

emusic.com