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Unidentified audience member: Maybe you haven’t
dealt with this because you deal with individual voices, but in
our world, we have to deal with trained and untrained singers sitting
next to each other singing at the same time. What would you suggest?
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Linda Carroll: This is fabulous work you are doing; this is really
great, great stuff. We need another hour and a half to really sort
out what you are tossing our way. Does this mean that the more highly
trained a singer, the more you need to stay out of a chorus? Audio
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David Howard, England: Two points: You made a song comparison
between trained and untrained, and what I didn’t quite understand
I think when you said it, you said these were the sounds these singers
never actually made, and if that is the case, how realistic is that
as a comparison? Two: On the overall loudness level you were just
talking about, some years ago a study was done on the overall loudness
level of trombonists in a orchestra to work out whether the people
in front of the trombones might be hitting the kind of noise induced
hearing loss levels when you integrate the level with time, and
I think the answer was in Wagner orchestral music, it was just about
there, but on the whole it was safe. Is there anything to say about
these tenors about how long you should be in front of them? Audio
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Ron Scherer: Would you clarify something please; methodology-wise;
you have all the components of the sound being produced, and you
take the levels of each component and add them so you have a complex
sound. What is the justification? Is the justification really strong
that you can actually add these to get the overall loudness, or
is there some sort of error introduced with that that you have to
explain? Audio link. |
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