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Perry Smith – Age-old question again, in your
example you used straight-tone, and in Pavarotti’s example,
he used a vibrato. Does this change, (it didn’t seem to change),
but does it have an effect on the closure? Audio
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Linda Carroll – Let me follow up on that – it looks
like with Pavarotti then, that he’s tuning his vibrato to
some of the harmonic characteristics, and if we’re going to
follow that through, then does it give credence to the fact that
we as voice trainers are constantly looking at, listening to and
addressing the vibrato characteristics in singers? Audio
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Ingo Titze – I can’t quite see in looking at the data,
I’d have to look real careful, but I think you can tell whether
he is to the left, the middle or the right by looking at the phase
between the amplitude and the frequency change in the vibrato. If he’s
on the left of the formant then he should have a perfect phase relationship
between intensity changing and frequency changing. If he’s
in the middle, he should get a double hump. When the vibrato swings
to the right you should get an increase and when it swings back to the left, an increase,
so you’ll get a double peak in intensity and if it’s
to the right you should get an anti-phase. So I think your analysis
could really tease that out. Audio
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Scott McCoy – When we’re looking at spectrograms like
this in our lab, we will often see places where there’s evidence
of the formant being either above or below the harmonic through the vibrato,
again, with the amplitude shift on either the high side or the low
side. With the linear display in the spectrogram here, where we have
a much greater resolution of frequency at those higher harmonics
vs the fundamental frequency. […listen to audio link for remainder…]
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Garyth Nair – Since we know that vibrato
rate can shift very subtly in the voice, have you done a rate study
to see if there’s any shift of rate so that that phase happens
more efficiently. Audio link. |
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