PDF The Estill Voice Model Theory And Translation 🤟🏼
PDF The Estill Voice Model Theory And Translation
the verses of the song are divided into two sections, with the first of the two verses consisting solely of the vocal. unlike in many songs, the vocals are not played on a synthesizer, unlike most of the post-punk music that tidal hifi was initially popular for. in the atmos version of the song, the same synth part plays in both verses, and the arrangement of each verse is also entirely the same, with the song being adapted to a different space. in the verses, the instrumental track takes up the majority of the right-hand channel, while the vocal’s volume is mostly panned to the right, but in the atmos mix the vocal and synth are separated and panned such that the synth is reverb-damped and fed to the right and the vocal to the left.
what do we do when the very thing we are trying to describe and understand is itself fraught with indefinable meanings? i have sometimes thought of the listener as an epistemological mediator, 43 and when listening to pop music, one is often searching to find a way to make sense of who the singer is, how he or she is being perceived, and what his or her intentions are, if any. listening must, then, be a performance in itself that entails a series of interpretive choices. when reading printed texts, the degree to which we have access to what the author intended is always of a certain level of precision. we see what we see, and it is hard to be sure of anything else. when listening to a song, we are attempting to align with and fit into the sonic text as it unfolds and changes as it does. we are always placing ourselves in reference to the music through our musics interpretive function.
This article reveals differences and similarities of stereo and 3D music production of popular music, argues for and against listener treatment of stereo and 3D music, and demonstrates the utility of a model for analysis of immersive music in performance context. The essence of this model is that there are not only distinctions between stereo and Atmos production, but that the Atmos sound mix is not merely a more luxurious version of the stereo mix. Rather, the Atmos sound mix, while very different from the stereo mix in other ways, is still a stereo mix and a stereo mix throughout.
A model of analysis is presented that relates compositional choices, performative choices, and aesthetic aspects of the surround-sound and 3D genres of popular music. Finally, a close reading of the song Blinding Lights by the artist The Weeknd, released in stereo and Dolby Atmos versions, is used to illustrate the model as well as to argue against listener treatment of Atmos audio.
From the first entrance of the voice in 3D, it is clear that the reverb and delay of the lead vocal are panned to the rear, while the lead voice itself has been left relatively acoustically dry and in front. Compared to the stereo, this has the effect of both increasing the spatial qualities of the voice while giving it even more size and immediacy with respect to the listening position. This approach of surrounding the listener with Tesfayes voice is used throughout. Moving to the chorus, the voice is double- or triple-tracked, and the chorus of vocal lines and their associated reverbs and delays take up considerably more space in the Atmos mix, allowing the listener to hear more of the voice without obscuring the very impactful instrumental track. Cleverly, the instrumental hook of the song, played by a synthesizer reminiscent of the famous introduction to a-has Take On Me, 54
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