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A Spectrographic Analysis of Vocal Techniques in Extreme Metal for Musicological Analysis

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A Spectrographic Analysis of Vocal Techniques in Extreme Metal for Musicological Analysis A SPECTROGRAPHIC ANALYSIS OF VOCAL TECHNIQUES IN EXTREME METAL FOR MUSICOLOGICAL ANALYSIS 1 Eric Smialek (1, 2) Philippe Depalle (2, 3) David Brackett (1) CIRMMT, McGill University, Montréal, QC, Canada ABSTRACT1 Western notation are obvious [10]. With this in mind, the study of extreme metal presents something of a Extreme metal genres such as death metal and black disciplinary middleground in its foundations in popular metal force music analysts to seek alternative methods to music studies and its incompatibility with Western Figure 1. Some basic distinctions between extreme metal vocal techniques as demonstrated by a volunteer extreme metal Western notation-based analysis, especially when one notation. Because extreme metal vocals place greater vocalist. asks what means of expression their vocalists may draw importance on the timbral variations of vowels than on demonstrate these two types of voice. His inhaled vocals black metal, a sub-genre where a generally higher, from in order to seem convincing and powerful to fans. pitch and harmony, methods of analysis that rely on are noticeably more agile with spectral energy raspier voice predominates, vocalists will tend to raise Using spectrograms generated by AudioSculpt, a conventional notation do not reveal much information concentrated around a single focal point in the 1500– the frequency of their vowel formants past the levels that powerful sound analysis, processing, and re-synthesis about their expressive screams. Extreme metal vocals 2000Hz range (here and throughout this paper, the would ordinarily correspond to their lyrics when spoken. program, this paper demonstrates a mixed application of thus provide an opportunity to analyze the role and horizontal grid is set to increments of 500Hz). In One way to think of each of these techniques, especially spectrograms and conventional music analysis to vocals possibilities of spectrographic technology to reveal contrast to that highly mobile focal point, the exhaled those that lengthen the vocal tract, is to recognize that in two separate contexts: an a cappella recording in a information about musical expression in a genre of vocals maintain a more balanced spectral distribution of the vocalists are physically mimicking the physiological soundproof laboratory and a commercial recording with music for which little to no analytical methods have energy in the lower register of the spectrogram, moving properties of a large beast: the ventricular folds produce a full band. The results support an argument for the been established. Using real-time spectrographic in comparatively small increments from one vowel to the a spectral spread of energy that suggests an inhuman utility of spectrograms in revealing articulations and displays, this paper will demonstrate how spectrograms next in an almost mechanical fashion. sound source and the lengthening of the vocal tract expressive nuances within extreme metal vocals that can be useful research tools for scholars who require or exaggerates the size of that source. have thus far passed unnoticed in popular music seek alternatives to notation-based analysis. 2.2. Vocal Tract Alterations that Imitate Inhuman scholarship. Sound Sources 3. SIGNAL PROCESSING AND RESYNTHESIS 2. THE EXTREME METAL VOICE USING AUDIOSCULPT 1. INTRODUCTION Within these two basic categories of voice production, vocalists may alter the length and shape of In order to investigate the aforementioned features of the Popular music scholars have long insisted that details of 2.1. Basic Aspects of Vocal Production their vocal tract to modify their voices in a wide variety metal voice and their roles in music pieces, we decided musical sound such as rhythmic and melodic inflections of expressive ways. To lengthen their vocal tract and not only to perform spectrographic analyses, but also to or timbral characteristics are central in importance to To produce the vocal sounds characteristic of death metal and black metal (as well as related sub-genres), produce a lower sounding voice, vocalists may simply extract parameters that allow for a partial resynthesis of popular musicians and their audiences [1, 2, 3, 4]. lower their chin or conversely angle their chin upwards key sound components in order to validate our Accordingly, some of the leading popular music scholars extreme metal vocalists pass air through the ventricular (or “false vocal chords”) located a few millimetres to shorten the vocal tract length for a higher scream. It is assumptions. such as Richard Middleton [1] and Philip Tagg [2] have folds above the vocal folds (see [12] for anatomical details). also possible to change the vocal tract length by raising To explain, the following is a brief description of the expressed criticism towards analyses of popular music or lowering the larynx (or voice box), a process which basic principles underlying AudioSculpt functionalities: that overlook these features, often due to a reliance on This allows extreme metal vocalists to achieve the large spectral spread of energy visible in spectrograms.2 happens automatically in conjunction with the rounded AudioSculpt generates a short-term Fourier transform Western music notation. One alternative is to visually or spread lip shapes we use to articulate different vowels (STFT) representation of the sound.1 In order to represent sound through spectrograms, and it has now Extreme metal screams can be performed by either inhaling or exhaling, resulting in two very distinct styles (see Figure 2) [12]. optimally display the sonogram image, STFT parameters been nearly thirty years since Robert Cogan made his must be chosen including analysis window size and strong case for their utility to model musical sound in a of screaming. The different directions of air flow can be thought of as akin to the linguistic distinction made shape, step size (that determines how the STFT fits over way that can account for melodic, rhythmic, or timbral the signal characteristics), and fast Fourier transform nuances [5]. Since then, despite the importance popular between voiced and unvoiced methods of articulating consonants: when performing exhaled vocals, one’s (FFT) sampling. For each sound example in this study, music scholars have placed in these features, they have we used a Blackman window of size M=2400 with a rarely used spectrograms to study them. In the few larynx vibrates, indicating that the vocal cords are — — step size of M/8 and a number of channels equal to instances where they have appeared, such as [6], vibrating rather forcefully whereas this vibration does not occur with inhaled vocals. This basic difference 4096. Once a satisfactory image is in view, it is ready to reviewers have argued that spectrograms are superfluous be analyzed. has a profound effect on the overall sound quality Figure 2. George “Corpsegrinder” Fisher of Cannibal or have voiced a general distrust of analytical Qualitative judgments can be made based on the produced, the ease with which different phonetic Corpse rounds his lips to lengthen his vocal tract (left); technology such as spectrum photography or digital obtained spectrographic image but more precise signal processing of spectral imagery [7, 8, 9]. articulations can be made, the ability for a vocalist to Dani Filth (Daniel Lloyd Davey) of Cradle of Filth spreads his lips to make his vocal tract shorter (right). measurements of vowel formant quality are also taken Such a distrust of musical spectrograms has not, of sustain a long scream, and the degree of strain put on the voice. by first synthesizing a new sound file based on the course, extended to fields such as electroacoustic This last point raises what is perhaps the most original sound’s Figure 1 demonstrates some of the acoustical vowel formants using one of composition and analysis where there exists an important yet subtle technique that extreme metal AudioSculpt’s several spectral gain filters (in each case epistemological tradition that has long supported the use differences between inhaled and exhaled vocals. Here, a vocalists have at their disposal, the manipulation of volunteer extreme metal vocalist was asked to freely during this study, the pencil filter tool). These filters of music technology and where the limitations of vowel formants. These vocalists will frequently sacrifice change the gain of certain frequency regions defined by the intelligibility of lyrical content in order to exaggerate the user within the resynthesized signal. For this study, This research was greatly facilitated through funds from the the sense of “heaviness” that can be perceived with Social Sciences and Humanities Research Council (SSHRC) especially low vowel formants in death metal vocals. In 1 and a CIRMMT Student Award. 2 The technical information offered here is based on [11]. 1 (1): Musicology Area, (2): Centre for Interdisciplinary A similar process is used in Mongolian throat singing Research in Music Media and Technology (CIRMMT), (3): where singing voice formants are used to convey melodic Music Technology Area. information [13]. _88 _89 A SPECTROGRAPHIC ANALYSIS OF VOCAL TECHNIQUES IN EXTREME METAL FOR MUSICOLOGICAL ANALYSIS 1 Eric Smialek (1, 2) Philippe Depalle (2, 3) David Brackett (1) CIRMMT, McGill University, Montréal, QC, Canada ABSTRACT1 Western notation are obvious [10]. With this in mind, the study of extreme metal presents something of a Extreme metal genres such as death metal and black disciplinary middleground in its foundations in popular metal force music analysts to seek
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