But it's entertaining, musical, and manifests no sibilance or fatiguing treble peaks.
|
|
"We wanted to include a sibilance of characters across the board," Andrews explained.
|
|
Aucoin had a very particular way of speaking, his voice husky with a slight sibilance.
|
|
Also do yourself a favor and invest in a couple of foam windscreens to cut down on sibilance.
|
|
" Gosling says, leaning into it, before Stone playfully follows suit with a tongue-twister inside-joke word: "Sibilance!
|
|
It's something you get used to, but everything feels like there's a hair too much sibilance layered on top.
|
|
The high end can be a bit sharp with excessive sibilance on some recordings, but that's my worst complaint.
|
|
The high end is nicely restrained, eschewing any sibilance or shouty peaks, and the midrange is given room to breathe.
|
|
Although the news media has widely used the term ISIS — with its sinister sibilance — the federal government stayed with ISIL.
|
|
There's only the slightest hint of sibilance to the vocals, but it's never enough to spoil the B2003's enjoyable presentation.
|
|
Mr. Lucci gives Gross immense dignity without shrinking at all from his flamboyance; he italicizes italics and turns sibilance into music.
|
|
After each of these strenuous actions, the performers' microphones were turned back on, infusing the next song with the sibilance of their heavy breathing.
|
|
Breakthroughs in classical engineering are therefore delicato: Some control for sibilance, since an ASMR rush of esses by a soprano who misses a beat can be distracting.
|
|
One of the trombonists folded tin foil across the bell of his horn, creating a restless sibilance underneath the crystal tones and rough growls of his bandmates. RUSSONELLO
|
|
In a quiet room, there's detectable sibilance to the Be Live5 sound, but that tends to be the price you have to pay to get sound that's enjoyable in noisier environs.
|
|
They support Qualcomm's AptX standard, their bass has a nice punch and heft to it, there's no harshness or sibilance to the trebles, and all across the audio spectrum their sound is clear and balanced.
|
|
" Mr. Quinton projects disciplined dementia in both his roles, intoning the interjection "Sufferin' Sappho" with the sibilance of Sylvester the Cat and majestically declaiming the mock-Shakespearean couplet, "I say to Jove, thy will be done.
|
|
Although a video was playing, they closed their eyes and focused on listening: to the fervent, intense voices of Bartok's opera "Bluebeard's Castle," and to sounds of breathing, screaming, silence, laughter, sobbing and the sibilance of rustling leaves.
|
|
" Discovering his true voice meant rejecting European models and finding a way to use language that captured, as he put it, "that sibilance that the sea suggests, that glitter of the water, that syncopation of wave, that feel of wind on the skin.
|
|
Alliteration is usually distinguished from other types of consonance in poetic analysis, and has different uses and effects. Another special case of consonance is sibilance, the use of several sibilant sounds such as /s/ and /sh/. An example is the verse from Edgar Allan Poe's "The Raven": "And the silken sad uncertain rustling of each purple curtain." (This example also contains assonance around the "ur" sound.) Another example of consonance is the word "sibilance" itself.
|
|
A compressor can be used to reduce sibilance ('ess' sounds) in vocals (de- essing) by feeding the compressor or its side-chain with an equalized version of the input signal, so that only those frequencies activate the compressor. If unchecked, sibilance can cause distortion even at moderate levels. Compression is used in voice communications in amateur radio that employ single-sideband (SSB) modulation to make a particular station's signal more readable to a distant station, or to make one's station's transmitted signal stand out against others. This is applicable especially in DXing.
|
|
Often there is an unvoiced band or sibilance channel. This is for frequencies that are outside the analysis bands for typical speech but are still important in speech. Examples are words that start with the letters s, f, ch or any other sibilant sound. These can be mixed with the carrier output to increase clarity.
|
|
The Railway Hotel: Adam Said Galore, Apricot Rail, Gosia Basinska, Hayley Beth, Felicity Groom and the Black Black Smoke, Harlequin League, Benedict Moleta, Steve Parkin, Scotch of St James, Stereoflower, Andrew Weir. Mojos: Diger Rokwell, Massiv Trav, Shock One, Sibilance, Ylem. Beer Garden: Claude Mono, Lorraine Clifford, Paul Gamblin, Graceberg, Mama Cass, Jade Nobbs.RTRFM's Fremantle Winter Music Festival, 2009, rtrfm.com.au.
|
|
Though they never met in person, Alicia spoke to Peck over the phone. Not answering any of his questions she only mentioned "Sibilance" and told him to "run". Apparently through following Peck, Alicia managed to listen in a conversation between Peck and Finch. She was visibly surprised when Finch told Peck that the machine existed and that he had built it ("No Good Deed").
|
|
The background vocals provide a midpoint between high and low due to the sibilance; the highest part of the voice is the thing that gives one intelligibility, the high end is what makes the words clear since there is nothing clearer than one voice; everything else is blurrier once it is added. A song that meets these criteria is "Tracking Treasure Down", which features one clear voice and the additional background vocals at a certain high end pulled down so high frequencies don't interfere with the lead voice. By taking away the high end it would become muddier, which is something Dave evaded; he took all high-end voices away, except for one, which peaks through and creates a definite position of all minor vocals. The layer comes from the pitch part of the voice and not the sibilance, which eliminates most high end and low end voices making it sound in layers.
|
|
His other poems published since 2015, especially the ones included in his chapbook entitled Stowaway and his 2019 collection, The Two-Headed Man and the Paper Life, have been described as Surrealist. According to the critic Michael S. Begnal, reviewing Kudryavitsky's Stowaway, "his style is abstract... Alliteration and sibilance lead the way to a spectacular image. He is interested in the way images and language both construct our perception of the world, of consciousness."Michael S. Begnal.
|
|
Excessive sibilance is prevented by using a pop screen or a compressor- triggered equalizer. sign : Another name for a symbol (called "segno" in Classical parlance) in written music scores. The score may instruct the band to jump from one section back to the part of the music marked with the sign. sit in : In jazz and blues, to "sit in" is to be invited to perform onstage along with another group for one or several songs, often to perform improvised solos.
|
|
Trumpeter Terumaso Hino and pianist Masahiko Kikuchi fit right in the groove." The Richmond Times-Dispatch wrote, "There isn't a richer baritone singer, or one who can turn a phrase with the husky sibilance of a reed any better than the late Johnny Hartman. . . . Backed by fine instrumentalists from the Toshiba-EMI label, Hartman extends the sentiment of past great recordings with exquisite covers." The Omaha World-Herald called the work on the album "uneven," but with Hartman's "charming, resonant voice mostly in control.
|
|
The carrier signal came from a Moog modular synthesizer, and the modulator from a microphone input. The output of the ten- band vocoder was fairly intelligible but relied on specially articulated speech. Some vocoders use a high-pass filter to let some sibilance through from the microphone; this ruins the device for its original speech-coding application, but it makes the talking synthesizer effect much more intelligible. Phil Collins used a vocoder to provide a vocal effect for his 1981 international hit single "In the Air Tonight".
|
|
A sidechain with equalization controls can be used to reduce the volume of signals that have a strong spectral content within a certain frequency range: it can act as a de- esser, reducing the level of vocal sibilance in the range of 6–9 kHz. A de- esser helps reduce high frequencies that tend to overdrive preemphasized media (such as phonograph records and FM radio). Another use of the side-chain in music production serves to maintain a loud bass track without the bass drum causing undue peaks that result in loss of overall headroom.
|
|
Pop filters are designed to attenuate the energy of the plosive, which otherwise might exceed the design input capacity of the microphone, leading to clipping. In effect, the plosive's discrete envelope of sound energy is intercepted and broken up by the strands of the filter material before it can impinge on, and momentarily distort, the sensitive diaphragm of the microphone. Pop filters do not appreciably affect hissing sounds or sibilance, for which de-essing is used. Additionally, a pop filter can protect against the accumulation of saliva on the microphone element.
|
|
The distinction between the sounds grew in the dialects of northern and central Spain by paradigmatic dissimilation, but dialects in Andalusia and the Americas merged both sounds. The dissimilation in the northern and central dialects occurred with the laminodental fricative moving forward to an interdental place of articulation, losing its sibilance to become . The sound is represented in modern spelling by ⟨c⟩ before ⟨e⟩ or ⟨i⟩ and by ⟨z⟩ elsewhere. In the south of Spain, the deaffrication of resulted in a direct merger with , as both were homorganic,, and the new phoneme became either laminodental ("seseo", in the Americas and parts of Andalusia) or ("ceceo", in a few parts of Andalusia).
|
|
Drummer Nick Mason recalls that the sessions were very hurried, and the band spent most of the time in Paris locked away in the studio. During the first recording session in February 1972, the French television station ORTF filmed a short segment of the band recording the album, including interviews with bassist Roger Waters and guitarist David Gilmour. In a snippet of interview footage at Abbey Road Studios that appeared in the 1974 theatrical version (later released on VHS and Laserdisc and subsequent "Director's Cut" DVD) of Pink Floyd: Live at Pompeii, Waters said that early UK pressings of the album contained excessive sibilance. After recording had finished, the band fell out with the film company, prompting them to release the soundtrack album as Obscured by Clouds, rather than La Vallée.
|
|
The value of this stockpile can be estimated from Sides' statement that United Western was at this time bringing in around US$200,000 per month in studio billings—equivalent to perhaps US$1 million per month today. The major labels approached Putnam hoping to buy the stereo tape stockpile, but he struck a far more lucrative deal, in which the labels repaid him for the (far more expensive) studio time he had used in making the stereo mixes. In 1970, Jack Herschorn purchased the Universal Audio mixing console and a number of other pieces of equipment from that studio including UA LA-76A and LA-76B limiting amplifiers, UA vacuum tube power amplifiers (which were actually Dynakit Stereo 70 and 50-watt mono amplifier kits assembled into rack-mount chassis), Fairchild Conax sibilance controllers, Langevin graphic equalizers and Cinema Engineering filters, all originally installed in United Studio A in 1957. This equipment was shipped to Vancouver, Canada, and installed in Aragon Studios which he owned at the time, later renamed Mushroom Studios.
|
|