Here you see the videoclips of Distortion. The videos are taken using a flexible endoscope inserted via the nose. Stroboscopic light is used so the vibration of the vocal folds can be seen in slow motion. The flashing of the stroboscopic light is triggered using the Laryngograph signal. This is obtained by placing two electrodes placed on the neck over the larynx and the waveform can be seen as a a green moving line at the bottom of the image. When the vocal folds are vibrating and touch each other the green line rises and when they peel apart the line falls creating the change in shape of the waveform.
Again notice the patterns in the visual recognizion of the laryngeal gestures and waveforms.
Sustained single notes in all modes – with and without Distortion
This video is a male singing on a sustained single note (C#4) on the vowel EE (as in ‘see’) in Neutral with air and then adding in distortion – and Neutral without air and then adding in distortion – then Curbing on the vowel I (as in ‘sit’) and then adding in distortion – then Overdrive on the vowel EH (as in ‘stay’) and then adding in distortion – then Edge on the vowel A (as in ‘and’) and then adding in distortion.
Notice that the false folds (above the vocal folds) are vibrating against each other creating the distorted sound while the vocal folds are vibrating freely underneath creating the tone.
Also notice that the waveform of the vocal mode is maintained during the distortion. This indicates that the vibrations of the vocal folds are unhindered and unaffected by the distortion. So the vocal folds are vibrating freely under the distortion. This makes sense because the we know that the distortion is taking place at the 2nd level (the level of the false folds) and not on the 1st level (the level of the vocal folds).
Sustained single notes in Neutral with air – with and without Distortion
This video is a male singing on a sustained single note (C1) on the vowel EE (as in ‘see’) in Neutral and then adding in distortion. Again notice the vibrating false folds and the unchanged waveform.
Sustained single notes in Neutral without air – with and without Distortion
This video is a male singing on a sustained single note (C#4) on the vowel EE (as in ‘see’) in Neutral and then adding in distortion. Notice the vibrating false folds. Here the waveform appear unpredictable when distortion in added to the mode.
This video is a female singing on a sustained single note (Bb4) on the vowel EE (as in ‘see’) in Neutral and then adding in distortion. Notice the vibrating false folds and the unchanged waveform.
Sustained single notes in Curbing with and without Distortion
This video is a male singing on a sustained single note (C#4) on the vowel I (as in ‘sit’) in Curbing and then adding in distortion. Notice the vibrating false folds and the unchanged waveform.
This video is a female singing on a sustained single note (Bb4) on the vowel I (as in ‘sit’) in Curbing and then adding in distortion. Notice the vibrating false folds and the unchanged waveform.
Sustained single notes in Overdrive with and without Distortion
This video is a male singing on a sustained single note (C#4) on the vowel EH (as in ‘stay’) in Overdrive and then adding in distortion. Notice the vibrating false folds and the unchanged waveform.
This video is a female singing on a sustained single note (A4) on the vowel OH (as in ‘so’) in Overdrive and then adding in distortion. Notice the vibrating false folds and the unchanged waveform.
Sustained single notes in Edge with and without Distortion
This video is a male singing on a sustained single note (C#4) on the vowel A (as in ‘and’) in Edge and then adding in distortion. Notice the vibrating false folds and the unchanged waveform.
This video is a female singing on a sustained single note (Bb4) on the vowel EH (as in ‘stay’) in Edge and then adding in distortion.
This information comes from a study effects with the title ‘Can vocal effects such as distortion, growling, rattle and grunting and be produced without traumatising the vocal folds?’. This study was presented by Julian McGlashan at PEVOC7 conference in Groningen, Netherlands, 2007.
This information comes from a study Distortion study with the title ‘Vocal effects in singing: a study of intentional distortion using laryngostroboscopy and electrolaryngography’. This study was presented by Julian McGlashan at AQL ‘10th International Conference on Advances in Quantitative Laryngology, Voice and Speech Research’ conference in Cincinnati, Ohio, USA June 3-4, 2013.