[PDF] The Estill Voice Model: Theory And Translation.epub

turning to the chorus, we can see that the voices are panned similarly in the atmos version to the verse, with the lead vocals occupying the center and the two hooks on either side. the lead synth in the atmos version is also panned to the far left and right of the image, though it remains to the left of the lead vocal, creating another identical effect to the first verse, except the lead vocal is now quite far from the listener. overall, this gives the impression that the vocals are in a position that is very deep and undistorted, but also a bit distant. this creates a very strong and intimate feeling, and it also can be seen as a very clever way to maintain the distancing effect while still being able to hear the lead vocals. it is also worth noting that the delay and reverb in the atmos version are again panned closer to the listener than they are in the stereo version, further reinforcing the idea that the vocals are in a more intimate space.

this article demonstrates the applicability of the model to the analysis of other 3d music, and how its tenets can be used to capture nuanced variations in the sonic and conceptual qualities of recorded and mixed works. we begin by presenting the model itself, followed by an analysis of the relationship between the hermeneutic and the performance environment in 3d music, and an examination of the ways the performance environment is configured in 3d. the third and final section considers the hermeneutic relationship between the performer and the listener in immersive music, and how the spatial arrangement of sonic material in 3d constructs the performance environment and enables or constraints the subject position of the listener. we then turn to a discussion of the 3d remix of blinding lights by the weeknd, and how the performance environment is configured in both stereo and dolby atmos mediums. the analysis suggests that the album has been designed to be heard in the 3d medium, and that the placement of the voice in the 3d mix further reflects the audience position and the artist’s subject position. this final section also discusses the lyrics, and how the placement of the voice in 3d provides a more nuanced interpretation of the song, as well as a contextualization of the lyrics that was not present in the stereo mix.

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