Date: Fri, 6 Dec 96 10:10:13 -0600 (CST)
From: Buster <jmaroon1-AT-mail.airmail.net>
Subject: Re:  Puppet Voices


At 08:55 AM 12/6/96 CST, JAMES MALONE wrote:

It is apparent you are quite knowledgeable about voice and the mechanisms
that create sound.  However, I do want to take exceptions to a couple of
things you said.

>>From Jim Maroon's post of December 5, I offer some clarification
>and/or correction:
>
>1)   The diaphragm does not create sound -- it is mover of the air
>supply.  You cannot change this device short of surgery.
>

The amount of air you use in doing your voices does change the sound of
those voices.  It is a part of the whole.

>2)   The lungs do not create sound --- they are the source of the
>air supply.  You cannot change by adding to this organ--only
>subtracting.

Same here.

>
>3)   The proper term is vocal folds not vocal cords.  They are
>folds of tissue not just single cords.  This where the initial
>sound is created -- the air rushing by causes them to vibrate.  It
>is a unpleasant sound.   There ae three relatively subtle factors
>that regulate pitch:  the length, thickness and mass, and degree of
>tension of your vocal folds.  Pit is largely the result of
>variations in the tensions and of changes in pressure beneath the
>vocal folds.

You say tomato... Same same, regardless what you want to call them.

>4)   Rather than the mouth cavity, it is the work of the resonators
>and articulators that amplify and modify the sound produced by the
>vocal folds.  The resonating chambers are the throat (pharynx),
>mouth and nasal cavities.  The articulators are the lips, teeth,
>tongue, hard palate, soft palate and the lower jaw.  It is the
>precise working of these areas that produces quality sound.

Ain't that what I said?

>5)   The best puppet voices I have heard have been clear, precise,
>colorful, animated and energetic.   Too often, I hear voices that
>are muddy. foggy, too light, too cute or just plain offensive.

Not exactly sure how this reflects what I said, but it actually depends on
the character.  If your characters are serious characters in a serious show,
then I agree with you.  But since my characters are all comic/cartoonish
characters, and all of my shows are one man shows often consisting of up to
16 or 17 characters, I have to work with all the tools I have.  It is
important that every voice is distinct. 

>6)   As far as an easy voice is concerned, one cannot open your
>vocal folds as wide as you can.  When they are open wide no sound
>is produced - that's just breathing.

Well, as wide as you can and still make sound.  And it can be done because I
do it all the time.

>7)   The shape of the face has little, if anything, to do with
>creating sound or voices.  It has to do with the mechanisms
>described above.

The shape of the face at least in part determines the shape of the the
mechanisms you mention, so I'm right here.

>
>8)   Nasal voices involve closing the mouth cavity off and sound
>exiting through the nose.

Nasal voices use the nasal cavity in an exaggerated way, whether you are
restricting air through the nose or through the mouth.  Hold your nose when
you speak and you will see what I mean.

>9)   One cannot tighten the vocal folds.

I can and do.

>
>10)  To give the character life, in addition to voice, consider
>such things as pauses, stress. emphasis. inflection. steps, range
>and rate of speaking.

Hey!  We agree!

I have a great deal of control over all of my vocal tools.  I am acutely
aware of them, and aware of what they are doing when I do a voice.  I can
feel them change, and can consciously force them to change.  Although I'm
sure I'm not using perfect medical terminology, I'm not just talking off the
top of my head here, either.  If folks on this list who need help developing
voices try some of my suggestions, they will be able to do a variety of voices.

--Jim Maroon
The Storytelling Home Page    http://members.aol.com/storypage



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