This is just my opinion. The audibility of the singer's formant ensures the
illusion of continuity - you don't always hear the rest of the voice when
the orchestration is more, but you can still hear the singer, and when the
tambourine whack or wagner tubas die down again the librettist's words and
the singer's tone sound like they were always there, which they were! I
think also that vibrato also provides such an effect, and also that we
should be aware not only of a basic 'formant frequency' buy of a cluster of
close frequencies, beats between which add another crackly component to the
singer's formant. There. john
John Blyth
Baritono robusto e lirico
Brandon, Manitoba, Canada
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