All of the translations linked here are my own work. Please DO NOT re-post or screenshot my work without permission.
The idol voice analysis, titled "Idols' Vocal Appeal" in the book, is a scientific evaluation of the eleven idols' singing voices using the songs "RAINBOW☆DREAM" and "QUARTET★NIGHT" as samples. Each character's voice is illustrated in their own frequency graph and a brief description is included.
I've separated the analysis into three parts, by page. Part 3 includes the analyses for Reiji, Ranmaru, Ai, and Camus, as well as the summary for the 4-person harmony. The Idol Voice Analysis can be found on pages 259 to 261 of the 5th Anniversary Book.
Reiji
He has a gorgeous and showy way of singing in which the entrance of the “a” in “a-chi-chi” is jerked from a high pitch, and when a certain pitch is vocalized, it’s studded with accents resembling a light warble*. Since consonants and frequency components come out strong, it has a skill of pushing personality to the front while leaving a refreshing image.
(Chart notes: Vibrations that sound like a “hiccup”)
Ranmaru
The number one characteristic is overtones hitting up to 14,000Hz and appearing in a considerably high frequency range. This has an effect of producing a warm, capacious sound. Furthermore, since the vocalization changes by heart when the low to mid frequency zone gets stronger, I could see a flexibility that matches pop and of course rock music.
(Chart: Overtones seen at 14,000Hz and a considerably high frequency range)
Ai
In his case, I have a deep interest in the part where his voice breaks. In order to express the upsurge of emotion, there’s a technique known as intentionally letting the voice break. Ai has a vocalization that is extremely faithful to the melody and like a line drawn along a ruler, has no shaking especially when singing long notes. As a result, it’s a falsetto--that is to say, a technical singing method in which a falsetto-like element stands out.
(Chart notes: (on the outside) Expression of emotion through voice breaks; (center) neatly arranged without any shaking)
Camus
The point of his strong consonant sounds and thick low-frequency elements is what sets him apart from Japanese people. Also, his technique of vocal straining is superb. From the overtones distributed within a frequency zone of strong stimulation to the ear, I feel a sound that carries a sense of guiding people. But, at the same time the vocalization has a warmth through the influence of the overtones in the high frequency range.
(Chart notes: Overtones can be seen even in high frequency zone; Low frequency range is extremely strong)
*The Japanese words used are "shakuriagattari" and "kobushi". After much deliberation, the closest English I found to "shakuriagari" is "vocal hiccup," a technique that creates the impression of one's voice being jerked or forced. Michael Jackson and Britney Spears are two singers known for using the technique. "Kobushi" is a singing technique of warbling one's voice, common in Japanese 'enka'.
**Also known as a "beat frequency," and is not to be confused with the definition of "beat" used to describe a rhythm.
He has a gorgeous and showy way of singing in which the entrance of the “a” in “a-chi-chi” is jerked from a high pitch, and when a certain pitch is vocalized, it’s studded with accents resembling a light warble*. Since consonants and frequency components come out strong, it has a skill of pushing personality to the front while leaving a refreshing image.
(Chart notes: Vibrations that sound like a “hiccup”)
Ranmaru
The number one characteristic is overtones hitting up to 14,000Hz and appearing in a considerably high frequency range. This has an effect of producing a warm, capacious sound. Furthermore, since the vocalization changes by heart when the low to mid frequency zone gets stronger, I could see a flexibility that matches pop and of course rock music.
(Chart: Overtones seen at 14,000Hz and a considerably high frequency range)
Ai
In his case, I have a deep interest in the part where his voice breaks. In order to express the upsurge of emotion, there’s a technique known as intentionally letting the voice break. Ai has a vocalization that is extremely faithful to the melody and like a line drawn along a ruler, has no shaking especially when singing long notes. As a result, it’s a falsetto--that is to say, a technical singing method in which a falsetto-like element stands out.
(Chart notes: (on the outside) Expression of emotion through voice breaks; (center) neatly arranged without any shaking)
Camus
The point of his strong consonant sounds and thick low-frequency elements is what sets him apart from Japanese people. Also, his technique of vocal straining is superb. From the overtones distributed within a frequency zone of strong stimulation to the ear, I feel a sound that carries a sense of guiding people. But, at the same time the vocalization has a warmth through the influence of the overtones in the high frequency range.
(Chart notes: Overtones can be seen even in high frequency zone; Low frequency range is extremely strong)
Summary: 4-person Harmony
In the harmony at the end of hook I could see a phenomenon called a “beat.”* A beat is when a sound alternates between soft and loud at regular intervals. A sound born from there called a “fluctuation” can be heard comfortably. What’s occurring is vocals on slightly different frequencies ride on the axis of a straight, unwavering frequency.
Translator's Notes:
I'm not sure why but this page was the most difficult for me to translate--maybe it's the sempai challenge? I look a long break from finishing even though I only had a couple of sentences left; Reiji's part was the most challenging and then I got stuck at the final summary. But I'm finally finished going through all of the analyses, I thought it was quite interesting and it tells me that they really put a lot of thought into casting the voices for all of the characters. I'll definitely be thinking about this the next time I listen to other group songs! ☆*The Japanese words used are "shakuriagattari" and "kobushi". After much deliberation, the closest English I found to "shakuriagari" is "vocal hiccup," a technique that creates the impression of one's voice being jerked or forced. Michael Jackson and Britney Spears are two singers known for using the technique. "Kobushi" is a singing technique of warbling one's voice, common in Japanese 'enka'.
**Also known as a "beat frequency," and is not to be confused with the definition of "beat" used to describe a rhythm.
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