Talk:Micro Cuts (song)

Cleanup ... "enjoying themselves"

I've moved specifics into the additional information section and created a brief description. Whilst doing so I've also removed the claim that the band played the song during the Absolution tour if they were "enjoying" themselves - I haven't seen any press coverage of Micro Cuts since 2001/2002, if someone can find a source, feel free to re-add. --Tene 06:16, 4 October 2006 (BST)

Microcuts.net has a live version if Micro Cuts from May 2005 on this page:

http://www.microcuts.net/uk/download/2005.php Salty 19:21, 25 March 2007 (BST)

Destroying?

How could the lyrics be "destroying puppet strings to our souls"? That doesn't make sense at all. It doesn't sound that way either, especially on the live version on Hullubaloo. It sounds like "Tying" or "You're tying". Salty 02:45, 14 October 2006 (BST)

It makes perfect metaphoric sense. I don't see why one cannot destroy puppet strings in the same way one can destroy any other material thing. It would also be a hell of an anticlimax to sing "tying", there's no hate or angst in that ... --Tene 08:04, 14 October 2006 (BST)

People control puppets with puppet strings. If you tie puppet strings to someone's soul, you control it. If you destroy the puppet strings, it's like letting the soul go. I'm not even sure what this song is about, but if destroying makes sense, it doesn't make sense grammatically. Tying does. Salty 19:22, 15 October 2006 (BST)

Grammatically? It makes perfect grammatical sense. Having studied English at A level I should be able to form a detailed argument, but 72 hours of sleep debt deny me that. All that really matters is that it's written as "Destroying puppet strings" in the lyrics booklet and using reasonably audiophilic equipment confirms this. Regarding the meaning, I've long assumed it to be a metaphor for the effect of extreme spite and hate on the human "soul"/"spirit". Of course, it could be that Bellamy merely grabbed it from that wacky dream containing blades on pendulums hanging from the sky without second thought, but somehow I'm inclined to believe quite a bit more work went into the song than that, considering the outcome. ;) --Tene 19:59, 15 October 2006 (BST)

If it's in the lyrics book, I'll believe it. I can't find my Origin of Symetry book at the moment.... Salty 23:48, 16 October 2006 (BST)

"Tying puppet strings" sounds better to me. And booklets arent always right you know. There are some mistakes in The Resistance booklet...

Matt's vocals are a bit hard to understand in the song because of the falsetto, regardless there is a clearly audible /s/ in there, so it's pretty clearly "destroying puppet strings." This is heard in all the versions I've listened to, and it is especially well articulated in the second chorus of the studio version, in which the /d/, /s/ and /r/ are all clearly audible. --Dyingatheist 23:53, 2 December 2009 (GMT)

It is definitely "destroying". This makes total sense in every field, and can be heard very clearly. It shocks me to even see a disagreement over this. Andre666 18:24, 3 December 2009 (GMT)

Official website sais "destroying puupet strings to our souls" so quit complaining and leave it alone

Registers

I thought where falsetto ends and whistle register begins was based on the structure of the vocal chords and resulting sounds (airy to a thin, piercing scream and a shift to the false chords), which varied from singer to singer? --Tene 01:53, 10 December 2007 (GMT)

I'm not sure if he is using whistle register; falsetto is produced by vibrating only the ligamentous edges of the vocal fold to produce a higher pitch with fewer overtones than the modal register, and can reach up to the 6th octave. Whistle register is produced from the smallest vibrating portion in the larynx, with the epiglottis closed over it. While the precise boundary varies from singer to singer, whistle register is typically used for notes above C6, and is rare even among trained male singers. Since the note in question is a G#5 and Matt produces that note without formal vocal training, it's probably not whistle register. Also, he hits the same note in Showbiz and doesn't seem to be shifting registers as he ascends to it. Can anyone with more formal experience or background answer this? --Dyingatheist 1:11, 26 July 2009 (GMT)

Just a thing, I've changed G#5 to Ab5, seeing as the key is D minor, thus being a key signature of flats. Grungedude22 12:49, 26 September 2009 (BST)

I think also the part about whistle register should be removed; it sounds like he's just using the falsetto register for the highest note. Whistle register is more for soprano and countertenor work beginning around B5 or C6, and isn't really "pushed" in the way evident on either the studio or live recordings. Matt doesn't really seem to sing in a countertenor style, and the note is generally too low for whistle register anyway. Additionally, since he moves down quite a bit from that note without shifting registers, it's most likely falsetto register all the way through. --Dyingatheist 00:14, 27 September 2009 (BST)