The Crow Hill Company Dot Allison Dulcet Voice v1.0.0

A key ingredient of subversive film scores of the counter-culture era. What zeitgeist elements unify a violent cop caper, murder suspense thriller, murder suspense thriller and chilling horror film from the late sixties/early seventies? Well its the use of softly sung solitary female voices. Not in song, but just the pure innocent tone as an instrument. These scores became key influences on Dot’s work as a composer are three seemingly unconnected edgy noir-ish films from the heyday of maverick film-making in the counter-culture era.

But also an era where scores branched away from established musical tropes, experimenting with use of hyper-realistic instruments and effects, electronics, jazz, funk and non ‘western’ instrumentation.​

Lalo Schifrin’s era-defining score for Don Siegal’s hyper masculine DIRTY HARRY offset this story of violence and pursuit with the ghostly tones of a distant solitary female vocal.

Part of Alan J Pakula’s seminal “paranoia trilogy” KLUTE has a standout score by Michael Small. That mixes use of microtonal marimbas combined with an eerie female vocal to add to the sense of confusion.

Of all of the films of this era Polanski’s ROSEMARY’S BABY enjoys the most famous use of female vocals. Sung by the lead Mia Farrow, a lyricless lullaby that chills you to the bone from the outset.

Product Specs
10 included palettes of sound
5 Vowel types (Ah, Ih, Ee, Oh, Oo)
Bonus Vocal Sound Design Synths
Gesture-based phrases with key shifting
Perfectly curated vocal chain captured at the infamous Castle Sound Studios
Full effects suite featuring dual algorithmic Reverbs, modulated Delay and cascading Granular re synthesis
Single dial processing tools including, EQ, Bus Compression & Frequency Shifter

Home Page - https://thecrowhillcompany.com/explore/dot-allison-dulcet-voice/