Post by Baronessa on Sept 22, 2019 19:51:49 GMT
Hello, and welcome to The Range Planet! I assume you're here either because you're looking to create a singer thread, or you're curious as to our logic when it comes to including notes on our range threads.
I'm sure you've heard the term 'notewatching' before when visiting our forum. Don't worry if you haven't, we're going to first and foremost define this term:
notewatching
noun
1. the act of watching out for notes a singer hits
2. the act of organising pitches into a range thread
3. the act of determining the value of the notes a singer hits
Now, pretending as if it's in the dictionary is highly pretentious I know, but it's proven important that we define it essentially as a neologism for those three things not necessarily mutually exclusive. It is the entire premise of this forum, so we'd all do well to collectively agree on what it means.
The steps...
It might be enough for some to leave it at that, but there are standards to the organisation and value of any given note, which is where new and old users alike might get stuck. It must be noted that there is no way to completely eliminate disagreements over note inclusion, as any given experience of a note will be completely different from another.
There are ways of predicting patterns when you're notewatching, however, and this is where these steps may be useful in determining the value of a given note. These are the general questions you should be asking when notewatching:
• How does it represent the song's range? -- A short low note at the beginning of a phrase which may or may not sound like part of the overall melody (anacrusis) or cracking to reach the note are worth taking with a grain of salt. Certain notes tend to not even be recognised in sheet music because they, for example, slide up to nowhere or begin from nowhere. A good question to ask is, would you feel like you were cheating if you omitted the note from a karaoke performance?
• How does it represent the singer's range? -- Vocal range is used in different ways, varying from singer to singer, the only things really staying constant being the pitches themselves. An exception to this is speaking and spoken word, as they can go all over the place pitch-wise and can be very misleading as to how the singer actually uses their singing voice. A good question to ask is, does the note sound like something the singer has control over?
• How does it compare to others' standards? -- Taken to an extreme this might be a bit of an ad populum. While every singer has their own approach to notes, it might be worth taking a look at similar singers' techniques and looking up what has been deemed countable for them.
All of these criteria tend to be a sum of their parts as opposed to a single criterion being the dealbreaker, though both can happen.
While all of these criteria might cause some stress, try to remember that much of the rationale for note inclusion is speculation, conjecture, or simply subjective. Don't try to be objective! Trying to imagine yourself in the singer's shoes tends to only create more questions than it answers.
Your thread...
Now that we're all up to speed on what notewatching is, we tend to go either of two ways: interact with OPs regarding their notewatching or make our own range thread. The following is designed to help the latter people in figuring out our Thread-making 101.
It is important that you take what this tutorial says to heart, as we here at The Planet strive to provide the most accurate research on the internet concerning singers' vocal ranges to the best of our ability, and OPs nonadherent to our forum's standards can and will be pulled up and corrected.
This guideline will be using templates from the following threads:
• Kate Bush
• Mike Patton
• Paul McCartney
• Prince
We recommend you check them out for exemplary work on Range Stuff.
Getting Started:
Once you've made sure the singer doesn't already have a thread, figuring out their 'significant thresholds' will prepare you for notes that you'll be including. Ask yourself some simple questions when figuring these out:
• How is the singer's voice placed? -- this is intuitive enough, but you probably don’t want to start the significant highs for sopranos at G4, and probably don’t start the significant lows for basses at G3
• What notes does the singer utilise the most? -- for example, someone like Freddie Mercury would probably not be considered one of the highest-placed male singers on the forum, but because he sings in the upper fourth/lower fifth octave on an extremely frequent basis, it makes little sense to start his highs any lower than A4
• What notes tend to sound "significant"? -- are they using this note in a climactic way in phrases? Are there a number of songs where the singer peaks/bottoms at this note?
• Has the singer's voice changed over time? -- for example, a singer’s voice lowering to where F4 becomes a more "significant" note for them, when it might not have been in the past
• How far apart are the singer's thresholds? -- this isn't quite as important as the above criteria, but it should still factor in nonetheless. You should only consider the bigger picture when deciding thresholds, and not a very specific amount of time the singer was active, so that you don't end up with a very uneven amount of notes for certain sections which ends up misrepresenting the singer's career as a whole.
Cursory Information & Summaries:
Others will want to know who you're making the thread about. We always tend to have photos as the first thing on the OP. While every photo within forum rules is technically allowed, you'll want it to represent how the singer actually looks. A little stylishness like a performance pic is only positive.
Fulfilling this includes pieces of information such as the full name of the singer, other prominent aliases of the singer, "Vocal Range", and "Member Of". For example:
Prince Rogers Nelson (7 June 1958 - 21 April 2016)
Also Known As:
, The Artist Formerly Known as Prince, Camille
Member Of: Prince & The Revolution (1984 - 1986), Prince & The New Power Generation (1990 - 2016), 3rdEyeGirl (2012 - 2016)
Vocal Range: A1 - C7
Once you know enough about it, you can also write up a small bio about the singer's career and how their voice is recognised; let's use Mariah's vocal summary as an example:
Stylish writing is encouraged, but information is of course valued above big words.
Note Brackets:
The order of flats and sharps when listing note brackets is and always will be A, B♭, B, C, C♯, D, E♭, E, F, F♯, G, G♯. You may of course use enharmonic equivalents as some threads do, like C♯/D♭, if you're particularly fussy about music theory. Deciding to do this, however, you must bear in mind that if the scale in the song calls for a D♭ that note must be reflected in the C♯/D♭ bracket. Enharmonically equivalent notes shouldn't have their own individual brackets.
Thread Key:
Next, you'll need a thread key to denote all the varying ways your singer hits their notes. This is my personal default key, though others conform to the general idea, with endless variants applied as needed:
A couple of things of note in this system:
• We don't make a distinction between male falsetto and female head voice, if it has a 'hooty' or clearly disconnected, soft sound we consider it falsetto all the same.
• Save green only for extreme singing styles; slightly raspy or screamy but still clearly pitch-able notes you can leave black.
• Grey isn't an excuse to count toneless creaks, save it for encounters of strong mixed fry.
• If you have a singer who uses, for instance, both fry and subharmonics, it might be best to only use grey on subharmonics to avoid confusion.
• We tend to acknowledge rapping as intentional intonation, and as such it doesn't need italics.
• Some don't bother using underlines for a two-part lead vocal or the like, but some also list background notes like this no matter how obvious they might seem. Both are acceptable so long as they're clearly defined.
• If a note really made you reel back in your seat, you have the option of adding it in boldface. People also like to hear these notes, so linking them is advisable as well.
Alphabetising & Capitalisation:
So, now you know how the notes are going to be included, next you'll need to know how to actually order them.
There are many types of alphabetising and different styles are often debated and conflated on here, but we've generally come to agree on ignoring a, an and the when alphabetising. I ignore parentheses as well, but others tend to include them.
There are also many types of capitalisation, but since Capitalising Every Letter Would Make Us Look Like That One Annoying Relative On Facebook we came up with our own list of words to leave in small case:
a, an, and, as, at, but, by, for, from, in, nor, of, on, or, per, the, to
In keeping with basic grammar, capitalise the last word of the song title regardless of what it is.
Boldface:
The coding of boldface might get a bit exhausting sometimes as it needs to be exactly correct for it to work, but a good guideline to remember for them is to put link, the color of the note, the boldface code and the song title respectively, as follows:
Same goes for any colour combined with boldface.
Your link should follow our Rules and Guidelines.
Tags:
Use font size="1" for the entirety of the tag in order to make the title more legible and preferably don't use words like at or in etc. to denote a location. When it comes to listing a location, order it by venue, city/town (optionally, the country/state) and the date. As follows:
("Beggars and Hangers-On" live Victoria Hall, Stoke-on-Trent 24.7.2011)
Date order differences are easily rectified if you just mention in the thread key what order you put the date in, for example:
..................................................
Dates are listed in order of DD/MM/YYYY
If you list a version of a song from a different album, italicise the album name, as it is grammatically correct to do so, as follows:
("Children Go Where I Send You" live Nina at the Village Gate)
If there's a better version of the same note on a less-known take of the song, and you want to boldface that one instead, your tags may be able to help distinguishing between these versions. For example:
("Don't Get Around Much Anymore" Tony Makes It Happen version / live The Jerry Lewis MDA Labor Day Telethon, 5 September 1983 / Duets II version)
Obviously quite a heavy-handed tag. Just follow the general idea and you'll be fine.
Vocal Range & General Vocal Timelines:
More often than not a Vocal Range Timeline just documents the varying ranges of albums, which can be an interesting insight into how the singer's used their vocals throughout the years and to what extent. For example:
It's also useful to note instrumental or completely unavailable albums with a key like:
..................................................
[1] denotes instrumental albums.
[2] denotes unavailable albums.
Questionable Notes:
If and when you encounter your first 'questionable note', if you've read the opening statement of this post you won't need to worry. Determining the note value based on the rules laid out here will help you in knowing whether the note is 'countable' or 'spoiler-worthy'.
Depending on the circumstances, you're going to either list it normally, or list it in a spoiler-box like this:
There are many ways of acknowledging your questionable notes, this is a good example from the Kate Bush thread:
For future reference...
When it comes to conduct regarding what you personally think is countable or spoiler-worthy, it must be noted that all of the threads on The Range Planet are under the implied consensus of the collective userbase until stated otherwise. This will inevitably lead to some inconsistencies among OPs as some will be more actively debated than others, but there are a few things to keep in mind when you encounter a questionable note on another thread:
1. There has been no discussion on the note yet, and the OP trusted their own instincts as far as the inclusion of the note went.
2. There has been a discussion on the note, which concluded in the note either being included in or discarded from the bulk of the research.
3. Opinions on the note have changed over time. Sometimes people learn more ways to express their opinions on singing, this is completely natural.
Counting or spoiling a note you disagree with is not grounds for reporting a user, instead consider the sum of these three things and respectfully ask about the note yourself. Same goes for OPs themselves, inaction breeds contempt in a lot of cases and people tend to rather see their opinion represented as soon as possible. Especially if it's been backed up by the majority of participants.
All of that might feel a bit confrontational, but asking for help and advice is of course more than welcome and generally a sign of an open-minded user. We definitely encourage transparent communication between everyone involved in the research of a singer so as to make our research reflect as wide a consensus as possible. We're all in this together and you're expected to leave your ego at the door when it comes to interacting with users who might and do have differing opinions from yours.
I'm sure you've heard the term 'notewatching' before when visiting our forum. Don't worry if you haven't, we're going to first and foremost define this term:
notewatching
noun
1. the act of watching out for notes a singer hits
2. the act of organising pitches into a range thread
3. the act of determining the value of the notes a singer hits
Now, pretending as if it's in the dictionary is highly pretentious I know, but it's proven important that we define it essentially as a neologism for those three things not necessarily mutually exclusive. It is the entire premise of this forum, so we'd all do well to collectively agree on what it means.
The steps...
It might be enough for some to leave it at that, but there are standards to the organisation and value of any given note, which is where new and old users alike might get stuck. It must be noted that there is no way to completely eliminate disagreements over note inclusion, as any given experience of a note will be completely different from another.
There are ways of predicting patterns when you're notewatching, however, and this is where these steps may be useful in determining the value of a given note. These are the general questions you should be asking when notewatching:
• How does it represent the song's range? -- A short low note at the beginning of a phrase which may or may not sound like part of the overall melody (anacrusis) or cracking to reach the note are worth taking with a grain of salt. Certain notes tend to not even be recognised in sheet music because they, for example, slide up to nowhere or begin from nowhere. A good question to ask is, would you feel like you were cheating if you omitted the note from a karaoke performance?
• How does it represent the singer's range? -- Vocal range is used in different ways, varying from singer to singer, the only things really staying constant being the pitches themselves. An exception to this is speaking and spoken word, as they can go all over the place pitch-wise and can be very misleading as to how the singer actually uses their singing voice. A good question to ask is, does the note sound like something the singer has control over?
• How does it compare to others' standards? -- Taken to an extreme this might be a bit of an ad populum. While every singer has their own approach to notes, it might be worth taking a look at similar singers' techniques and looking up what has been deemed countable for them.
All of these criteria tend to be a sum of their parts as opposed to a single criterion being the dealbreaker, though both can happen.
While all of these criteria might cause some stress, try to remember that much of the rationale for note inclusion is speculation, conjecture, or simply subjective. Don't try to be objective! Trying to imagine yourself in the singer's shoes tends to only create more questions than it answers.
Your thread...
Now that we're all up to speed on what notewatching is, we tend to go either of two ways: interact with OPs regarding their notewatching or make our own range thread. The following is designed to help the latter people in figuring out our Thread-making 101.
It is important that you take what this tutorial says to heart, as we here at The Planet strive to provide the most accurate research on the internet concerning singers' vocal ranges to the best of our ability, and OPs nonadherent to our forum's standards can and will be pulled up and corrected.
This guideline will be using templates from the following threads:
• Kate Bush
• Mike Patton
• Paul McCartney
• Prince
We recommend you check them out for exemplary work on Range Stuff.
Getting Started:
Once you've made sure the singer doesn't already have a thread, figuring out their 'significant thresholds' will prepare you for notes that you'll be including. Ask yourself some simple questions when figuring these out:
• How is the singer's voice placed? -- this is intuitive enough, but you probably don’t want to start the significant highs for sopranos at G4, and probably don’t start the significant lows for basses at G3
• What notes does the singer utilise the most? -- for example, someone like Freddie Mercury would probably not be considered one of the highest-placed male singers on the forum, but because he sings in the upper fourth/lower fifth octave on an extremely frequent basis, it makes little sense to start his highs any lower than A4
• What notes tend to sound "significant"? -- are they using this note in a climactic way in phrases? Are there a number of songs where the singer peaks/bottoms at this note?
• Has the singer's voice changed over time? -- for example, a singer’s voice lowering to where F4 becomes a more "significant" note for them, when it might not have been in the past
• How far apart are the singer's thresholds? -- this isn't quite as important as the above criteria, but it should still factor in nonetheless. You should only consider the bigger picture when deciding thresholds, and not a very specific amount of time the singer was active, so that you don't end up with a very uneven amount of notes for certain sections which ends up misrepresenting the singer's career as a whole.
Cursory Information & Summaries:
Others will want to know who you're making the thread about. We always tend to have photos as the first thing on the OP. While every photo within forum rules is technically allowed, you'll want it to represent how the singer actually looks. A little stylishness like a performance pic is only positive.
Fulfilling this includes pieces of information such as the full name of the singer, other prominent aliases of the singer, "Vocal Range", and "Member Of". For example:
Prince Rogers Nelson (7 June 1958 - 21 April 2016)
Also Known As:
, The Artist Formerly Known as Prince, CamilleMember Of: Prince & The Revolution (1984 - 1986), Prince & The New Power Generation (1990 - 2016), 3rdEyeGirl (2012 - 2016)
Vocal Range: A1 - C7
Once you know enough about it, you can also write up a small bio about the singer's career and how their voice is recognised; let's use Mariah's vocal summary as an example:
{Vocal Summary}While Mariah Carey's voice is one of the most hyped-up in modern music, none of it can particularly be called 'fluff', considering her masterful belting is on the level of an air raid siren in terms of projection and loudness (although a lot more pleasant in tone), and basically impossible to pull off as an amateur. Mariah's low register is a most extensive one for a soprano, with her tight grasp on manipulating her laryngeal placement and breath output, she can reach rather comfortably into the upper second octave. While she rarely employs it and favours her famous whistles instead, Mariah does have a head voice worth writing home about going as high as the mid sixth octave on occasion. the aforementioned whistles being the most famous part of her voice, the agility she displays singing in the register is unparalleled as she frequently displays flipping from chesty singing to a climactic whistle in an instant and following complex harmony patterns with the technique. While Mariah has some less than agreeable views on the usage of her own voice, as a sum of its parts, Mariah's voice seems freakishly comfortable in every area she decides to sing in; the breath control she displays particularly during her melismatic vocal runs is rarely understood by amateurs and subsequently ruins voices at the local karaoke bar, this standard-setting and idolisation making Mariah truly worthy of the title of a modern icon.
Stylish writing is encouraged, but information is of course valued above big words.
Note Brackets:
The order of flats and sharps when listing note brackets is and always will be A, B♭, B, C, C♯, D, E♭, E, F, F♯, G, G♯. You may of course use enharmonic equivalents as some threads do, like C♯/D♭, if you're particularly fussy about music theory. Deciding to do this, however, you must bear in mind that if the scale in the song calls for a D♭ that note must be reflected in the C♯/D♭ bracket. Enharmonically equivalent notes shouldn't have their own individual brackets.
Thread Key:
Next, you'll need a thread key to denote all the varying ways your singer hits their notes. This is my personal default key, though others conform to the general idea, with endless variants applied as needed:
..................................................
[font size="1"]• [font color="blue"]Blue[/font] denotes falsetto and whistle passages.
• [font color="green"]Green[/font] denotes harshly distorted passages.
• [font color="grey"]Grey[/font] denotes fry and/or extended low note techniques, such as growl, throat singing and subharmonic passages.
• [b]Boldface[/b] denotes outstanding passages.
• [i]Italics[/i] denote non-melodic and spoken passages.
• [u]Underlines[/u] denote obscured and background passages.[/font]A couple of things of note in this system:
• We don't make a distinction between male falsetto and female head voice, if it has a 'hooty' or clearly disconnected, soft sound we consider it falsetto all the same.
• Save green only for extreme singing styles; slightly raspy or screamy but still clearly pitch-able notes you can leave black.
• Grey isn't an excuse to count toneless creaks, save it for encounters of strong mixed fry.
• If you have a singer who uses, for instance, both fry and subharmonics, it might be best to only use grey on subharmonics to avoid confusion.
• We tend to acknowledge rapping as intentional intonation, and as such it doesn't need italics.
• Some don't bother using underlines for a two-part lead vocal or the like, but some also list background notes like this no matter how obvious they might seem. Both are acceptable so long as they're clearly defined.
• If a note really made you reel back in your seat, you have the option of adding it in boldface. People also like to hear these notes, so linking them is advisable as well.
Alphabetising & Capitalisation:
So, now you know how the notes are going to be included, next you'll need to know how to actually order them.
There are many types of alphabetising and different styles are often debated and conflated on here, but we've generally come to agree on ignoring a, an and the when alphabetising. I ignore parentheses as well, but others tend to include them.
There are also many types of capitalisation, but since Capitalising Every Letter Would Make Us Look Like That One Annoying Relative On Facebook we came up with our own list of words to leave in small case:
a, an, and, as, at, but, by, for, from, in, nor, of, on, or, per, the, to
In keeping with basic grammar, capitalise the last word of the song title regardless of what it is.
Boldface:
The coding of boldface might get a bit exhausting sometimes as it needs to be exactly correct for it to work, but a good guideline to remember for them is to put link, the color of the note, the boldface code and the song title respectively, as follows:
("[a href="https://youtu.be/NrJEFrth27Q?t=2m43s"][font color="blue"][b]Emotions[/b][/font][/a]")Same goes for any colour combined with boldface.
Your link should follow our Rules and Guidelines.
Tags:
Use font size="1" for the entirety of the tag in order to make the title more legible and preferably don't use words like at or in etc. to denote a location. When it comes to listing a location, order it by venue, city/town (optionally, the country/state) and the date. As follows:
("Beggars and Hangers-On" live Victoria Hall, Stoke-on-Trent 24.7.2011)
Date order differences are easily rectified if you just mention in the thread key what order you put the date in, for example:
..................................................
Dates are listed in order of DD/MM/YYYY
If you list a version of a song from a different album, italicise the album name, as it is grammatically correct to do so, as follows:
("Children Go Where I Send You" live Nina at the Village Gate)
If there's a better version of the same note on a less-known take of the song, and you want to boldface that one instead, your tags may be able to help distinguishing between these versions. For example:
("Don't Get Around Much Anymore" Tony Makes It Happen version / live The Jerry Lewis MDA Labor Day Telethon, 5 September 1983 / Duets II version)
Obviously quite a heavy-handed tag. Just follow the general idea and you'll be fine.
Vocal Range & General Vocal Timelines:
More often than not a Vocal Range Timeline just documents the varying ranges of albums, which can be an interesting insight into how the singer's used their vocals throughout the years and to what extent. For example:
{Notewatching Credits, Special Thanks & Other Info}
Alex61
The Kick Inside (1978): G3 – D6
The Dreaming (1982): E3 – D6
The Red Shoes (1993): E♭3 – G♯5
Director's Cut (2011): C♯3 – B5
Baronessa
Never for Ever (1980): F♯3 – F6
The Sensual World (1989): E♭3 – B♭5
50 Words for Snow (2011): B2 – E5
galaxyseal
Lionheart (1978): C♯3 – E♭6
Hounds of Love (1985): E3 – E♭6
Aerial (2005): E3 – G♯5
Notewatching of other performances not listed above done by Alex61.
Alex61
The Kick Inside (1978): G3 – D6
The Dreaming (1982): E3 – D6
The Red Shoes (1993): E♭3 – G♯5
Director's Cut (2011): C♯3 – B5
Baronessa
Never for Ever (1980): F♯3 – F6
The Sensual World (1989): E♭3 – B♭5
50 Words for Snow (2011): B2 – E5
galaxyseal
Lionheart (1978): C♯3 – E♭6
Hounds of Love (1985): E3 – E♭6
Aerial (2005): E3 – G♯5
Notewatching of other performances not listed above done by Alex61.
It's also useful to note instrumental or completely unavailable albums with a key like:
..................................................
[1] denotes instrumental albums.
[2] denotes unavailable albums.
Questionable Notes:
If and when you encounter your first 'questionable note', if you've read the opening statement of this post you won't need to worry. Determining the note value based on the rules laid out here will help you in knowing whether the note is 'countable' or 'spoiler-worthy'.
Depending on the circumstances, you're going to either list it normally, or list it in a spoiler-box like this:
[spoiler]{Questionable Notes}[/spoiler]There are many ways of acknowledging your questionable notes, this is a good example from the Kate Bush thread:
{Questionable Notes}F♯6 ("Violin" live Paris 1979[1][2])
E♭6 ("James and the Cold Gun" live Live at Hammersmith Odeon[2])
F♯5 ("Babooshka"[2])
F5 ("The Sensual World"[3])
F♯3 ("Babooshka"[3])
F3 ("All We Ever Look For"[4])
E♭3 ("Breathing"[3], "Get Out of My House"[4])
C♯3 ("Rubberband Girl"[3])
A2 ("The Dreaming"[4])
...................................................................
1. Questionable legitimacy (tape speed).
2. Exclamations (non-sung notes or vocal slides).
3. Ambiguous harmonies (questionable identity or implied).
4. Poor quality low notes (fryish notes, spoken notes or vocal slides).
...................................................................
Questionable notes are any notes of questionable significance. In short, this spoiler acknowledges notes that I am aware exist, but do not want to contribute to the singer's range. These involve (but are not limited to) notes of questionable identity, notes of questionable legitimacy and notes of significantly poor quality.
E♭6 ("James and the Cold Gun" live Live at Hammersmith Odeon[2])
F♯5 ("Babooshka"[2])
F5 ("The Sensual World"[3])
F♯3 ("Babooshka"[3])
F3 ("All We Ever Look For"[4])
E♭3 ("Breathing"[3], "Get Out of My House"[4])
C♯3 ("Rubberband Girl"[3])
A2 ("The Dreaming"[4])
...................................................................
1. Questionable legitimacy (tape speed).
2. Exclamations (non-sung notes or vocal slides).
3. Ambiguous harmonies (questionable identity or implied).
4. Poor quality low notes (fryish notes, spoken notes or vocal slides).
...................................................................
Questionable notes are any notes of questionable significance. In short, this spoiler acknowledges notes that I am aware exist, but do not want to contribute to the singer's range. These involve (but are not limited to) notes of questionable identity, notes of questionable legitimacy and notes of significantly poor quality.
For future reference...
When it comes to conduct regarding what you personally think is countable or spoiler-worthy, it must be noted that all of the threads on The Range Planet are under the implied consensus of the collective userbase until stated otherwise. This will inevitably lead to some inconsistencies among OPs as some will be more actively debated than others, but there are a few things to keep in mind when you encounter a questionable note on another thread:
1. There has been no discussion on the note yet, and the OP trusted their own instincts as far as the inclusion of the note went.
2. There has been a discussion on the note, which concluded in the note either being included in or discarded from the bulk of the research.
3. Opinions on the note have changed over time. Sometimes people learn more ways to express their opinions on singing, this is completely natural.
Counting or spoiling a note you disagree with is not grounds for reporting a user, instead consider the sum of these three things and respectfully ask about the note yourself. Same goes for OPs themselves, inaction breeds contempt in a lot of cases and people tend to rather see their opinion represented as soon as possible. Especially if it's been backed up by the majority of participants.
All of that might feel a bit confrontational, but asking for help and advice is of course more than welcome and generally a sign of an open-minded user. We definitely encourage transparent communication between everyone involved in the research of a singer so as to make our research reflect as wide a consensus as possible. We're all in this together and you're expected to leave your ego at the door when it comes to interacting with users who might and do have differing opinions from yours.
