Moderator & Review Specialist
  • Content count

  • Joined

  • Last visited

  • Days Won


benny82 last won the day on June 7

benny82 had the most liked content!

Community Reputation

355 Top Subject Matter Expert

1 Follower

About benny82

  • Rank
    Moderator & Subject Matter Expert
  1. Kermit the Frog Sound? (Depressed larynx)

    Here is a video on the froggy sound btw.
  2. Johnny Cash - Redemption

    Yes, it was like "quick and dirty" from the production side. I just captured everything through my condenser mic (guitar and vocals), setting the mic in a distance where it is about the same distance to my mouth and to the guitar. Of course I adjusted my singing to be able to carry over the volume of the guitar, but no post-processing of volumes etc. I agree, it is someting that makes Johnny's singing particularly interesting that he often switches to a more quiet, speech-like mode of singing which creates accentuation.
  3. Kermit the Frog Sound? (Depressed larynx)

    Check this out, I think its easy to hear which one is Kermit. It is indeed not caused by a low larynx, more like the mechanisms that lower and raise the larynx fighting each other too hard. I think in general this sound is heard more often on females (don't know why). Singers that do it from time to time are for example Shakira, Christina Aguilera and Demi Lovato.
  4. Johnny Cash - Redemption

    Thanks guys! Yes I'm a bass pretty much. Took me some time to realize that though
  5. Johnny Cash - Redemption

    Yes, exactly that, pretty strange thing
  6. Johnny Cash - Redemption

    Somehow I couldn't get this song out of my head, so I just had to do a recording of it
  7. You are already quite dark on the higher notes. I don't think you can make the sound darker than that without making it sound weird. The only possibility imo would be to modify to more classical vowels (UH -> OH, EH -> IH for example), but I think it would not really fit the song. You already sing darker than the original. Your embouchure is very good imo, don't mess around with that. Nice delivery overall, btw. As for the sound: I'm not an expert on mixing, but there are two things that of course have an effect on this: 1. reverb/EQ: acoustically in a room you usually have a bigger/different reverb and more low frequencies in the voice. Felipe once had two videos on his channel showing the "room vocals" and the "mixed vocals" of the same song (but I'm afraid he deleted the room vocal one). That was actually a very nice example. The problem is, if you leave a lot of "room acoustics" on your vocals it will sound very dull in the mix. Especially the low frequencies are often completely kicked out because of that (as Ron already described). 2. compression: The compression of the higher and louder notes in combination with the removal of the lower frequency room acoustics causes your voice to easily sound "thinner" and "more quiet" than it actually is in a room. If compression is too high it can lose "emotion" due to the perceived lower volume. Those two together make "mixed vocals" often sound quite different compared to acoustic live vocals. Unfortunately you cannot completely prevent this as vocals without these two adjustments will sound "wrong" in a mix.
  8. Felipe Carvalho - Hurt (9 Inch Nails/Johny Cash)

    Very cool Felipe, nice interpreation and you nicely get the atmosphere of that song. And yes, you are exactly right about the darkening. I still hear you struggling slightly on the lowest notes. A tip I can give you on those is that you try to brighten them, so not only "not darken" them, but intentionally sing them brighter than you would normally speak. In CVT they teach that you should go for what they call Edge mode on your lowest notes (below tessitura) and I think that this is exactly right. It basically means that you lift the back of the tongue stronger (twang more) and raise the cheeks (smile) a little, very similar to what a lot of people do in the higher range. I think the lowest notes are on the word "here" mostly, you can try to sing it like H-A-RE with the A as in "cat" for a start and then modify from there to the original word. Also add just slightly more support to the notes that go below your normal speaking range, at least that is what works for me down there. BTW: Are you playing the guitar there? This song is also really hard on timing imo in the verses, but you hit that very well.
  9. Hey Benny!

    Do you have some tips/tricks for training to sing above F4 in m1?

    1. benny82


      The most common excercise is really that top-down excercise. You go into hooty falsetto on the vowel OO on a high note (at least G4, better higher), then slide it down as low as you can.

      Then you try to keep that vocal tract posture and make a new onset on an AH vowel in your chest voice but you try to keep the position roughly intact that the falsetto created when you brought it down.

      That AH should then transition out of chest voice at a point that is suitable for your voice (usually between D4 and F4) but it should stay modal voice. On thing you have to keep attention on is to keep singing "forward" and not up when you go up on that AH. Try to fixate a window or something in your room and sing out of that window.

      Another thing that works well for me is to train on the vowel /OE/. This vowel has a natural posture that is similar to the falsetto-down posture. The vowel /OE/ sounds like the "e" in the englisch word "herb" or like the "u" in the englisch word "murder". But also here it is important to "project", to sing forward into the distance.

  10. Felipe Carvalho - Aces High

    Great job Felipe! Want to hear that original stuff now!
  11. Hanging Tree

    Thanks, I do have a Johnny Cash song on my channel (it's a few years old though), even though its not originally his song.
  12. Hanging Tree

    Short acoustic cover of this song from the Hunger Games Can anyone enlighten me how to post this directly as a video?
  13. Just transposed the song around a bit and thought that it sounds cool in a darker version of silence.mp3
  14. The Four Pillars of Singing

    Great answer by Rob. Its really just what you describe, Khassera. It's starting on a "no configuration" setting, just to release every configuration that you might unconsciously have set up in your vocal tract and that might disturb your following configuration.