kickingtone

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About kickingtone

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  1. The spitting is a very slight thing. In the video below (1m 00s onward) he describes it as "little pockets of air that kind of break through the cords. It's a really light thing, it's not forced at all". It is that innocuous "micro-bursting" that creates the edginess of the sound. We are talking about a fraction increase in pressure causing the air to come out in pockets rather than a cleaner stream. Full cord closure will give you what some people call necessary twang. This is the normal amount of twang that you may not even associate with twang. Anything beyond that, and you are "leaning in" with more force than is required just for cord closure. But you are also using more air pressure than is necessary for a "clean" phonation. And you will increase that "bursting pockets of air effect". Sure, you mustn't overdo it! If you listen to his vocal fry at around 1m 00s, you will hear him breath out until the fry bites. While cord closure is important, what is really important is that the air pressure is on the high side relative to whatever compression you are using for the cord closure. You do need to shape your vocal tract to amplify the edgy sound, but the actual edginess comes from the vocal folds. http://www.askavocalcoach.com/how-do-i-make-myself-sound-more-edgy-1704/
  2. "Smaller space" where, and how does does that "produce better fold closure"? "that is why quack sounds so metallic and edgy" does not follow from anything you have said. You can have rich higher harmonic content without any edginess.
  3. I think quack or twang is caused by the air flow "spitting" through the folds. The harmonics it produces still have to be guided to your resonance centres to be amplified, and the more relaxed you vocal tract, the more it can shape as a wave guide. Yep. Finding where the resonance feedback is will help you tune your vocal tract to best guide the sound. And these Eureka moments are the best! They really bring out the researcher in me. Your vocal instrument is like a whole laboratory that you carry around with you, with the keys at you fingertips....yes.. the keys...
  4. If the diaphragm controls the pressure accurately, then "quack" becomes optional. My take on things is that the vocal folds don't like to be caught half way in a high pressure draught (draft). It is damaging. They will either want to compress tightly against the draught, or fly wide open out of the way. So, you will tend to get either a compressed sound, or a falsetto. To get a light sound that isn't falsetto, you need high pressure without the high airflow (draft). To achieve this, the diaphragm has to walk a tightrope. And psychologically, you have to have confidence in your diaphragm to walk that tightrope and keep the pressure right, without any "gusts" of air. Lack of confidence in that can still trigger the protective reflex that flips the folds into high compression or wide open, which is why I think that high notes can be a psychological problem as well as a physical one. So, I think it is all about accurately controlling air pressure with diaphragmatic opposition. My voice is practically "quackless", and I can slide up and down to C5 without too much problem in terms of breaks or vowel changes. I find myself more concerned with playing around with the volume. The flip side is that, although I am not a big fan of quack, I still want the option of a little quack, but I don't really know what produces a lot of it. I've been told it is "good vocal fold closure", but I find that is what makes any quack I do have go away. I can hold a quackless note for much longer than a quacky one, because the quacky one leaks more air..
  5. This was something that concerned my when I struck out with this singing stuff, then I basically forgot about it. Now I am looking back and I am curious. Here are some very short clips of different parts of my range. Please let me know. Thanks. (I know I screwed up the phrasing in the Rio Grande song. I don't really know it.)