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  1. Vocal technique of these guys!?

    I think KTVA,like most self study vocal program being mentioned here.Can do the job, if one can does those excersise correctly. Since you already have it,you should at least give it a shot. I use KTVA everyday,and I definitely don't sound like KEN,and I prefer a clear tone in fact,I think most of his studetns can't sound like him.
  2. Belting vs Bridging? examples?

    First thing first,Dan doesn't mess around with vibatory mechanism. Your claim and your idea that Ian's voice is M2 M3 mix are wrong. You can blame us for "you" use wrong examples and wrong definations about resonance,vibatory mechanism. Yeah,you can,you can "say" anything,lol And does Dan say switch to someone may call whisttle register around E5? I think he says it's A5 and so does some females,once again,you can blame me saying that m2 on F3 kind of like m3 on e5,whatever As the answer for your originally observation,CVT flageolet is most likely the answer that Jen mention to you way above in this thread. But you whin about thats so poor define,and you present a even poor idea.what's that all about? We can agree that flageolet in CVT is not well defined,but I think It make more common sense than yours. And I think flageolet tension can be measured and observed,but besides the fact that not full cord vibarate,which is part of falsetto there is so specific sounds to that doesn.t mean you can't link a sound to that I think. You can go to create some mistery reigster mix,whatever,you could say it's a mix between flgeolet and,I don't know. But you won't because once you admit that,it's clear that it's M2 "mix" with flageolet,which is the answer you don't want and this is pretty much how feel note around G5 A5,and true to some of us feels here. Most imporantly, I can hardly see some can gain benefit from your "observation""smart gues like no knows". In my opinion,your teaching to your female student that trassion to whatever on E5 is plainly wrong presented,no matter what you wanna call your idea. It's very wrong to me. Done and done.
  3. Belting vs Bridging? examples?

    Yeh Good to see a man full of vocal knowledge like you benny,repost on this kind of post. I kind of fear that men like you get tired of post like these and stop post any articles which provide clear and meaningful info. The last thing i wanna say is acoustic register feel like more helpful than vibatory mx stuffs. Sad to say this though,IT's seem vocal sciece doesn't help much in actual singing besides formants and accoustic register,which has been well define century agos That's it, I',m out. And sorry for my engilsh.
  4. Belting vs Bridging? examples?

    I think I know better than you though. Sound fine isn't enough,sound rough will be I will say. And I think this happens way before,that time,you thing someone(felipe) switch to M3 maybe 4th octave,nevermind. I think you will show a low intensity sample claim you sound like IAN,BUT.... NEVERMIND
  5. Belting vs Bridging? examples?

    I highly doubt your demo will sound like most people wiill think it is.
  6. Belting vs Bridging? examples?

    Yeah,reading a article said soprano "may" use M3 above E5,then just say Ian's corrdination is some kind of mix between m2 m3 is pretty weird. Female sopprano doesn't approach sounds like male Ian Not only vibatory mechnism is either this or that,no mix in between.,But the resonance strategy is also different as benny mention above. Don't understand why you wanna believe such thing.
  7. Belting vs Bridging? examples?

    Seem you constatnly messing around resonance with vibatotory mechanism. The rock belt sound is less wighty m3 resoncnce in it What you mean by M3 resonance anyway?
  8. Belting vs Bridging? examples?

    M2 on F3 are pretty weak I must say,I can pronounce that F3 before.To me Brett M3 on G5 is prett weak too,period. Since you don't have a M3 on Bb4 voice sample,I eveh doubt you can get one,I think there is nothing to discuss. And I think she wrote about she whistle around A5~A7, does't back up your E5 m3 trassision. More than Bb5 to M3 I will say.cheers
  9. Belting vs Bridging? examples?

    Thx. But like any articles about vocal science,the word "sugguest " "may"show me the sign that there is no solid proof behide that article. And still,I think switch to M3 at E5 is like switch to M2 at F3,CAN BE DONE,but just doesn't feel pratical for singing and training.
  10. Belting vs Bridging? examples?

    As far as I'm concerned,not every males who can do solid screem at G5 A5 can whistle in 6 octave.In fact, most just can't. I can't recalls which video it is,Someone belt a F7,TO me ,That's more like a M3 mix ,if there is such a thing. Most rocks 5th octaves belting is in M2 or M2 mix,if you really wanna use terms like mix,you should abandon mx mechanism I must say in orginally mX mechanise ,ideally one should be one mode or another,in this case either m2 or m3,there is no inbetween. If a man belting strong in m2,light it up will only end up in falestto,IT'S not that hard to figure this out i willl say Last thing,what makes you think not Bb5 is the point where classical soprano m2 m3 can make register change,but E5? Both Dan and Brett mention this, Where is your proof about soprano E5 in m3?post a link if you mind,thx.
  11. Belting vs Bridging? examples?

    Brett's demostraion does show [G5] in M3 does sound weak,which back up Jen's point that most rock heavy metals singers don't sing E5 in m3 I even not sure CLASSICAL soprano use M3 that early. And above that,E5 bridge for female seem to be where M2 is recommended in contemporary singing , Good to see YOUSANSINGANYTHING messing around,thanks to you I know angra got a new singer,lol
  12. Is Head Voice Pretty Much Full Voice ?

    I used to study with JAPAN vocal training program,peolple in there use terminology like in your post,so maybe I call help. Your teacher is right.Head voice sounds lighter compare to middle voice. With good technique,you can improve head voice that won't sounds likes so falsettoy,but only middle voice sound and feel like chest voice. To me,it's hard to say Head voice is disconnected sound or not because it does feel different than middle voice and LESS chestier. Peolple say middle voice and head voice are full connected is becasue they don't want to sing that hard. If you favor middle voice chest sound a lot, your middle to head voice switch will be more audiable. If you stay in nice little boy voice sound(mix),not try to sing hard at first,than you can have a seamlessy sound all the way to the top, But your chest,middle voice won't sound that belty and adult male compare to chest middle voice set up. My personal training histroy is STRAIN CHEST VOICE ︶ TRAIN HEAD VOICE (BUT GOT IT WRONG AT THE TIME) ︶ WRONG BRIDGE FROM STRAINED CHEST TO TWANGY HEAD VOICE(KNOWING I MUST BE WRONG ︶ TRAIN CHEST VOICE RIGHT,GET LITTLE BOY VOICE(MIX ︶ GET REAL MIDDLE VOICE(Belting B4,Bb4 almost feel like chest) ︶ CONNECT MIDDLE AND HEAD VOCIE I take about one year to get mix,and another half year to middle voice. To me,mix is the foundation of the voice and i will use it if i want to sing politely,not to try add chest to the sound. Again,sorry for my poor englis.
  13. One voice

    I'm not as great as you guys,but from my personal experince. Mentally one voice ideal does help me bridge through passagio F4~B4 with chest, when I throught that there was a switch point to a head voice,I find out it's hard to get power to the sound around passagio area, Remove that switch idea does do the job for me. But after that,the idea of one voice doesnt do much for me,I just cann't power through the whole range with it. My realistic approch is nothing special either try to match tones,or just make it sound less obvious,sometimes I not even care about that. Again sorry for my pool english.
  14. Voicetypes

    @geran89 I mention diva because most divas can belt F5 F#5 with power (mid voice,maybe CVT EDGE with slight lower larynx ,just saying,some use curbing but not many now) Not really seeing those japanese geeks who train a lot to sound like a female get any closer to sing that kind of stuff. Especially those who change sound exactly like female,those who sounds like bisexual person has more success in high range female? belting imo. Sure,male can develop female voice including belting,there are plenty of examples on internet. But I feel that even you change your voice to a femaleine sound does't help to get extra high note beyond your voice cap,the mid voice range,or the CVT mode with certain sound color effetct,doesn't change that much. For me,TA heavy coordination pretty much end around C5,my safe mid voice ends at B4,Bb4 (I like overdrive or edge with little dark,not with too bright nasal sound)depanding on songs. If I use a less TA set-up,which most female does,of course I can go slightly higher with my head voice(some may call full voice,whatever),but that's pretty much about it. Maybe males flageolet tension has something to do with this,I don't know. Anyway, I feel like there is some misunderstanding here casue my english is poor.I agree with geran. Again sorry for my English.cheers
  15. Voicetypes

    Yeah,I think you are right geran. I don't think all these guys can sings like divas trough. Maybe they can sing some phrase exact the same,but not the whole songs,especilly those need high pitch belting.