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Found 79 results

  1. Highway to Hell - RIP Malcolm Young

    Since I can´t play the guitar to save my life, this will have to do \m/ RIP https://app.box.com/s/uixx0of9tffyqdipds6ckkgjf4wn1ngw
  2. Everlong - Foo fighters

    Never had any lessons or anything and I'm not sure what kind of voice type I have but I can't sing very high. What do you think about the high notes in this half step tuned down version of Everlong, does my voice sound any good for a song like this? https://instaud.io/1oLW
  3. Help in developing the grit

    Hi everyone im daniel,l im newbie in this forum, so yeah i started to sing early this year inspired by singers like jonny craig n tyler carter, one thing i noticed about jonny craig is that when he tries to sing high there is a little distortion, this is one of my favorites songs by him, u can hear that grit almost all song, i mean i can sing high but that exactly technique is what is hard for me,im self-taught so i dont have i coach so, i wish u could help me or at least understand it n how to perform it or develop it,
  4. Hi, I posted this a few days ago, but for technical reasons the post was lost. Robert Lunte already kindly reviewed it, but if anyone else feels like giving me (constructive) feedback on singing, songwriting or recording, that would be great. It's a prog rock piece just over 8 minutes long, hopefully you'll stick through to the end (which was the hardest part to sing due to the challenging harmonies). George
  5. We lost another one. Chester Bennington, the lead vocalist of Linkin Park, has committed suicide. He was found hanging in his private home. He was only 41. http://www.bbc.com/news/world-us-canada-40676530 I was never a super Rock fan, but this guy's voice made it easy. I remember as far back as 10 years ago, I loved his voice. It had a "robotic" quality to it. Today, I think the style that got him that sound is known as "false cord" singing. Apparently he was pretty great friends with Chris Cornell as well. They did a song here.
  6. Hi to everyone! I've been reading this forum for a couple of years now and always found it very interesting and helpful in dealing with some of my own issues, so I thought I'd post this project that I've got going on. For a long time, I have suffered from vocal tension and inability to sing past D4 without pushing the "chest voice"/ overly-engaging the TA's basically. However, in the last year or so, I have experienced great relief after starting to do falsetto exercises suggested by Anthony Frisell in his manual "Training Baritone Voices". After reading many other sources later on, I have started questioning the usefulness of voice classification, purely from psychological point in the beginning (belief that one is a lower voice and its effect on the voice and singing), but now also physiological (neglecting upper range), especially in contemporary music (pop, rock, jazz, music theatre...). So now, I am writing a dissertation on the validity of voice classification in contemporary music and have already got some interesting answers. However, since there is barely any research done in relation to contemporary music, I would really be grateful if any of the members here, who give voice lessons, would participate. This is the link if anyone is interested: https://goo.gl/forms/uLMWByDMKYv4IWMk1 Thank you and feel free to spread the link if you find it useful! In general, I would also love to hear your opinions on this. Do you think tutors should classify their students and why?
  7. Closer to Mixed voice?

    Hi, so just recorded this clip (No rain)(sorry for the quality, im traveling right now) but I want to know if im using the right technique, and if this is any closer to a good mix voice. Of course, a lot of things to work on regarding the song, but I'd like to know if im on the right track and what should I improve or work on for those high notes. At the end of the clip I also did a small comparison between a very nasal tone and a cleaner tone. Im not sure if this nasal tone is the right way (+ diaphram compression) to get a good distortion for heavier songs? Finally i also attached another clip (Paradise city) which is basically me playing around with this nasal tone quality to see if i get a good result. Thank you very much! cant wait to be singing these songs live:D
  8. Steven Tyler just gets better and better..... He's probably a god or something or maybe Satan him self.
  9. Hey hey! New song I finished two weeks ago or so. So, from the start let me say that I'm not a typical singer that I think frequents the forums, in other words I'm really not much of a traditional singer at all and I suck lol. I'd perform absolutely awful singing to pop songs or others where there is a huge amount of skill and years of training involved and required. I'm not a trained singer at all, I just wing it and hope for the best. Ok, so with that said: a few friends have said I have a weird voice and way of singing, just something that's a bit different I suppose. I'm very self conscious about it especially when I hear other singers in alt rock/shoegaze bands. When I hear my singing in comparison I'm like "Oh, that's awkward sounding, sounds like sh*t", yet singing like this is very natural for me, nothing forced (I've tried singing differently and it just feels like I'm trying to do voice acting/karaoke or something). I don't really have any singers that I look up to or have influences, just doing my own thing which makes me feel more isolated and unsure. I'm concerned with making sure the vocals are up to par since i'm stuck with em, that they are interesting, "good" (relative term, I know :p), and most importantly that they at least stand out somewhat in a musically pleasing way. Any thoughts / advice / tips / suggestions / or general comments are totally welcome, good or bad. Not really much vocal effects used other than compression and very light reverb on one vocal track or two. No EQing or anything else, I just try to make sure the recording sits in the mix when I first capture it that way I don't need to mix/process later, because I know nothing about mixing and processing especially something as complex and dynamic as vocals. Cheers!
  10. In the world of opera, male singers have much more deep, dark tones to their singing than rock singers do. Even a tenor in dramatic opera might sound like a 'deeper' voice than 90% of all rock singers. For example, this is a low tenor role, but a tenor role nonetheless (singing stars at 0:58) : My questions is, is this more because rock singers mostly consist of thinner, smaller voices, or does the rock style involve deliberately 'thinning' your sound, or at the very least not going for those deep tones classical singers do? I ask because it seems like the vast majority of rock repertoire are 'not my voice', and not even because I'm a bass or bass-baritone, but just a bigger baritone or baritenor by opera standards.
  11. I've been an instrumentalist for a long time, but recently started training with a vocal teacher for the first time ever. She's a classical person, and knows her stuff there, but is flat-out against all breathy tones and dirty tones as impossible to do healthily. Moreover, she's telling me I have a big opera Baritenor kind of voice, completely unsuited to rock/metal vocals, as most rock singers have very thin voices. I wonder if she is right or not (She also says pretty much 100% of all 'those singers' shred their vocal chords and sing over nodules they develop and get surgery or steroids behind the scenes to keep them going - don't know if anyone here would like to challenge the veracity of that?) One of the reasons I went to her was because I had no earthly clue how to do some of the things I was hearing from my favorite vocalists. I could do my 'quasi-opera' voice, I could do a decent impression of Meatloaf and big clean tones like that. But Soundgarden/Chris Cornell type vocals? Nope. Dio or James Hetfield? Not a chance. And death metal cookie monster stuff? No way. I can't even imagine where in your voice that comes from, I seem completely incapable of doing that, or in general putting any hair on my tone at all. I thought I was just missing the technique, but is it possible I just don't have a voice conducive to that type of thing?
  12. Hey guys I'm going to be producing a weekly vocal tip video series starting end of January. Honestly I've never really watched any of these type of series and was wondering if there were any topics people wanted covered. If it's something I have experience with I will be happy to oblige. Thanks so much.
  13. rock band singing techniques

    Hi, I am Stan from Belgium and I play guitar and I sing in a rock band. We play rock music (obviously) and it's pretty 'rough' music. Not like metal rough, but similar like Foo Fighters, Queens of the Stone age, ... . You get the picture. So frequently, my vocals have to go pretty high and loud. Well, I always sing loud and it's already pretty high, which suits our style of music. But sometimes, there are notes that I just can't reach, but I get really close. It's close to 'screaming', but not like metal screams, but more like shouting really loud. For example, it's a bit like Dave Grohl (Foo Fighters) in the chorus of the song 'The Pretender'. So my question is, is there anything I can do to make my voice go that extra step higher? Like warm up my voice, drink a beer before, ... I really have no idea I'm not schooled or anything. But I need like a kick or a boost to go all the way. Thank you in advance Stan
  14. Thought someone might like these. New to me, but some of you may have heard these. Zeppish/Beatlesque stuff from 90s Both of these are versions of the Jason Bonham band. Motherland (1994) was the name they used for the Bonham band after they replaced Daniel MacMaster (who sang on the song "Wait for You") Then in 1997 he formed "The Jason Bonham Band" with Chas West on vox. I have heard that name before, associated with Red Dragon Cartel (Jake E Lee) but I dont think he sang on the album with Jake. Also I remember that he was the singer for some of the "Bonzo Bash" concerts. But I never heard him on an album Chas West is a beast! Distorts a lot like Jay Buchanan of the Rival Sons love it Zeppelin/Steve Wonder vibe Strong Beatles feel (IMO)
  15. The+Quest+for+Power

    Hi there, I am continuing from the "weird exercises", and the goal is to touch the more critical spots that gets in the way, instead of following the ideas of "its all mechanics" development that became the norm on the internet culture nowdays. I want to talk a bit about the subject of "power", and the problems that I often come accross. As whole I would define the problem like this: Power is a subjective perception that is on the listener side, you DON'T achieve it through a mechanical technique, you do it with music. And music in its turn is all about creating expectations and sounds that have some pattern to which the listenner can confer meaning. To clarify this, play a major scale on the piano: CDEFGAB And stop on the B. Pay attention on how you anticipate the resolution into the C on the higher octave, the B when played within that context wants to resolve into the C. This is a notion in music called tension and release. A tension means an idea that asks for a resolve, for a conclusion, the release is the conclusion itself. When playing such major scale, if you keep going up to the B (the 7th) and don't let it resolve, the idea will keep asking for a resolution, and when you finally do it, you have power . Same applies to rhythm, if you create a repetitive pattern that can be anticipated, everytime you follow it, you have a resolve. And everytime you change it, you have tension. For example, if you place an accent on the upbeat on a given spot. Anyway, the idea is that the way to think about it is first: - What is it that I can do today, what are the tools I can work with? - How can I use those things and bring the power that I want to a song? All that technique can do is expand your possibilities, but if you are lacking power, its very, very likely that there is a problem in one of these aspects, already in order of importance: Rhythm: Tempo - Nothing is more distracting and annoying than missing attacks, sustain times, resolving a note too early or too late. I am not talking about little interpretation details and creativity, I am talking about not paying attention to what is going on with the song and lack of skill to predict and follow a given tempo. It boils down to this: if you want so, you should be able to follow a beat on any given speed and NAIL the times precisely, if you try to do it and get lost on the middle of it, on a song the problem will be worse. AFTER you have good control over this, then even if you choose to do a phrase or detail more "loose", you will still be able to get back to it and thus confer this detail you did meaning (power). Time Signature: Simple example that happens all the time on rock singing, Iris - Goo Goo Dolls. Everytime someone has a problem with this song, I know exactly what I will hear: an attempt to force a 4/4 time signature on top of the song 3/3. It changes the song entirely and it becomes plain boring. You can blast your voice until you spit blood all over the mic, it will still sound boring. This changes the accents of the rhythm and you end in conflict with the instruments. Often it also causes a tempo problem because you will then have to rush here or there in order to make it "fit" somehow. Solution, pick a metronome that can put accents, and practice different time signatures on it. Pauses: Energy and power does not come from being at 100% volume all the time and then going to 120 suddenly. Its the total opposite, similar to what happens on other forms of arts, power and impact comes from contrasts . And this begins on the TIME domain. What does it mean? It means that if you don't create spots where you don't sing, and just try to FILL the song with as much vocals as you probably can, you won't have the pauses and a big part of your possibility of sounding poweful will go away. Oversinging is a very common issue, let it breath, have patience and wait. DONT sustain on every single opportunity or else when you do it will be already old (another big chunk of power is eaten away). Example, Red Hot Chilli Pepers - Dani California: Black bandana PAUSE, Sweet Luisiana, PAUSE, Robing on a bank on the state of indiana, PAUSE. First because of their style that is a kinda of a mix of funk and rock, if you are not tight on tempo you can forget it. Second, these little pauses are what makes the song live, it follows the "pulse" of the song. If you just sing through it all as one big chunk of voice it will sound weak. On "bandaNA", "luisiaNA", "indiaNA", make these NAs firm, but short, a quick "punch" of voice, not more. And there you go, power. Sustain Times: A long sustained note with vibrato is very dramatic and has the potential to sound very powerful when used correctly. You played your cards right, waited for the right moment, opened your voice and went loud, nailed the attack... And then you go for it, but you make the ending "loose" from the beat. As in, you didn't resolve together with the rest of the song. Very nice, it may be loud, but powerful, no. This "tightness" of a sustained note, has a major impact on the perception of energy, a fast and precise resolution that is on tempo has the same effect of the precision of the attack of the note. If you don't do so, it will sound like you lost the energy midway. So not only when you begin singing is important, but also when you end. Of course this can be used with the intention of creating a mood or context, if you want to convey the idea that of weakness and this "loss" of resolve, its a great way. Since the subject is "problems to deliver power", it ins't the case. There is more to it but I believe I covered the most important aspects related to Rhythm. And this IS the most important part of singing, specially on contemporary genres. Melody: I know that most would think first of being "pitchy". Or not being sure of the melody line, which leads back to the "pitchy" problem yet again. But what I want to discuss is something else. Music is a rather complex form of art and there are MORE than one way to arrange notes within a given key that sounds correct, there are many scales that can be used, and its not uncommon that more than one can "fit" some place without sounding wrong. However! If you change the scale, you will change the feel of the song. And often this can cause problems related to "power" and deceive you into thinking that the problem is technique. And this happens SPECIALLY when there is a point of tension ON the melody, because we naturally want to resolve it, and if you don't pay attention, YOU WILL resolve it. You may be visceral on the singing, but the tension will go away, and you will have a "easy sounding" phrase instead that can very well drop the ball. Remember what I said about the 7th wanting to resolve? Its a semitone interval to the octave, and its not uncommon to have songs that hit on it a couple of times without allowing the resolution. Its very easy to get used to resolving it into the octave on the middle of the phrase, and it can be a challenge to spot this kind of problem. Solution: No easy solution unfotunately, I recommend picking sheet music on a few songs and studying them through it. I also recommend using a piano or another instrument with equal temperament and carefully transpose the melody note by note. Some pieces specially, if you move into more elaborate music, can be challenging in this regard. Dynamics: And we are back to contrasts, but now not thinking of TIME, which is still the most important, but levels. I have already talked about this on other threads, but the core idea is: 1 - know your dynamic range 2 - use it to create patterns Without getting into details on how to use it on the interpretation, the main problem here is not KNOWING your dynamic range, or not respecting it. In this sense. Lets say you have volumes from 1 to 5 to use. So you start the song on 4, then on the pre-chorus you go to 5. And now the chorus... would need to be in 6. You could be lead to believe that the issue is not being able to be loud as you want, but there will always be a limit. If you don't play your card right through the song, no matter how strong your voice gets, you will always trying to do something PAST your capabilities, and on some songs this will make it impossible to create power. Solution, insteand of begining on 4, begin on 2! And that's all. Look at the whole, what is the peak of energy that you will have? What is the valley? plan your dynamic range in relation to that! Vowels: This is not on the technical sense. It works like this, in a nutshell: Open vowels sound stronger than closed ones. So if you decide to sustain an open vowel, it will sound one way, if you decide to sustain a closed vowel, it will sound another. Example, song "Perfect Strangers", opening phrase is: Can you remember, remember my NAME". Now on "name" you have two choices, you can do n-eh-EE-m, or n-EH-ee-m, the vowel in caps is the one you choose to sustain. If you sustain on EH, sounds strong, if you sustain EE it sounds softer. Simple as that. You also can do modifications with the purpose of respecting a metric that is constructed on the song, or slightly modify a vowel to change its feel. But you must be aware of that, if you don't observe this, and choose the wrong vowels for the job, you can also affect power. So in order of importance, if you have a problem with power, look at this in order of importance: 1 - Rhythm 2 - Melody 3 - Dynamics 4 - Vowels The strictly mechanical part of technique here is, in my opinion, the least important factor. Having more options and choices is good, but it does NOT equal making good use of them! I did a video playing around with these ideas in practice, in special showing the difference between blasting it out without paying attention to these details, and... well singing it. Should be up on the weekend!
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  17. Please leave a comment below if u are interested in getting ur track mastered for only $5!
  18. Mark Lanegan

    Anyone heard of this guy? He's had a pretty illustrious career, ranging from the Screaming Trees, to Mad Season, to Queens of the Stone Age, to his own solo work. A baritone if I've ever heard one. And the texture of his voice is quite gravelly and has a lot of character. No technique involved with that, just loads of cigarettes and booze.
  19. Hello What vocal tehcnique does sebastian bach uses on the high notes? For example at the end of I remember you. And in 18 and life when he sings the verse ''and works his fingers to the bone'' I've heard he uses a head voice tone and then he adds distortion over it like a overtone or something. Does anyone know?
  20. Hi guys, as I got some free time yesterday I decided to record this power ballad by Def Leppard. I would appreciate it if you could tell me what you think and also tips to improve it. Keep on Rocking.
  21. T. Rex "Mambo Sun" acoustic cover

    Really fun guitar song because the entire thing is a deep, swampy, shuffle groove. (E - C#m the whole time sans a few B chords.) Hope it grooves with you guys as well. http://picosong.com/xquQ/
  22. Rainbow - Stargazer

    Hello Rainbow is one of my favourite rock bands of all time. I like mostly the old Rainbow with Dio on vocals. I tried a very hard song to cover. I still suck at singing but i love to sing and i wont stop doing it.
  23. Hey everyone, I am stuck with a tiny bit of a dilemma. I play in a cover band in which every member does their share of singing, but while there are some songs I want to sing, I have major problems doing so because I cant hit the notes without going falsetto. I sing a lot of rock and country and while country isn't too much of a problem, I'm starting to hit the proverbial wall with rock. The voice range that I am comfortable singing in is more of a baritone (think Trace Adkins, maybe a touch higher than that.) so when I try to hit notes in songs like This Love by Maroon 5 or even some punk rock songs (Stacy's Mom by Fountains of Wayne or Ohio by Bowling for Soup.) it sounds like my voice is thinning out and my projection just goes away all together unless I sing falsetto but then the tone doesn't fit the song. I know the best way to improve is practice and possibly professional help. But at this current point all I can afford is practice. What I am getting to here, is how can I get my range higher, and not have to sound like my voice is thin or struggling. Are there any exercises or techniques that could help me. Thank you in advance
  24. Matt Bellamy has been one of the greatest influences in my singing. Very few artist come close ( Jeff Buckley, Brendon Urie) and I don't know if there are many that can.
  25. Hi there Vocalist (and guitarist) using custom IEMs here. Background- I sing in a contemporary church band- on the louder/rockier side of things- and play with drums, backing vocal, keys, my own acoustic rhythm guitar, synth, bass, electric guitar. Have ambient mic but dropped it out of my mix. I've had vocal lessons with a real pro for a year now, and that's helped tonnes with my technique, but he isn't well versed in the niceties of IEMs. He has pinpointed that I really overthink by singing (sometimes I'll think my voice has gone, when really it's a mental not physical thing). My issues- - First, I find the "closeness" of the IEM a challenge. It's like if I'm just singing by myself without monitor I can get any note. But with IEMs at the mo I'm finding I have a restricted range- it's like it's right in my head so I don't have the freedom for those higher notes if you see what I mean? - More curiously, I find that after a while of singing through IEMs, which should be helping my vocal stamina, I suddenly begin losing the ability to pitch and also give my voice any power. It's all fine for ages, then suddenly bang, it's as if i stop being able to hear my own voice so well. Sometimes taking an ear out temporarily will trigger it, sometimes just getting back up to sing again after a 20 min break. If I leave if a while, do warm ups etc, it comes back- so I can only imagine it's psychological. But it has left me high and dry during performance a few times now. So vocalists, any tips appreciated- google just goes on about how great IEMs are for vocal stamina, and I can't find any forums on IEM vocal problems. But also how I can improve my vocal space/stamina in my vocal mix. I usually slam my vocal in pretty dominant in the mix and pan it down middle with my acoustic, and take most other stuff out to help my voice last. I might put a bit of reverb on but usually just go simple. Ambient mics seem to make it worse as I sound too distant (it picks up the FOH). Thanks Ed