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Meatloaf - Two Out of Three Ain't Bad

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This is a bit better than Heaven Can Wait. I still think you are a bit heavy on the Compression. The vibrato is a bit too thick also.

I am not going to say you suck, because I do not believe that. But I will say that there is a difference between how the Tone of Iron Maiden and the Tone for Meatloaf is made. You are using the tone for Iron Maiden when singing Meatloaf. That tone does not work for "Two out of three ain't bad" and "Heaven can wait". To be honest the Tone is a bit thick for Iron Maiden.

I am thinking that you worked hard to get that tone, The tone works great for the Higher parts in Iron Maiden, The lower notes do not need that much compression and the tone suffers for it. That much compression also tends to pull the notes out of pitch. 

I wonder if you are using that much compression with your normal speaking voice.

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The pitch was much better on that recording, the compression also. I will make an audio recording later on so you can hear what I have been trying to express. Hopefully you will get a better idea of what I am talking about and how to modify your voice. It is not really modifying but relaxing the compression, maybe easing up on the Larynx dampening. I will explain that also.

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I am really bad at speaking into a microphone with no one there to hear me. But I did record something for you.

    I have seen and read suggestions for people who have trouble finding compression to lift a heavy object while singing. There is a natural protection that is triggered that causes the true and false vocal folds to clamp together. When you speak or sing through this the tone is thicker and there is a tendency for the voice to wobble, giving the effect of vibrato. This is useful to FIND compression but it can be taken too far and the result is a CHOKED sound with too much wobble or Vibrato that is too heavy. I hope this clip will help explain things a little better.

     

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    It is a matter of opinion. From what you said about the comments you received, the general opinion is that it does not sound good.

The reason that it does not sound good is because of too much compression and too thick of vibrato.

The pitch is good. The delivery is good. The tone is bad because of too much compression. Ease up on the compression and vibrato and the pitch will improve and so will the tone.

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 That was much better. I wish the music was quieter compared to your voice.

It still sounds as if you are adding a squeeze to your throat or just using too much effort to sing.

I would like to hear your speaking voice to see if you also have that squeeze during normal conversation or if it is something you have conditioned yourself to add when you sing. Although there is some modification "Singing" is an extension of "Speaking". There should not be major differences in how you produce the sound.  

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What MDEW is hearing as compression, I'm hearing as singing in the throat too much. Similar results, until you try to lighten compression and then the voice suddenly gets super airy/breathy. What he's hearing as out of control vibrato, I'm hearing as not being able to stablize the notes and overcompensating with more vibrato. You need better resonant placement and proper breath support, so that the voice will resonate better in the soft palate and have the support underneath to better stabilize, cause better cord closure, and add to the resonance. 

To get an understanding and feel for what I mean by better breath support, try to make a loud "hooah" sound while pushing only from your diaphragm. That lock down of your upper abs is what you want to feel when you sing. When singing softly, it's a subtle feeling. As you get louder, it can greatly intensify. This is also the beginnings of a technique called appoggio, which means "to lean" the voice. Think of it as a leaning forward into your diaphragm.

For better resonant placement and getting your voice out of your throat, place a finger on your bottom lip (maybe just under) and try to sing up and over your finger. If you're focused only on the breath support and the pressure caused by that support going up and over your finger, you'll have a much better feel for what I'm trying to say.

Here's a much more in depth explanation:

 

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Thanks Draven.

     Draven is a real coach, his advice should be taken over mine. He can help guide you to proper coordinations and alleviate tensions.

    I can only tell you what I have to do to create the sound I am hearing. In this case I am literally closing the throat,keeping it closed  and pushing the breath through it to make that sound.

     With the proper breath control and placement, it is not necessary to use muscular  effort in the throat to maintain pitch and tone. 

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58 minutes ago, MDEW said:

Thanks Draven.

     Draven is a real coach, his advice should be taken over mine. He can help guide you to proper coordinations and alleviate tensions.

    I can only tell you what I have to do to create the sound I am hearing. In this case I am literally closing the throat,keeping it closed  and pushing the breath through it to make that sound.

     With the proper breath control and placement, it is not necessary to use muscular  effort in the throat to maintain pitch and tone. 

You were hearing the right things! I'm merely addressing the root of it.

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