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Tony Martin's Technique

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I'm wondering what technique did this singer used on Sabbath's "Eternal Idol" and "Headless Cross" ???

Is this bridging or belting ???

Pros, please comment ...

http://www.youtube.com/watch?v=OZ-l_NchD1M

Thanx :)

from a non-pro, where specifically in the song?

in general:

taking a quick listen, he's utilizing a well supported, reinforced head voice.

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It's called "twang." It's a technique that gives head that thick, chesty quality. For me, I found it by hitting a note in my head voice and then trying anything I could to make it sound full. Once you find that spot, you won't lose it.

Some here say to quack like a duck, some say to cackle like a witch. Imitate what he does in his higher lines, but try it in head voice. Don't try for chest at all. You'll probably be surprised that you can sound similar, because most people assume a thicker sound is chest. Try it in head voice, paying attention to making it sound thick. For me, it feels almost like chest does.

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Guys, guys ... twang, by itself is NOT enough to make your high notes sound "chesty". Used on its own it will create a too thin of a sound, although it will be piercing and "edgy" - which is good. In order to get a chesty sound in the C4-C5 range, twang IS one of the most important elements but you also need to put in the "cry" or "hold" sound from the vocal mode CVT calls curbing and SLS calls mixed voice (Above C5 you can start to lose the cry and increase your twang even more to keep your chesty sound or at least keep it loud, powerful and sounding great). Then you need to make sure you use the best vowels for each sung word. Then you need to have the exact right amount of air for all notes and good breath technique in general.

As far as which CVT modes that singer uses, to me it sounds like he uses what most good technical rock tenors do - a lot of overdrive in his middle range (C3-C4), mostly curbing in the high range (C4-C5) and mostly metal-like-neutral (head voice with tons of twang) in the very high range (C#5 and higher). He goes a lot beyond just necessary twang and often he "over-twangs" to create distortion on key words and phrases.

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Guys, guys ... twang, by itself is NOT enough to make your high notes sound "chesty". Used on its own it will create a too thin of a sound, although it will be piercing and "edgy" - which is good. In order to get a chesty sound in the C4-C5 range, twang IS one of the most important elements but you also need to put in the "cry" sound from the vocal mode CVT calls curbing and SLS calls mixed voice (Above C5 you can start to lose the cry and increase your twang even more to keep your chesty sound or at least keep it loud, powerful and sounding great). Then you need to make sure you use the best vowels for each sung word. Then you need to have the exact right amount of air for all notes and good breath technique in general.

As far as which CVT modes that singer uses, to me it sounds like he uses what most good technical rock tenors do - a lot of overdrive in his middle range (C3-C4), mostly curbing in the high range (C4-C5) and mostly metal-like-neutral (head voice with tons of twang) in the very high range (C#5 and higher). He goes a lot beyond just necessary twang and often he "over-twangs" to create distortion on key words and phrases.

yes sir ree but let's not forget a great sound/effects engineer can help a lot too.

and you have to "act" up there with an open, relaxed throat with solid support. i'm not a screaming type, but i'm always taken how the opposite of what you think goes in to making those sounds, makes those sounds....i thnk that made sense...lol!!!!!!!!!!!!

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