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masqutti

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  1. Great! So what i do "naturally" now is better, thanks As my chestvoice is strong I can feel these kind of resonations in my face. I think it partly comes from that I do sing in chestvoice with lowered palate, my tone is so dark that it actually doesnt sound nasal at all, at least in my chest. If I lower my palate in headvoice, i Don't know if it's nasal... But kinda brighter at least.. at higher range i'm still trying to figure out the balance of air flow&proper squeeze etc. So it's not so great yet. I may feel sometimes nice higher frequenzy boost when singing goes well, but not necessarily resonation in my face. I feel i tend to oversqueeze abit, and i'm not truly "free" in the higher range.. But the day will come =).. I'm up to a vocal teacher next month so we'll see if it helps. I'm abit cautious about the teacher thing as I don't value the "traditional teaching method". Maybe mostly because i haven't had any that kind of training nor knowledge about it. Mostly SS/SLS... We'll see that also if they'll manage to make me "a singer". :cool:
  2. Insane scream! Nice Is that "creak" made by vocal fry or is it some other mechanism(sounds something else coz it's really diverse in quality? I just found that nice youtube videos, CVT thingy where they represented different kind of effects while including that stroboscope(was it that?) video of what happened in the throat while doing different effects. really nice! I don't see why those couldn't be done in whistle also, at least some can be i guess :S here's the vids: (prt.1/2) (prt.2/2) You sound pretty great on that youtube video also.. and the high note in the end great! - masqutti
  3. Oh this topic is turning to be somekind of coach battle.. should we continue this whistle thingy Martin, can you post a clip about distortion or something in whistle! ?
  4. oh yes if you state it that way, you're right But I disagree about that you may not hear or see contrictions. What about a singer that tries to hang himself from the roof and tries to sing at the same time mary has a little lamb.. I'd say that time "hey you got some constriction around your neck area" Sry 'bout the sarcasm, but I feel that i can hear if there's something wrong. and "wrong" means unhealthy that everyone should avoid as much as they can. Most things can be done healthy i guess.. It maybe hard and sometimes teacher will think that something is wrong and the truth is opposite. But that's true also that singer him/herself knows if there's problems. If they're aware of symptoms and are councious about their bodies, the better. I have been singing like fom the age of 15. Back then I growled and strained for high notes. I "pulled up chest" as much as i could. And i mean truly, so high as i could. And used other ways to truly push my voice. And i "felt fine"! I guess my voice would've been dead like at the age of 30 if i had continued that. But the truth is, I became used to that superpushing, and when it really didn't wear my voice out, all that growling and shouting, I didn't know that there would be better ways to do it. And when I learned headvoice, I started to shout it with strained forced-up-larynx, and it didn't felt so bad either. I used somekind of rattle/distortion that well, it sometimes felt abit bad but not so much that I should've stopped.. That may tell something about that i'm a bit frustrated atm, coz I feel I really know alot more than back then and can use my voice alot differently/healthy, and I still have this stupid cracking issue! I somethimes wonder that maybe I should just go back to that pushing coz it worked and i never lost my voice.. But should I? Now that I somethimes try that kind of vocalizing, I find it extremely bad. Now i've used to this light and easy feeling even when singing abit louder, that this old way, pushing and straining feels like a suicide.. It's also about what ppl are used to Martin btw, are you a vocal teacher/coach ? - masqutti
  5. I feel ok but still i can't sing with my mix for more than 15 minutes! It'll break down and start to crack... as i described in the other topic. And it feels fine! no irritation/hoarse/strain of anykind until the breaking starts! I sound nice and clean! and then *crash*.. The cracking will lead to cord swelling eventually, but not instantly. before that everything is just fine.. So I feel ok but still there's something wrong.. :S So I would need a teacher that should tell me what's the thing I should do differently and take me there! I think it's also a teachers responsibilty to tell student if something is wrong what he does. and "what is wrong?". I think that I don't want to learn to sing in order to destroy my voice. So, If there's rules what to teach to students, one of them should be to teach healthy ways! Of course it's students desicion if he/she want's to rape their voices but if you teach someone something truly unhealthy without student being aware of that, he/she'll notice it eventually and think that you are a bad teacher coz "it hurts what he taught me"!! So, there's a way to sing healthy insane screaming growling and distortions, and you can also do them really bad way that'll blow up vocal folds, one way or another. How you feel, which way should you teach students to do them? If I'd be a vocal teacher(hopely I'll be someday), I maybe would even refuse to teach the wrong ways, even if the students would want to! Exception would be, when a student wants to know if I'm teaching really better way, and I'd show how to do it unhealthy so he/she would see the difference!.. - masquttiiiiii
  6. Hehey, actually, as i described, the actual pitch that i sing doesnt drop, maybe a note or a half from the previous but the thing is, the vocal fry kinda "sounds" that's a note itself. basicly, the sound is produced by repeating pattern of airpressure changes/pulses, and we can think that vocal fry has a "note" of its own, coz it makes that fry "prrrrrrr" on a repeated manner, constant frequency. The whistle note almost vanishes coz the fry is so "heavy" comparing to the clean note behind it. That's why I referred it as a "double-note", there's a mix of, should I say, two different fundamental frequenzies. Those may even be out of tune to each other, if it is possible. But anyways, I think I can be able to "lighten" the fry sound so the original whistle note sounds clearer thru the fry and doesn't make such a confusion :S Maybe I try to take a clip or two about it. But yes, that wasn't the highest note I can do.. The higher, the harder it is to do :S May be that vocal fry limits it someway to some point unless I can lighten the fry enough. Easy it won't be! About that whistle dist, Sure I've heard many heavy metal singers do that. It's hard to say how "healthy" they are doing that but that alone tells that their technique is somewhat ok if they manage to do it, one way or another(I don't say that cannot be done unhealthy).. And I guess mostly singers don't write stuff that they cannot do live, coz how lame would it be to record insane screams and then disappoint live audience by not foing those live!!! But have to say, I haven't heard those live. Maybe because I visit gigs pretty rarely :(
  7. whoa :cool: Of course you can. But actually putting those into program(at least my clip) I prefer recording those kind of things with my condenser mic and properly warmed up etc.. so I can give you some quality! Actually i'm interested about that kind of thing so if you want something else(like audio clips representing... anything) I'd like to help.. just for fun Tho i'm not a pro singer and lack perfect technique but well... So sure you can use my clip(s) - masqutti
  8. How would you say about your vocal technique. In the past when I still sung forced and strained I actually somehow got the eustachian tube, so I heard some of my voice "from the inside" and it partially went that way. It wasn't so loud but still it happened. It got from the extreme straining I was doing some highnote or something, really really forced and then it happened. I dunno is it something to do with the airpressure in my head or something? It felt dangerous and luckily I doesn't happen anymore as I sing a way better in technique. Does your problem happen only during those reherseals, or have you noticed it just singing by yourself alone or something.. ?
  9. Hi! I've done it like 4 first cd's or something, it was pretty along time ago, but it sure is a great program to practice alone. The thing that actually disturbs me, is that well, there are those "pro's" doing the backingtracks, singing the scales etc. I remember they sing pretty much loud, that's way too much at start. That can alone decrease the development at first. Like the range, going up to the whistlevoice etc. Needs really low volumes at first, so you can enter it etc. So, do the excercices really softly at first. relaxed.. enjoy that thing if possible At least I got at the very first attempt great results.. You'll feel it as you do if it goes well or not.. In a fact maybe I should come back to that thingy, it's always helpful to do those excercices. I never succeeded in those tongue trills tho, they just seem to tense my neck and I guess that's not the point :S
  10. Ok! Thanks for answering! hmm is this "unhealthy" excess squeezing that squeezes whole thing surrounding cords and everything, just the same thing as this "healthy" narrowing, but just "too much", or is there a way to "unlock" and release the bad things, so they are separate muscles, and leave the good ones squeezing properly..? Oh my voice takes it all, I've have had to unlock every bad tension separately, and seems that all of the available ones are activated! - masqutti
  11. I just thought.. I don't know perfectly the anatomy and mechanics happenings inside the larynx. But is there a "secondary" way to squeeze? Or that would feel like the "real, right way of adducting" to receive the powerful tone. I realized that If I'll be really soft volumes the adduction is really soft, and feels like i'm only squeezing the "tips of the cords together". It's pretty fragile feel, and doesn't tolerate much. But I get some adduction with this soft way, adding some "chesty resonance" so it's "ok" I realized when I sing louder, I add somekind of squeeze to it. Can those be a muscles that constrict cords!? Those are still inside the larynx, or somewhere there. But they feel like a different mechanism happening. Some pro's plz answer! I've been having a problem, where I feel that i don't have tension in my neck/jaw or anything. Still, after singing louder for like 5 mins I get my folds go cracky and lose my voice. Can it be that I use some muscles that I shouldn't use to squeeze and hold cords together, and it squeezes so much that it makes my cords swell or something and make this crackiness? So, to "ensure" this, can I(you) adduct with this superlight feeling I have on really soft volumes(even less volume than speech) so that I can sing loud with it too? It feels really safe and nice, but is it the way, to somehow "build" the muscle strength to that coordination, so the same muscles works with this soft volume as well as louder volumes!? Is this "secondary squeeze i feel to have during loud singing unnecessary and harmful? As I mentioned I don't have any other tension and constrictions, so this is only thing that comes to my mind, so i've been somekind of manipulating some muscles to enforce the closure/adduction to happen in order to sing louder!?!? - masqutti
  12. Ye well increasing the range healthy is a great way to have ease on the higher notes, that sure helps hitting the notes in tune, as well as it just sounds better also to sing freely Take a songs that are decent for your skill level atm by the means of range, so as you stay in your chestvoice you still can exercice singing on pitch without straining. I'd like to point out that the "tone/quality", the way you sound like is not related to the actual pitch. So you can have a dark, big operatic voice and sing the same note as a little girl sings sounding like a mouse compared to you, you are at same pitch but still you'll create an image of singing "lower" than the girl. But it's ok to seek the pitches with buzzier, added vocal fry sound. Vocal fry is healthy and actually encourages to better closure. But plz don't overdo it, it may swell the cords if oversqueezed =)
  13. Ok! Now here's that whistle voice with odd distortion. It's made with simple vocal fry. I'd say it's pretty interesting, coz it seems to have pretty odd frequenzy comparing to the actual whistle voice note. It's like and octave lower or something(?) making and illusion of double-note, I'd say it makes some deepness in to that sound ^^ http://www.box.net/shared/neck60ysrd Sorry about that file format.. Vista basic recorder makes that wma... Isn't that neat, coz the start seems "hard".. Well it was I didn't warm up or anything, in a hurry recorded that as I finally remembered But I like that distortion. I feel it can be balanced how much I want that fry -sound into that, When less it gets more that original whistle voice and sounds more natural. But, it's really hard to coordinate, that place is a really tiny and hard to get solid where i was. I'd like to hear that with such a connected voice, that anonimuzzz can do. As you can hear, mine whistle is also more of an "pure headvoice" than anything connected.
  14. Hey! So it's all about hearing the guitar and comparing that with your voice. Take a single note from your guitar and try to sing it "in tune". All kinds of vocal exercices that includes singing scales following the piano, in example, is a great way to start to hear what you should sing with other instruments to be in tune. Scales also gets your voice familiar with the different pitches, but makes you hit the notes more accurately. It needs practice, and have to say, as I haven't had any formal training with real teachers it took several years to really get the pitches accurately. At start I already could sing "the melody", but it wasn't precise. I didn't even focus on that so much, so the development was sloooow.. The pitch in itself, as we usually refer it as "high or low note", as human ear notices it and what we are learnt to describe. That's the basic idea, and, I have to say to be truly tonedeaf needs more than not having "musicality". It needs a human who should be born and grow up without any kind of "cultural" and social connections. It kinda comes naturally, when ppl speak about high or low etc. So based on this principle, practically everyone can learn to sing in pitch. So if the note you'r aiming at is like C, and you hit a note that's D. You should lower the pitch you're singing in. If it hits B below that C, you should raise the pitch. The "out of tune" singing can vary only a little off that certain note, but there's always only two way to go. up or down. Experiment. Take that note out of guitar, and sing it. Try to steadily lower your pitch. If you hear it goes all wrong, try to raise the pitch. The exact pitch you should be in, sounds like the guitar sound and your sung note kinda "amplifys" and sounds that they're buzzing in harmony with each other when they are at the exact same pitch. to let the pitch vary super-slight changes makes "chorus-like" effect, If you know what's that effect like. So when you raise your pitch or lower it, as you get to the point where your voice and the guitar are at the exact pitch happens this as described above. Ok now that you try these things, you should be aware that you can "sing in harmony" with the guitar and still take another note than what you are playing with the guitar. let's say you take a C with your guitar, and then you sing D#. That's like a C minor, you're forming a chord with your singing and guitar that sounds nice. But, it's easier to hit the right notes than create harmonies "by accident". And if you can sing with your guitar, you're on the right track, keep it up!
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