ronws

Well, Tristan, you said it yourself. If someone posted here, he must be needing critique or help. Therefore, if someone posts here, you have to hunt and search for anything you think needs fixing. And it could be anything. Maybe you did a vowel wrong at only one point. Then the judgement will be sloppy articulation. You went a little flat in one spot only, so, for the whole song, you are pitchy.and that is all. And evidently you have to be an expert to be a teacher and I don't know who is in charge of handing out the pin or badge that says expert. I don't what the requirements are to have expert status. Live shows, current or past? Professionally released albums? A degree from a university? What about certification from other singing training system? Is that something akin to a diploma mill? What about approval from other voice professionals in the world? As for paying for lessons as a beginner, yes it is a valid pursuit. Why? Because sometimes paying hard-earned money makes you pay attention. There is already all kinds of free information out there that people are NOT listening to. If they would listen, they would already have the pointers they need. Plus, they need to pay someone to count scales, just as some need to a pay a trainer to count their sit-ups at the gym. Without that external focus of intent and money, some will lose focus and drive to do what it is they say it is they want to do. Redneck rules of engagement, by ronws.

I voted for love songs because the stuff I write is mostly love songs.

Evidently, thou has committed sacrilege against Saint Tate. Into the lake of fire with you! Heresy, heresy!

Again, I liked it as an artistic endeavor. Is it a world class rendition on this song? Maybe not. You have a good voice and could conceivably shine well on other songs. I don't think my voice is good on every song, even ones I enjoy singing. I was working on a cover of "Jaded" by Aerosmith. I really like that song but I just don't sound like Steven and so I may never share that one. But I could imagine you singing in public, yes, to applause, even.

It depends on the audience. As Robert notes, your timing in the song is markedly different from the original, which most people are going to expect. And your melody line is different than the original, which would also be expected by most. As a work of art, I liked it. As far as world-class, is the original singer world class? Would someone consider Geoff Tate world class? I ask, even though I am big fan of him, prefer his voice over Todd's, even give him quarter in the debacle with Queensryche, like his wine, Insania, like his Roadking (HD Bagger that he rides to Sturgis.) And I have covered two songs by QR, including this one, which was the hardest, because of the low notes.

Just posting the link here is fine. Interesting phrasing and melody choices but it is nice to hear a variation. As for singing soft low, you might make it easier on yourself by making it easier on yourself. That is, relax into it and let the mic do the volume. Don't expect that you will sing the lowest notes as loud as you do others.

You need to stand closer to the mic. I can barely hear you.

Thanks, Tristan, for answering honestly that question. I fear the danger of trying to dice it into even smaller portions, infinitessimally smaller gradations and transitions. Though that mental image may also help someone. For here is the next step. Not only do you have the different states of vibration or various involvement of mass and edge of adduction but I think they are also more advantageous to one part of the range than another. Just as the example with the guitar string. Can one conceivably make a 10 gauge that is made and massive enough to sound full and right at E2 in standard open tuning ring ring a D4 or higher? Maybe, and then it will break. Better to change to the smaller gauged strings in the set that not only get the higher pitch more easily but more fully for that size of note. And I expect this will be lost on a lot of people who are hell-bent to run the whole range in chest voice, m1, "full adduction" or think they are because the notes sounded and felt loud and full to them, though they were really making adjustments all the time. Some will try to do that simply because they like doing what they think is the opposite of what others say, simply for the sake of argument. Others will try that because it is their faith to do so, regardless of how much research has been done or will be done. In fact, singing is a micro-cosm of life, some times.

So, is there a range of thickness between medium in thick and medium in thin fold mechanism? How incremental can it be?

I quite liked it. I think you have the right mix of clean and grit in this and the emotion is conveyed to us. Bravo, Aravind.

Freakin' awesome. If you ever do an album, even a metal or prog album, you have to include this on that album, even if it means paying copyright lease.

I quite liked it. I wouldn't worry about whether you just did it quickly. In fact, don't mention that. It is a chance for others to say you could have done better by recording more takes. In my opinion, you either have the song locked in or you don't. It doesn't matter if it took one take or twenty. We only hear the one file.

Again, I was pleasantly surprised. I thought you might approach this in an art song style, which would have totally changed the intention. I like the direction you took in this. Well done, Felipe.

I also meant to say that maybe Tristan could do it better than I was. And yes, it could move to there and I think the original poster is probably taking the advice I gave earlier to check out my threads there. So, Tristan, if you want to do a Reaper thread, which I think would be cool, you need to go to the home recording section and start one there. And then, if you like, come back to this one and consolidate down to a link to a thread you would refer for more info.

So, Tristan, were you going to re-create my Reaper thread here?

Yeah, that's definitely too hot. Digital is a pure format. You do not need to record hot to overcome tape hiss, like in the days of recording to tape. Turn down the mic input until the meter in the DAW, not the interface, is reading between -18 dB and -12 dB. It is way easier to bring up a quiet track than to "fix" a poppy, crackly, bleeding monstrosity. Making a clean recording is 98 percent of any recording result. It really is the single most important thing you do and the whole list of mixing and whatever is frosting on the cake, as it were.

Also, when you set level for your mic going into the USB interface, what the level on the track in the software, not the indicator in the interface. aim for between -18 to -12 dBs for vocals. Digital is different than tape, there is no need to saturate or try to record at max and take a chance on clipping.

And I agree with Tristan and I have a thread on Audacity and on Reaper in the home recording section of forum where you find discussions of gear, mics, etc. What how Ryan Strain covers "Distance" by Soilwork.

What if we could do the song in a different genre? I like both the original "Rolling in the Deep" by Adele and this cover, as well.

So, what is baritone? I have not heard you do anything baritone, for comparison. Maybe an a capella version or guitar version of "Hurt" by NIN?

The video version sounded better with less recording quality because your pitch was better. Perhaps because you were playing along with the guitar. The earlier "One," where you are singing with a backing track was off pitch, which makes me think you cannot hear yourself when singing with a backing track, which is a monitoring issue. Used to happen to me, too. Change what you can to better hear the music and yourself, simultaneously.

I agree with Robert and he can help you. Also, sing out a little more like you expect someone on the other side fot he room to hear you.

tee hee, MDEW, you said vice. Freudian slip?

I like it because you did it your way. This felt like you wrote the song.

Oh yeah, Vince was very nasal. You don't have to be as nasal and you certainly don't sound nasal. Just go with the head voice to get the pitches right and build volume back in, later. A quieter version, on pitch will be better than trying to belt the whole thing.