ronws

Good stuff. Reminds me a smidgeon of Queensryche. It could be you have a timbre similar to Geoffrey Tate.

I liked it. By the way, is that a muted tenor sax for the bridge solo and fills? I also liked your "Hallelujah" cover.

Yes. Pronounce that first syllable like you were british.

Well done.

I think you have it exactly right. I was doing an example of my thoughts on the difference between falsetto, full voice, full volume, and full voice, soft volume. With falsetto, I can bring the mic close, with full voice soft volume I can have the mic kind of close. But with full voice full volume, I have the mic at least 1.5 feet away (mic in my lap). With the mic farther away, I could hear slight reverb from my voice bouncing off the walls. Which is part of what you would hear live. However, with these mics, especially the cheap ones, you lose bass overtones, even when close in. Part of it is simply due to the physical limitations of the mic and I know people are tired of hearing me say that and think I am using it as an excuse. But I can guarantee that if I was in the room with you, "Roxanne" would have sounded different, fuller. Even at a distance, the room is going to mix your voice. It's that danged ole' physics thingy. If you don't mind, I will link in the example I am talking about. http://dl.dropbox.com/u/8750209/better2.mp3 But yes, what you hear on an album or even in concert has several effects attached to it, not counting the amplification that goes along with such events.

I'm sketchy on curbing, as I consider it close to crying timbre, though, earlier, I would have mistakenly identified curbing as how Sarah McLaughlin sings. Anyway, twang sounds like it's in the nose, though it's not. If I remember correctly, it's a pharyngeal configuration that can best be heard in Robert Lunte's covering example in the thread on covering. The first example he is doing is twanging like all get out.

Actually, I think, the "fasletto" version sounded more connected. I mean, you could do it either way but I think the falsetto version is going to have young ladies spending their last dollar buying your cd. Your falsetto flip or break is often used these days in pop music and yours is minimal. What a number of singers do to hide their switch is a brief break in the vocal melody so you hear the stanza of lyrics in "chest" and magically, a moment later, the refrain in falsetto, or even a soft volume head voice, which some think is falsetto but is not. Falsetto is a tonal quality or mode most often used in head voice because of the structural mechanics of doing that sound. But falsetto is not a range. Some here might suggest curbing to do the refrain in fuller voice though I might suggest doing twang, first and see how that works. You might try a simulated yawn when you do the refrain or try to sound like you are crying. This will actually take away the weakness that you feel.

I like the Tom Petty dip approach to the notes. Good tone. The only thing I could suggest, and it's only a suggestion, to make the refrain flow just a little smoother. When you sing the first syllable of hallelujah, you are pronouncing the a as one would in the name Hal or the word, back. Try pronouncing the letter a as you would in the word hall. It will flow easier into the l and the eh sound because the structure for forming those pronunciations are more similar than what it takes to do the short a in back or Hal. Good recording, all around.

I was wondering when someone would find a video of my vocal coach. :o

I'm not qualified, either. But I comment, anyway. Like most everyone else, from a personal perspective, aesthetic, etc. My opinion and $1.50 in Texas will get you a soda. Then, again, I could be a member of the buying public. I think they are scarier than any of the qualified people here. The people here mean all the best. But the "public," if they like it, they buy it. If not, they don't. And here we are, singing classic and hard rock in a world where people buy screamo, emo, and sampled R & B. Then again, the classic rock is still around. So, it's got to be for the love of the music, whatever it is.

Thanks for correcting me on names. My bad. At least you know what I meant. As for timing, it has been an issue for me, for the same reason. When I play a song live, I am playing guitar and I don't have a timing problem. I reasoned that my timing is fine, live, because I coordinate singing with guitar playing and I have been using physical cues from my playing for the vocal. But in singing along with playback, I was waiting for the phrase. So, such a criticism or pointer was given to me, and was certainly warranted. My timing in recording has been a smidge off, here and there. Then I read that bit about how the singer actually leads by the slightest bit, almost imperceptibly. And that makes the difference. Just know that the music will be there.

I was wondering when someone would get around to doing some Nazareth. I've been hankering for "Hair of the Dog," myself. I can't think of anything technically wrong. And I agree with the stylistic choices, like going soft in the chorus and blending with the background vocals. I think that turned out well. The last refrains had a different vocal processing, right? It sounded different, more echo-y(?). Pardon my butchering of the Crown's English. As for punching in different takes from different times, from what I understand, that is how professionals do it. I've found, in myself, I can sing a phrase a few times and it sounds a little different each time. I've also read from interviews with musicians that, unless they recorded the whole song live (all instruments at once, in one or many takes), they have to listen to the finished product to figure how they will play the song live in concert. And, like you, I am most comfortable performing live. This recording thing is something new for me to learn. I remember the days when I had a 5 inch reel to reel tape recorder. (Oh yeah, you want to talk about a museum piece.) And here's a toast to appreciative audiences, drunk or sober.

First off, well done. You hit those notes well. And you sounded a bit like Paul Rodgers here and there. Jukebox Hero was also well done. I like the fact that in all of these songs, you're not trying to specifically sound like the singer of the original, whether you happen to match or not. But, oh my goodness, "When I see you smile", man, you did sound like Tom Wait. Because even in the other songs, you have somewhat of a breathy timbre, which is not bad or a complaint. Some people would kill for that sound and have made a career out of that sound. And you've got it, as much as you have the color of your eyes or the color of your hair. You could step right into a group doing covers of song from the Babys and people would think Tom is making a comeback. You sound like him, which I don't often say, as I feel that we can never truly sound like another singer, except by whatever accident of genetics creates similar structures, etc. And maybe that is it. In fact, I have no criticisms, just a viewpoint. It's okay to hit homeruns, once in a while and I'm not going to give criticisms just to be giving them so that I can feel knowledgable or important or whatever. Just pointers I might give to anyone, like remember to breath naturally. Things like that. The singer actually leads the music by a fraction of a second. If you wait for the musical phrase, you will be behind. Sing a song like you wrote it for yourself. If you have to re-arrange it, so be it. It's in your voice, so it's your song now, even if you are paying royalty to BMI or ASCAP because someone else wrote it. Bob Dylan wrote "Along the Watchtower." But that's Jimi's song, even though the record company has to pay royalties to Dylan every time it is recorded or played. I was thinking about this the other day. Sometimes, when we give advice, it is not from an objective standpoint that actually helps the performance. People give stylistic advice from their own personal experience. So, this is not meant as a dig against anyone. But suppose you do a phrase sounding bright and shiny. And someone comes along and says you should darken that phrase. Their advice could be great and you could accomplish it and then you have made that song cater to one person. Sometimes having a dark phrase turned bright and shiny is a good thing. So, one more piece of advice. Take whatever advice or pointers and play with them until you have re-invented them. And then see if they fit. If they don't, no harm, you can use it on something else.

Indeed, a nice, soft, easy feel to your voice.

Like I was saying, I wasn't criticising it. It seemed more like a stylistic choice. Like when I finish "Stairway to Heaven" on a higher note than the original. It is a better stylistic choice for me, whether that comes through the mic, or not. I say hooray for stylistic choices. If you could sound exactly like Greg Lake, then you would be in his shadow. Viva la difference'! That is one of the key things you will find in some of the better advice on singing. First, choose songs that fit your voice. Second, arrange them musically and vocally to suit your voice. It is so easy to get caught up in trying to sound like the original artist. Especially if you are close in timbre. The temptation is over-powering.

That's the effect I am having with the "Immigrant Song." Even though it's center-pan stripped, there are still elements of Robert Plant in the other channels with full mix, i.e., whatever eq they used back then and studio-generated echo. So, it still sounds odd when I do it. Especially as Plant and I have different timing.

I think you captured the mood and intention originally set by E, L, and P. Wise choice to go easy on consonants.Sometimes, those not born to speaking english put an emphasis on consonants and aspirants that is more indicative of their native tongue. Whereas, you speak english better than some americans, even though you still have some accent. I happen to like the accent. It sounded like you were singing through the nose a bit. Nothing wrong with that, for it allowed you to continue a note past an original destination and produce some of the more sonorous tones in your voice

I can't open a .mov file. Is there any way you could upload in a mp3, .wmv, .wav format.

Great song. Where you think you sound strained is just bluesy rasp, as far as I'm concerned. And perhaps, that is from the aesthetic you are following. Bluesy, complex guitar work and a kind of Kenny Wayne Shepherd southern blues style with a Black Crows vocal styling. Let me ask you this - what would be wrong with your "soft falsetto", as you describe it? Do you think it's not manly? Pardon me for getting psychological but sometimes, we hold ourselves back because of presuppositions about a tone. And we rarely sound to others like we think sound to ourselves, even in recording. It's happened to me, with others hearing, even with myself hearing myself in recording. Point being, can you work this in falsetto and see where that falsetto takes you? You might strengthen, at least to your satisfaction, volume and clarity in falsetto only to find it is no longer a falsetto to you. Falsetto is a tonal quality. You might find yourself, after a while, closing up the cords a little more while still resonating in your head. Once that happens, it's no longer falsetto. I think you are getting rasp because of incomplete closure combined with crying resonance. You can actually get rasp with the false cords surrounding, but first, you will get a clear tone. Absolutely nothing wrong with your song, I'm just sharing a viewpoint that may or may not help you. My opinion and $1.50 USD will get you a soda.

Thanks, Geno, my temp service found me another assignment on short notice and I have an orientation meeting on Tuesday and start the assignment on Wednesday. Not bad, considering I was only able to tell her yesterday afternoon and had an email this morning about it. But I still may go to Durant.

I knew that came out the wrong way. I wrote it in a hurry this morning and I wasn't griping or showing hurt feelings. Nor do I mind having my stuff critiqued. Not at all. But I was told that I had posted too much. Even though criticisms mentioned specific issues that I agree need work, they weren't connected to specific songs. Nor does anyone or everyone have to critique each song. In the same breath, this is a critique section, so people are bound to see if they can find something wrong, or something that's not quite in line with their taste or what they do. And I didn't mean it as a bad thing, either. And I fear that this is still not coming out the right way. I think I was trying to say what you just said, which is, put it up for critique and it will receive criticism. My one extra caveat was that it doesn't always need criticism. Once in a while, a person hits a home run and I think Geno did with this recording. Exemplified by your own words, having the recording as perfect as possible. And that's a good thing. So, perhaps, I should wait until I can get a better mic, which will probably be a bit longer. My temp assignment ended today, when they were supposed to give at least a week's warning so that the temp office could line up another assignment for us. As it is, I am joining a friend to go apply at a place I've applied to before in Durant, Oklahoma. And, I'm still learning how to use Audacity. I just understand better the criteria for posting here and wish to measure up to that. And I know I've had to plenty to work on vocally and have been. But that doesn't mean I have stopped working on stuff. I have learned quite a bit since I have been here. I also tend to wait until the weekend to record, when I've had some rest instead of during the weekday, when I just get home from 8 or 9 hours in the sauna we call Summer in Texas. If and when I post something in this section again, I don't want sound quality to be an issue. And, I will either have to get backing tracks or make sure I play the guitar spot-on perfect, for a messed up part on the guitar has also been an issue here. That is, again, I am not complaining and take the criticism for what is. Sound quality sucks, sometimes the guitar playing sucks, sometimes the voice sucks. So, if I can, I will make it as perfect as possible before submitting. There will still be criticism because this is the section for it. "Too much strain," "Strain's okay," etc. Nothing wrong with that, either. Everyone has an opinion and it is colored by our own experiences. I should probably stop before I write something else that comes out the wrong way. Believe it or not, there are days when it is better if I shut up.

And now you've seen an example of what I see. This is a critique section. Put something here and someone will find something to critique. We're not allowed one perfect example. Your recording was fine and everything came together and it also shows the hard work you put into it. You have more skills than just singing and playing guitar. Skills I'm learning to pick up by fiddling with the stuff in audacity. How to make software compensate for a crappy mic, etc. I've quit posting submissions. Not because I am afraid of criticism nor do I think all of my stuff is above and beyond reproach. Nothing like that at all. But a person thought I was showcasing, said I was off ( pitchy) much of the time, without mentioning specific instances, and that I posted way too much, in so many words. And chose a thread for a recording that was relatively free of problems to make these criticisms. I still learned from those comments in areas in which I can improve. But, needless to say, I don't wish to be a burden. I still work on stuff, I just won't be posting it here, as I think I have worn out my welcome. If I think it has worked out fairly well, I will post in the main site, under my profile. Not because I think it is perfect but I haven't worn out my welcome, there. Even the pros we admire and aspire to perform don't have everything perfect. For example, I received on criticism of going into head voice too much and too soon, which may be a defect of the mic I use. Anyway, Geoff Tate stays in head voice for "I don't believe in love" for pretty much most of the song. No criticism there. But he and the band have "Operation: Mindcrime" and I have a 1 ton chain hoist for setting electrical distribution gear. I totally agree with the comment about Anne Wilson singing with heart, pardoning the pun. And Celine Dion sings with as much heart, in a different style. Sometimes, you do everything right and you and others will just have to accept that you got one right and life will go on.

I like the sound of your voice on this one and it illustrates, too, the practice of bridging to head voice early to get rid of breaks. The only thing I could hear that someone might interpret as a pitch problem is actually a dipthong problem. You are fully pronouncing the 'r', as you would when speaking. I would stay away from the 'r' until the last moment of the measure. That way you, you can stay on a bright vowel.

I could swear I heard you do "Carry on Wayward Son" before but I like your version of that one, too. I learn things from you. You work on a song until the recording is polished and seamless. Whereas I picked up the nearest beater of a guitar and everything is rough and raw, quite minimal.

I'll chime in again. I think you did a great job and I can't think of anything for you to improve upon. I know from personal experience when someone thought I was straining and I wasn't it was crying timbre. So, if you felt a strain at one point, you would know that best and can change to performance to suit yourself. To borrow from the indefatiguable wisdom of Robert Lunte, why push through a passagio when you can go around it. That is, if a particular note is in your passagio, either go into head voice earlier and have no passagio, or go totally into head voice on that note and avoid the passagio altogether. More often than not, most audiences will be impressed because you "went higher." Again, a job well done. And yes, I noticed that you liked my version. It would make me proud if me having the cajones to do it inspired you to do the song. "If Ron can do it, surely I can." That's a perfectly fine sentiment, en mi Librio.