ronws

Welcome "leakyfaucet",

This is a premium forum, please see the link below.

http://www.themodernvocalistworld.com/store/category/2-premium-forum-plans/

When you have enrolled in the premium forum service, you will be able to access this forum and THIS post will be removed.

Kindly read the private message I sent you.

Respectfully,

Adolph

Too many people approach the ease of editing digitally with the wrong sense of purpose. I like the old human recordings. Just because you can fix and edit something to death does not mean that you should. That being said, part of the reason for letting a flat note get on the record is time and money. No one may have noticed until the mastering phase. You have to remember, that was 1974. Tape machines were reel to reel and it would be another ten years before you had affordable 4 track machines that used cassettes.
So, here you are mister producer (in this case, a lot of Jimmy Page in the decisions.) The album was already in the can and in mastering, where they set order and eq and sound levels to sound good on a vinyl LP phonograph. And that last note was the only note in the whole song that was a smidge off and no one catches it until now, yes that really does happen. Well, that would mean that you would have to go back, cut out with a razor just the section with the end part in it And record on another piece of tape and splice it in. And you won't get the same sound. The song was recorded in one take in the great hall at the Crowley castle that Jimmy had just bought.
Or just leave it be and release the album on time. A lot of human things left in were done so because it was too expensive or laborious to go and fix it later in the game,
Not the case now with DAWs and gigantic memory. You can keep all takes nondestructively. You can edit as easily as you would with a word document. Line up whatever you want wherever. If you have a DAW like Reaper, Pro Tools, FL gazillion, you already have more, functionally, than the beatles did for recording strategy.
Now, you can pick something to death and so you have to force yourself into a "tape" mentality. Give it a finish date and no go-backs after a mix date, just like real life.

that was back when albums had that certain quality....lets see, what was it called? Been so long I cant remember....uhmm...oh yeah! HUMAN!

Yes the Lyrics will dictate the vowels for the most part but after a certain point you need to modify the vowels. That is where the phrase "you do not sing like you speak" comes from. This is also the point of Acoustic Modes in the TVS program.
   Vowel modification is also a big factor in the Formant Tuning concept. Singing vowels are different from speaking vowels.
  American English has a lot of dipthongs. The long I sound is Ah-ee  sometimes the choice would be to modify the EE portion to a short i sound as in sit. You may want to drop the EE portion completely and just sing Ah instead of Ah-EE  depending on where the vowel sits in a phrase or Pitch range

Thanks a lot man, I appreciate it "Southern Gentleman" hahaha.. reminds me of Chet Atkin's guitar more than myself.  
I plan to move back purely because I miss the country lifestyle.  Thought I would come out to the city for bigger opportunities with school but I ended up finding out that the opportunities weren't worth the stress of living in the heart of the city.  I'm thankful for the experience but I can't wait to get back heheh.  Thanks again you two.  

To quote Waylon Jennings, "I don't think Hank done it this-a-way." But it would be very close, as if this were a modern recording but the same sound voice some what. I like your version better. The problem with Hank's recordings was not just tech limits it was his full on nasal sound that was okay in small doses but grew to be overbearing very quickly. Whereas, you have a pleasing voice for a southern gentleman.
So, what would have caused you to move from Ole Miss to So Cal? School? Affairs of the heart? Extradition policies? 

Yes, you were bridging, and fairly well and it was great, the second link where you do descending sirens for two octaves, except for the last, which was three octaves, even cooler. (more cool? cool-ier? pesky English, and I was born in America.)
And certainly those make for good transitions and provide some coordination. In my humble opinion, what should be important to notice is the sense of support or of holding  back. Granted, when some singers talk about not needing this or understanding it, it is because they had it naturally all along. Others have to learn it or, more specifically, unlearn something they picked up in learning language and dialect where they live. And that includes americans, having several distinct accents and accents within accents. For example, a southern accent depends on what part of the South someone is from. Someone from Georgia sounds different than someone from Texas. Telling either person to sing "ah" without understanding the local accent could result in a longer training session or one that is not as  productive.
Another thing to do is work on a song that is in the middle of that range, around the transition or bridging point. I don't know if you are ready or what your teacher says, I only know what I do. Part of the reason I can sing any song by Boston when I want to is not just having a high centered voice but it is because I practice singing songs by Boston with the idea in my mind that it should sound free and easy, just like Brad Delp did it. ("Cause in my mind, deep in my mind, I can't forget about you, no ...good times, places that remind me, yeah...got to keep on chasing my dreams or I may never find them, I never look behind me....Taking my time I'm just moving along. You'll forget about me after I've been gone. I take what I find, I don't want no more. It's just outside of your front door. I said hell yeah, It's been such a long time, It's been such a long time."
That involves learning to not push the folds to hard so that they last longer in a day or a singing session. And, for me, that involved learning to manage the breath to take the strain off the folds. Others may not have needed to learn that but I did. We are all individuals.
And you don't have to pick a song quite that high. The end part of "Stairway to Heaven" ends on an A4. Plant was more concerned with tone than the highest note ever emitted by a human and he has sang higher than that song.
So, I am not wanting to interrupt whatever work flow you have. Just that, at some point, the training exercises should somehow translate into singing a song. With relative ease and repeatability.

Also, pay attention to what Xam is doing. He is not pushing the folds. He is controlling the exhalation so that the folds can do the work more easily and any volume he is getting (no mic in close proximity) is from resonance.

Also, pay attention to what Xam is doing. He is not pushing the folds. He is controlling the exhalation so that the folds can do the work more easily and any volume he is getting (no mic in close proximity) is from resonance.

Yes, it would be nice, wouldn't it?
I am used to hearing Justin's soft and raspy voice singing this. And I like the guy. He is funny, fun-spirited and he is pretty good on the drums, too. He has such a tongue-in-cheek delivery and so his version, the original, sounds more sarcastic. Whereas your version is more plaintive and heart-broken. And I like your version. You have such a bright voice. I wonder if there is a way to make the recording "warmer," which means some of the high partials are rolled off. Do you have someone mixing your recordings?
 

All I have right now is a bb gun. But I know someone who has a .380 I could borrow ...
Just kidding. My ideas about songwriting are always centered on the message I want and a dead-simple chorus with a hook that will make you curse my name because you cannot ever forget it once you have heard it. But I am likely to go afield in arrangement, especially on instruments that I don't have a lot of experience with, such as drums.

yeah...dunno how comfortable id be in trying to follow "formulas" to make something audience friendly. If im going to go that route id just stop playing altogether and let a computer algorithm do it all.
This song was really nothing more than a personal greeting card to one girl. As long as I got in the words "Sugarboo" and "booboo" (it's hidden in there too lol) then im ok
 
If I ever write anything resembling that Garth Brooks song, or any modern "country" song...it will be with a gun at my head and even then id probably just tell 'em to shoot

I liked it and don't really have any technical points to add or pointed critique about "artistic choices." What is interesting is that while one would most expect to hear Miles on this, you voice, to me, as sound similar to Kiske and a few others with meaty voices. Which I mean as a good thing.

Yeah, what I hear as major diminished sounds are a result of the whole arrangement, not just you playing a diminshed chord on a guitar or synth.
For example, on "Dead or Alive." while the bland plays a modal D, Jon makes it a D major by singing on F#4, thereby creating a major chord with the entire group.

First thing, Elvis didn't write this song. Actually, he never really wrote songs. This song is most identified with Simon and Garfunkel. 
You sound nothing like Elvis. However, you sound very much like David Bowie. I would rather hear you try "Space Oddity."
Also, watch your pitch. It wavers now and then and don't push your vibrato, let it happen naturally.

"skinny"... we would be more then happy to "analyze the shit out of it"... which means... put a lot of work and energy into giving you valuable feedback , when you have become a client of the "Review My Singing" service. We are not going to work for free.. 

Reviews of singing is a premium service. In the banner area of each section is a link to take you to the details for subscription. Also, get ahold of Robert Lunte or Adolph Namlik if you need help with that.
 

Reviews of singing is a premium service. In the banner area of each section is a link to take you to the details for subscription. Also, get ahold of Robert Lunte or Adolph Namlik if you need help with that.
 

Not quite yet. Though I have a management company that are going to book me into restaurants.  

Yes, it would be nice, wouldn't it?
I am used to hearing Justin's soft and raspy voice singing this. And I like the guy. He is funny, fun-spirited and he is pretty good on the drums, too. He has such a tongue-in-cheek delivery and so his version, the original, sounds more sarcastic. Whereas your version is more plaintive and heart-broken. And I like your version. You have such a bright voice. I wonder if there is a way to make the recording "warmer," which means some of the high partials are rolled off. Do you have someone mixing your recordings?
 

Dude, that is the way to go. If you get a chance, read the book "Guerilla Home Recording." That guy belongs to a group that does that exact thing, the goal being 20 songs amongst them in a 12 hour period. There will be some dogs. And there will be a few gems that are worth polishing. Like a creative writer, just write something, even if you don't use it. It will lead to other ideas that do work.
I just had a flash of insight for a song I am trying to write and stumbling. I have some lyrics and a vocal melody but was stumped trying to figure out the right guitar part. Then, I realized, why not let the vocal melody define the guitar riff? It doesn't matter how you get there, as long as you get there.
 

Good ideas, you should develope those. Make the most of your studio time when you get there.

Right off the bat, I like the first song more. If you are just asking for personal preferences, that's it. Though I would like to hear your voice better. Is there some religious reason for having the recorder so far away? It doesn't make sense from a recording standpoint and I don't want to step on religion but I was wondering if it was possible to get the mic a little closer.
 

Yes, it would be nice, wouldn't it?
I am used to hearing Justin's soft and raspy voice singing this. And I like the guy. He is funny, fun-spirited and he is pretty good on the drums, too. He has such a tongue-in-cheek delivery and so his version, the original, sounds more sarcastic. Whereas your version is more plaintive and heart-broken. And I like your version. You have such a bright voice. I wonder if there is a way to make the recording "warmer," which means some of the high partials are rolled off. Do you have someone mixing your recordings?
 

Right off the bat, I like the first song more. If you are just asking for personal preferences, that's it. Though I would like to hear your voice better. Is there some religious reason for having the recorder so far away? It doesn't make sense from a recording standpoint and I don't want to step on religion but I was wondering if it was possible to get the mic a little closer.