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About srs7593

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  1. That's pretty much exactly what I was thinking, Owen. Does twang occur from the neck up? Or can I twang from my air support? Sounds impossible. We're talking about vowels. Neck-up type stuff. When twang, I assume a high larynx position and sing through a narrower space, off the roof of my mouth, with slower air, while modifying to "boomy" vowels. Does this sound about right? Well, when I do this in a way that is comfortable, I have the outward appearance of straining quite hard, probably because my Adam's apple is literally the size of an apple. But really, I tend think I have the same endurance as anyone should. I don't have serious problems with pain or fatigue unless I actually do something that I know is a bad idea. If I post videos, people tell me to stop straining so hard. If I only post audio, they aren't usually any the wiser. The visual seems to affect the way people perceive the sound itself. If I dip my larynx to a dopey low spot and use faster air, I don't appear to be straining as much, but it does not feel good. I can twang this way, but it's super weird. The diction and note length suffers and the sound becomes swallowed. I'm currently convinced that I can either stop twanging completely, or I can "strain."
  2. I can't figure out how to twang without straining anything...
  3. Here's someone who sings the ever-loving *snot* out of them. (I consider this to be a pure "ee"). The singer from Vain either has the back of his tongue too high or his soft palate too low on them imo. But this is a little off topic. To bring us back, Darren, do you form your "ee" vowels more like Carl Anderson or Davy Vain? The vowel shape itself will make a huuuuge difference if it is not currently cutting it the way it is.
  4. A4-B4 or even C5 is not exactly in the clear. That's where my voice tends to crack a lot. Your "problem" sounds very familiar to me and probably most of us on TMV. Speaking strictly for myself, I personally view the passaggio as being able to occur anywhere between D4 and Bb4. I can "belt" up to Bb4 (avoid this), so I know that I may still be quite actively coordinating TA and CT in that range. At C5, it's either head voice, falsetto, or not C5. But A4-B4 is funky. Also, most singers don't use "hee" sounds in that range in pop or rock. Generally, "ee" vowels get modified to "ay," "ih," or "eh." There are exceptions, but usually it's not totally a pure "ee." Perhaps experiment with modifying this vowel. Vowels aren't always "this-or-that."
  5. I agree with Rob Lunte that a lot of these vocalists are really one dimensional, but on the other hand, a lot of them aren't. I definitely disagree with the widespread notion that it is just a fad. Rock n roll is just a fad. Perotin was told polyphony was a fad. I think the forum could use more screamers.
  6. There's not some special wailing button. You really just have to learn to sing higher. However, I will say that once you can bridge, you can usually touch on those pitches in head voice. But the power and tone just take plain old time and practice. And for a lot of voices, those highest notes are easier to sing than mid pasaggio notes.
  7. I hear this term thrown around a lot as though I'm expected to know exactly what it means. Could anyone shed some light? How do I know when I'm using it? How should it feel? What are some examples of singers who do and don't use it? Thanks!
  8. How about Bb4? That's about where I believe I've topped mine out (It's usually a bad idea, no room for vibrato or dynamics, always very stiff and raspy. Not a good feeling. Just a loud sound that leaves my mouth at baseball games and concerts I'm not in.) There is a barrier at A4 that I feel like I am pushing up against. Any higher and something's gotta change, whether I actively control it or not. My answer to Simon's question is yes, but only so much. I started at F4. Now, I can maintain a round, chesty sound up to Eb5. Past there, vowels need to change. I sing bass 2 in chorus. Pretty loudly, I might add. I've sung written C#2s in some things. No Rachmaninov vespers just yet. So I'm not just some guy with a high voice. Also, what's the word on male voices that haven't changed all the way? At what point does it become physiologically impossible to pull chest that high? This question leaves me to feel like some adult male voices must be set high enough to shout out a chest voice C5, if a fairly low one can shout the Bb below it. I thought that that pitch was physiologically impossible in chest until I could reach it. I don't really need to pull chest that high. It doesn't help me much now and it's not a good sound for singing anything but punk rock or thrash metal, and even then a headvoice configuration is usually intense enough. I just wanted to go there to see if I could.
  9. I could do that until about two years ago. Occasionally with vibrato. :/ I can still do breathy whistle register noises but I haven't produced a filled in, balanced noise in so long.
  10. They may train you as a tenor eventually. Most of the good tenors start as baritones. The ones that start as tenors usually either just have very high voices or started singing at an earlier age. That's the impression I'm getting at my school. I don't think voice classifications are useless at all. Singing up to C5 is hard work for almost anyone. While in theory, anybody can do it, in practice there are voices that are better suited for it. Also, tenors cannot sing bass. Not the way that a bass can sing bass. No dice. As for the baritone, it's usually more timbre related. And some baritones can actually sing bass. Most male singers can sing in the baritone tessitura (It was a bit high for me starting out but now I've got it.) With an 18 year old freshman voice, you do not know what it is going to sound like in five or even two years. Placing a possible tenor as a baritone is often just a way to play it safe.
  11. Bingo! Falsetto doesn't carry TA musculature. That's why my contention is that it's distinct from head voice.
  12. At first I had no idea what you were talking about, but when DoverOs mentioned resonance it sort of clicked. Once you know your voice well, you don't have to think about words or devices to describe what your doing. You can sort of think in feelings and sounds instead of anatomies, terms, etc. The voice becomes more cohesive and easier to use. Things can transition more fluidly, and emotions flow much more freely. I think that's why some of the best singers are lousy teachers. But with time and effort, it does all get easier. It's a matter of coming into your own. For now, it's good to think the way that you are thinking. To answer one of your questions, maybe there are two ways to sing, maybe there are 1000? I guess that's not an answer. Maybe you have two distinct sensations that you are feeling, maybe there could be more?
  13. We don't talk about falsetto much, not the way that I would like to anyway. I'm hoping that we can approach the consensus that this singer is using falsetto, similar to the way that King Diamond did/does. Now, my opinion is that there are moments where it sounds awesome and moments where it doesn't. But for whatever it means, I think it is a solid and legitimate technique. I think falsetto has it's place in metal music and I think it needs to be explored more. Another thing that I noticed is that it is much more difficult to discern falsetto from head voice in a live recording. I'm wondering to what degree singers who record tracks in "full" voice in the studio can get away with using falsetto at live shows. I would like to segue into another thing... I think his very highest notes are all falsetto. I get that feeling from most people who go up to C6. I've heard D6s from him on other tracks But these notes sound too hollow and easy to be sung in the same manner as say, E5-G5 for most of the folks that can do that. Most, (but not all) of his notes above E5 sound distinctively flutey, whereas others are razor sharp. This leads me to believe he can transition comfortably between a connected and disconnected head tone. Anyway, I think most of us can agree that this singer is off the chain. In a way, because falsetto is much more naturally occurring and comes easier than head voice for most male singers, I believe it may have the potential to be highly expressive and useful. Even in the most dramatic context. I think the lack of vocal "weight" is somewhat irrelevant, given the fact that female sopranos are perfectly capable of singing expressively with very light voices. Granted, a soprano voice is very different from a man singing falsetto. But there is nothing freakish, unnatural, or inherently silly about falsetto. I think we've just made it that way. You've gotta be sincere! You've gotta feel it here! Cause then you're gonna be honestly sincere! During the Baroque period, as I understand, falsetto was used rather extensively. After the romantic era I guess people wouldn't settle for it anymore. They wanted to hear manly men shouting in manly voices. But I think there are ways to raise the bar with it. I haven't figured them out yet, but I think it is a shameful thing to put a good falsetto to waste. I can't possibly be the only person who thinks about this.
  14. Usually the term refers to modal voice or the qualities associated with it. I consider head voice to be full voice, as there is not always a distinct line between head and chest voice.