Felipe Carvalho

Moderator & Review Specialist
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Everything posted by Felipe Carvalho

  1. Alright, so here is my testing with the idea: https://app.box.com/s/hya3ds8wkjh4jckfe5be7n508q3tojfl Sorry for the delay, my voice was crappy this past week (sick) and I had to train the idea properly first, I did what I proposed before, using the Arabian consonants to get a hang of the coordination. To me it feels like the larynx is pushing up while the back of the tongue is pushing down, not in a uncomfortable manner, more like the feeling of articulating a K with the back of the tongue and the soft palate (it constricts but it can be done gently without forcing). The sample is supposed to be different levels of the constriction as far as I am able to control, say 100%, 70, 30, 0. I think you can hear the difference in... twangyness? I personally think the 2nd and 3rd samples are within what I would consider useful for my voice and my tastes, and the other two more of an effect. Also I did what I needed to do to avoid distortion, You can hear that the most constricted one is all open, I think its my best Labrie impersonation so far lol, and the less constricted one is super dopey and silly. Now, its not that the sounds are particularly new to me, I could do all of these well with the exception of the Labrie one, but most importantly I feel its a very useful position leading to sound situation. I dont think you are off track, its just that these two ways to look at the problem are not mutually exclusive. I think you can learn to control better one specific aspect of the coordination, and I think everything so far suggests that you dont get a given result due to just one adjustment. For example on my first sample here I am pretty sure the pharynx is constricted compared to the other ones because of the vowels I am producing, and I am also pretty sure the closure levels on the vocal folds are highest on the 1st and lowest on the 4th. The 2nd sample is probably the most dynamic in all these aspects (stuff changing more), because its my normal/best game. The samples are compensated for loudness so that its easier to compare the quality.
  2. Yeah the statement is a bit silly when we take it at face value. No one is born a singer obviously, we can observe newborns and their vocal capabilities are rather restricted due to lack of coordination and simply not having a mature enough body. During growth slowly the skill for speech is acquired and perfected. Probably during this stage our experiences with music, singing and how our parents deal with us can have a huge influence. There are also personality aspects, certainly someone that is more creative, has more intelligence, or just downright loves to sing, will have an easier time to learn. How can we address all of this and know who is who before learning happenings? I don't think we can. And another way to look at it, is that people that have an easier time to learn, learn it *faster*. We could very well say that Talent = speed on getting results. And if you don't learn at the same speed, you have to put more time to it. I don't think there is a way to predict who is talented and it seems to me that effort can to a reasonable degree tilt this equation. Another aspect to this is that singing involves more than one skill. Sometimes people are not very talented with music in general due to lack of exposition early on, but once that barrier is overcome it flows nicely. Sometimes the person might have great musicianship and sensibility but lack the control to express what is in their minds. Due to all this I think that talent matters but you can only know how talented you are by actually trying. Often also, the fear of realizing this *potential* to whatever it may be, prevents a lot of people from giving a shot and truly commiting to learning.
  3. I think it's a plausible explanation for twang and it gives a mechanical context for it that, in my opinion, was pretty much lacking up to now, and with it the possibility of breaking it down and controlling on much more detail. For example, we can ask: Well what does it sound like when we do it? One of the replies is of course, twang, but that would be not very different from what we had before. But when we think of the mechanics there are consonants on Arabian languages for example that are based on articulation with epiglottal stops/fricatives/plosives/trills. What if we can use those sounds as a tool to map what is going on in that area? A gesture that is really no different from saying a consonant like T or P (just a different constriction place). I think something like this could be pretty significant because it allows precision when working with high intensity sounds, and with it more protection from injury and so forth. I do not see it as a replacement for other techniques, but twang is core to almost everything we do, if we can control it better... Ill try to put some samples together this weekend on a same song. My hope is to reach a clear definition that allows something like what I did with the *middle voice vowels* video, a step by step guide to it that works for a large number of people and relies less on imitation and more on simple mechanical gestures. Then again... It's not the first time I find some promising ideas on this sense lol
  4. To the point: There are some *smart* voice teachers displaying before and after of their students as a sign of improvement and that are deliberately faking results and exploiting recording conditions to create the illusion that their singing method produces *huge* voices. In this particular case I saw, the teacher compares a dry and very clean/honest recording of a students voice on a controlled volume level (meaning that it was properly gain staged for the best possible audio fidelity) and low to no reverb, which would be the before, with a badly distorted/digitally clipped sample of the same student singing where you can't even hear what the guy is doing anymore, which then would be the result of the training. Guys, when you hear a distorted AND louder audio, of course it will sound *huge* compared to a clean version of the same, but this is not a consequence of the singer technique being better, it's just poorly captured and louder. In the sample I received an audio engineer was able to restore a bit of the audio and you could hear the student having issues with the phrase and cracking on it, something that was completely hidden by the distortion. The fact that the distortion itself happens is being used as a sign of competence too, something like *it's so loud the recording equipment can't handle it*. This is non-sense. Certainly if you do not set the gear properly when you go loud, it clips, I did this mistake myself on a few of my videos, but it's all it is, a mistake when recording. Except that on this specific case the effect is being deliberately exploited so I would not call it a mistake either. Loud/Clipped recordings does not mean huge voices. Pay attention to what you are being shown!!
  5. Alright that makes sense, we can think of modifying the vowel sound or the articulation, to keep one you change the other so it´s probably what we are arguing in circles about. Yeah on the Helloween track it´s the normal approach using covering for the high range. The other one is using the tongue thing which could or could not be the same as the thing of the video I took a look at the exercise you mentioned, what I could find about it at least. There is a part of it where it was suggested to monitor the sides of the tongue with a finger to get the coordination... That seems like a possible way to do it, gotta try it out more!
  6. I still am having a hard time following you man. I mean there are things in what you said I agree with. Others I believe are not quite correct. But I am having a real difficulty to understand what you make of the video. Your opinion about the tongue root is that if you do the Feutchinger approach you get that? I mean I don't agree but I can understand that. Can you elaborate the way you do that in such approach? What do you make of the other parts of the video? Like when she proposes that the ideas of CT and TA dominance are actually mis-descriptions of the application of these two type of twangs ? I see what she means but I don't agree with that for example, because what people call TA dominance or *chesty* is mostly related to weight/depth/clarity and you can have that without twang.
  7. Nah, change teacher. G4 is the limit almost any male gets with... lets call it plain... chest voice. It´s not a surprise nor it means a hard restriction, there are things you will need to learn to do to go above that with control (technique). G4 was my limit too for a long while and I am pretty sure many others here had the exact same experience. Learning how to control chest voice well before learning other stuff is one thing, and I would agree that your focus should be at that first. But if your teacher solution in the long term is to just lower keys and not get you to do what you are looking for, then something is off. If the teacher does not know *how* to do it, which is ok, then that´s what he/she should say instead.
  8. For example, this thing is done with what I am presuming to be the same she is describing: https://app.box.com/s/qndrwd3jdiiq0wqeyyn44h13ea2atn1m The previous approach:
  9. I am really not sure I am following what you are trying to get at mdew, at first it seemed you were arguing the idea was old, that Feuchtinger already described that and proposed it as a solution. As I said I really disagree with this, and I would go so far as saying that Feuchtinger writes much more about the benefits of his approach than describe what his approach actually is. What you can effectively gather from it is mostly focus on strenght training that could lead to anchoring and more open space. That's almost the opposite of what the video proposes. But, if it is true that he proposed it then I would really like to know how he proposed to do that. Here is my personal experience so far: I've been working on metal singing for a while, but on some things classical technique only goes so far. You don't have a tool on classical technique to produce Dio's distortion for example (or any distortion for that matter). What I did up to more recently was pretty much using the technique and making it fit. It certainly benefited me a lot and one of the things I got from it is that it is easier for me to isolate coordinations. In the last years one of the things that I found is that there is this something that feels close to the tongue root that if I do, it increases twang considerably, to the point I would call it a 2nd gear or whatever. Then I was sent this video just the other day and it matches my perception really well. I am more curious about experiences/solutions than theories really, I don't care if the technique is from 1800s but I am being 100% honest when I say this is the first time I seen it proposed in this form, whatever the source/age you seen this before I am interested on how they did it. Because I probably can learn to do it better with more references, and it seems the kind of thing people singing rock would make good use of. CVT does not describe twang this way, neither does Estill, nor classical technique, nor 4 pillars. I also did not see anything like this debated here before (I did see a proposal here that began on similar form, but the proposed solution was that it was only larynx height that produced it, which seemed incomplete to me).
  10. Hyoglossus is part of the tongue mdew (root). Hyo refers to the hyoid bone. Glossus = tongue. This muscle depresses the sides of the tongue (as you can see in the image you linked) and makes it shape convex, not concave (groove). Relaxed tongue will not have groove. Also I checked Feuchtinger and his proposal was that of making the tongue stronger, all very close to the concept of anchoring perhaps. Really not what the video is about. Cutting the chase. Do you believe that making a tongue groove will lead to the particular articulation that is shown at 43:00 mark? That's what Im after!
  11. Quite sure the hyoglossus does not produce the tongue groove mdew. (likely it does the exact opposite...) Have you tried it? If so it would lead to immediate twang. In any event at around 43:00 mark the coordination is pinpointed at the MRI. That specific motion is what I am interested at. Who got to it first is not very important, Im more curious about the ways to acquire and refine it, IF there are any. At least from what Ive seen so far there aint much in that sense!
  12. @MDEW Humm I am not sure it's related. If my memory is right Fauchtinger idea was to train to have a tongue groove, making the case that high level performers such as Caruso showed such groove. Even if the video talks about the pharynx and it's constrictors, and that he probably talked about it to in his writings, I really don't see they are related since a big part of his theory was that you did that to increase space, she is making a case about how to create the constrictions that leads to the specific quality *twang*. @Robert Lunte I don't particularly know how to make use of it. Given what she said, kermit voice, while making sure that the tongue root was the cause of it, could be a way to acquire the coordination? Not a big fan of this type of reference... I have some ideas about the pharynx that I am trying to organize for a while now for different reasons, mostly using unvoiced, white noise sounds while observing it (since this one you can at least see). It's one of the reasons I would like to hear what people make of it since it introduces variation to exercises done based just on the sound.
  13. A friend, and great singer, forwaded me this video today and I think it's very cool: It's a bit long, she talks about how the aryepiglottic muscles cannot be responsible for the coordination (something that was already debated in this forum years ago) but she reaches two important coordination/mechanical basis for it that are new to me: tongue root and pharynx contraction. It matches many of my experiences in these last 2 years studying high intensity vocals and distortion. What do you all think of it? Cheers!
  14. Well this thing you found is awfully bad. It sounds like a joke actually, similar to the rest of the theories. Again I still hope you are a troll.
  15. Humm no I do not think the approach would work for Phantom of the Opera. But feel free to try it!
  16. lol I still have hope in my heart that this dude is in fact a master troll and it's all a character he plays.
  17. lol yes the threads were bellow my noble lineage :P. Nah truth is that this last year was very... fun hehe, lot's of things happening, I am a father again and I was just spreading myself very thin, many things were just neglected (my Youtube for example haha).
  18. It's so sad... André died 2 weeks ago, age 47, victim of a heart attack. He was back performing with Shaman and there was a serious possibility of a come back with the old Angra bandmates... RIP, he was one of my main inspirations to study/train singing. :(
  19. Chances are you should worry more about your own clothes first dude. I don't know what is your thing with that homerecording forum but complaining about them all over the internet won't make them accept you any better. Specially since you say this place is dead, it seems like a waste of time eh? The rest of your post I could not understand, but it reads just as confuse as what you write with all your other nicknames, you are not really fooling anyone... -.-
  20. Sup, it's been a while. Hope you get better Adolph... this sucks man. My 2 cents... I think a big deal of what made the forum work well before was that it was simple and ruthless. In the sense that people would speak their minds, and we had a lot of very capable singers from different backgrounds opposing their views. That's what brought me here... Unfortunately due to N reasons which I frankly don't care anymore, most of these people went or were put away. Which undermined the core reason the forum was useful to begin with. The current structure also does not help... It personally turns me off to be honest. I visit this forum at least once a week and I only found your thread mdew because it was linked somewhere else, you have to filter the sticky messages to see it. I made a new account to try out the review my singing section as new user would see it (which to me was the best part of the old days), you can't even find it unless you go through the paywall on guaranteed reviews... I believe that to have any chance of being back to it's tracks, and I would not have much hopes of being what it was in 2012/13 ever again, the monetization scheme would need to be much less aggressive, or just not be there. I don't think it will survive otherwise when you have free platforms like Facebook/Reddit/Youtube that have a huge number of communities available.
  21. You can develop the skill if you want by alternating using a reference, and not. If you will not be singing alone, I would not place that as a priority.
  22. We can't know. If you suspect your voice is not healthy, see a doctor.