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geran89 last won the day on March 14 2017

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  1. this makes no sense xd not in a literal sense at least haha! but i think i get the general idea, if you have a healthy voice and have been practicing with methods that suit your vocal habits to develop your high range, yeah, you will sing high notes freely, even higher than what is associated with the idea of a -trained- tenor, no matter how low or big was your voice initially (tenor, bari or bass)
  2. generally the healthier is your speaking voice coordination, the more range you will have.
  3. here is one despite being a bari, he is a master of mixed and belting voice, so he uses lots of C5 on this song -several times on each chorus- without problem. also here he sings a bit more heavier -and perhaps more rock-: and here more lighter and more pop:
  4. haha good to see you here yes, kyo's most recent -i dont know why im talking in english since we both speak natively in spanish, we even live in the same city ldskkfj xd- ahem!, kyo's most recent works are indeed a lot more polished, i mean i like all the different "phases" during his career, but he clearly had some moments in which he didnt care at all about technique, at least above the scenario, if there were constrictions of breaks, he didnt care, but what i like of these crazy times and experimentations is that it is on these times that kyo started exploiting his emotional side on the performance, being really raw, a lot more than when he was more technical far in the past, and before start giving again more priority to the vocal technique and prolixity, above the stage!
  5. it isnt personal with the teacher since i dont know her, but if you are told to do something just guided by subjective sensations your teacher experiences, maybe try to ask her to explain things from another angle that isnt that one, something that makes sense to you and she agrees that you are doing it correctly after seeing and hearing you (like using a more anatomical/concrete/objective perspective, or she could guide you through sound and you imitate until she says you are doing it well, or just using another subjective sensation until it's done), cause since what he is using is a subjective sensation, it's just that, what she and no one else, feels, and if it isnt enough you have to ask her for more clues to find it, if not you should search for another teacher that succeeds on transfering you the knowledge and developing skills you need. despite she seems to have a very limited approach, this it isnt the teacher's fault, you have to take responsability of your vocal process, if the lessons arent giving you the results you want, it's you that are still paying that teacher and not seeking for someone that could actually help you.
  6. really cool!, for me this is a mix of 3 distortion types, false folds, creaking (vocal fry dragged up in range which is done on the true folds), and arytenoid rattle distortion i wanna congratulate you, you found a really cool sound, that a lot of people would like to be able to do! to answer your post, yes, you are using your throat, but this isnt bad, since -anatomically- you ARE producing those distortions on your throat and it would be impossible to do them in any other part (since it is done with the true & false vocal chords, and with the arytenoids vibrating, at varying degrees, at the same time). if it isnt uncomfortable, it means that it is well coordinated and efficient in regards to the distortion + throat shape + support, so if it feels good, keep doing it like that, and maintaining the sensation you found for this distortion, you are doing great!
  7. not damage -not immediately at least-, but hearing some extreme vocals and just being convinced that the singer is destroying his voice (despite this could or could not be true), could leave you in a not so good position/approach to then vocalize, sing or use your voice in general, cause as you say, you tend to emulate, to activate some muscles in preparation to "replicate" what you think or feel the singer is doing (so if it is hearing what you feel is a bad coordination, could make you block your breath support or tense some constrictors on your throat BEFORE even you start using your voice). my recommendation is avoid this and try to hear singers that you know for sure that have a really free voice and range etc (like bruno mars) -or that use extreme vocals that you like, singers that you know or feel arent destroying their voices, someone like mike patton for example or anyone you like-, do this before, and during breaks when practicing, it will motivate you and help you have a better approach to the practice, and also it will condition you to emulate their mix, efficient distortion, or any good coordination they are making
  8. i think it's amazing that we see the voice in a different way, it's just interesting and also mesmerizing for me that even being that way, with time we all will obtain the results we are striving for this just proves to me that even when "voice training" can be seen as a scientific field, it is also an art, and we just shape our voices over time to serve what we need to express, the methods could be all very different, and despite of that we can obtain the results we want, this is really cool. also benny, i found interesting the concept you described (intrinsic anchoring, from lunte's method), with this i can totally see why rob commonly refers to his method as being more practical and more guided in a step by step manner.
  9. wow didnt expected at all to see dir en grey posted here! (that singer has one of the best vocal ranges i have EVER listen, on ANY language or country), hahah i feel a bit less weird right now xD this is the song i cant stop listening, currently !
  10. there are a lot of good posts here that i would like to answer! hahah i think we can all agree -i will use CVT terms here- that while being on a high note with LOTS of volume, using curbing placement and vowels it, would be a bad choice, you probably would choke -as lunte points out, and without understanding the "why"- and we can agree on this. the same happens if we try to use "neutral" mode placement and use vowels that we know are really easy on that mode like OO or EE (despite as benny said, we can easily use ALL vowels on neutral) on a high note with LOTS of volume. so the general rule we could take from this i think is, we cant use the placement and vowels of a "lighter" mode (curbing or neutral) on a really thick loud, high note, cause that vowel would only work well with really open vowels (EH, OH, AH redirected towards OH). but the opposite seems to be totally possible and healthy! which is, to use really open, overdrive vowels, on medium volume and softer volumes, while being on a high note, which on CVT is called, doing medium overdrive, and overdrive-like neutral (the same with edge mode). so we can use a non-shouty high note, at medium volume, like a curbing note (i imagine this is what you guys call covering), and do it on medium overdrive instead of curbing! you arent shouting, but you arent modifying towards curbing, cause the resonance clearly is the resonance of a shout we could say, as felipe said: "if you use the most effective shape to sing, it becomes considerably easier (you will still have to support really well)." could this mean we have to use curbing on a medium volume high note to be more efficient, while the same note on medium overdrive -"without modifying"- is completely possible to do, but less efficient (and makes sense, it is not on the center of a mode ), probably more demanding on support, and overall more advanced and difficult to find as a coordination, but as the end it is just a matter of choice!, just like with singing with distortion, we cant possibly find a way or technique to do it ALL DAY LONG (think using distortion instead of speaking, on a daily basis -which would be hilarious but thats far of the point hahah), it will be tiring, and eventually, damaging to your voice, so it's all a matter of learning to do it efficiently and to be controlled about it! also if people hear a modification even if the singer says he isnt doing it, and say that this just means the singer isnt aware he is actually doing the modification, i think this is at this point just a matter of perspective, maybe you are currently conditioned to seek this sound, and maybe it could be that it IS there, on a really MICRO level (or not at all), and you just see it cause of what you believe (cause you assume it is the only way to do it), so it couldnt be in any other way! if you see it like this, i wonder, how would you explain using shouty overdrive placement on any volume (not just loud, not just literally shouting) on a high note?
  11. great! so we could agree that this is more about breath and voice connection, and that vowel modifications and covering are mostly aesthetical concepts? what do you refer with vanilla coordination? haha, you refer to having a well supported tone, before using non-modified vowels (like a very open AH on medium volume belting, without shouting)?
  12. felipe and jens! it's nice to see you guys felipe, in regards to the last thing you said and demonstrated (at the end of the video), when you showed not modifying the vowel you went, as you mentioned, shouting the non modified AH vowel. my question is, can you not modify the vowel -as you did on that last example- but use less volume, like medium volume? or you say that using the most open vowel (the non modified one) forces you to shout? my idea is that using the non modified vowel can be done without shouting, with less -medium- volume, cause on the high range the thickest sounds are the most limited on vowels, and for this, a medium volume sound should have MORE vowels available (including the really open non-modified AH). what do you think?
  13. i dont feel i have to modify, i just use the same vowels i use for speaking, but yeah i know im over-simplifying a bit haha! i just want to give the message of thinking it more simple when thinking about vocal technique, i dont know if you remember, but when i was on this forum years ago, i liked a lot to make everything weird or over-complicated (and guys like jens or daniel formica often tried to made me see it more simple but i refused ), i was just stuck for a long time -years- so i kept thinking that there had to be something complicated that i was missing and that was the reason why i couldnt improve my technique and i was suffering a lot of pressed voice on the high range -lots of constriction-. eventually, i learned with time and practice, that things could be more simple, i was worrying way too much about a lot of things that werent the most efficient point to pay attention, cause those werent the biggest causes of my vocal problems, instead i discovered that it was just all about learning to take my speaking voice in an relaxed manner high in the range (which in my case -i have to say this cause "take your speaking voice high" sounds too easy while we know it's not so this is HOW- this was found mainly through the creaking exercise -good for connecting breath support with the voice- from SS but through personal experimentation i created a variation in which i do it on all volumes, not just quiet, and i switch between creaking and clean while going up and maintaining my speaking voice sensation and sound), avoiding at all costs doing anything weird with vowels, or different to how i speak, and that started solving every problem that i had so, for me it was just support, and i know we are all different, but i have the thought that probably those vowel modifications -like the concept of covering- arent that necessary, of course the vowels that are taught on methods like CVT for each "mode" are useful, but just as guidelines, cause rarely the problem will be caused by vowels, in comparison to a poorly coordinated breath support with the voice!, i remember any time in the past, when i had pressed voice, i tried to practice high notes and modify vowels to relieve at least a part of the "pain"/constriction, it was worse, cause it was something totally not related to my support problem, and i kept repeating the bad constricted coordination. once i fixed the support, i was able to use ANY vowel on any volume and sound color, i just extended my speaking voice. so in order to simplify and focus just on the main problem, i discard all complicated scales -or scales completely- and discard anything that could distract me from practicing and working on my breath and voice connection ONLY, i just work on everything with a high larynx -bright sound-, and i maintain the same vowel all the way down and up in the range, then i can play darkening the sound and using more vowels, and singing, but while practicing i just prefer to reduce variables to the minimum, cause mastering good breath support is already complicated enough! (this is like the advice i would give to myself in the past if i could go back hahah) i think people should know to a point the general guidelines of something like CVT modes, but 1st of all, they should train support, and master it, and know how it feels, and just and only THEN, start seeing other things and techniques, cause if you do it in other order, you COULD skip mastering your support -even thinking you did master it or that you are fairly decent at it-, and will be wandering eternally (while the vocal problem worsens cause you keep practicing and repeating a wrong coordination, embedding it into your muscle memory) searching for the cause of the problem, thinking it is on the vowels, or on the twang, or on a particular type of anchoring, or your physical strenght, or jaw tension, or deviated septum, or resonance, or formant tunning, or types of laryngeal tilt, etc... it's all ok guys, but learn to use support to take your speaking voice in any volume and vowel, up in range in a relaxed manner -relaxed on the throat as when you speak-, FIRST, then, search for other causes for eventual problems you could have, but probably, you wont have any of them haha