Jason Dupree

TMV World Legacy Member
  • Content Count

    29
  • Joined

  • Last visited

  1. He seems like it on the second chorus... I could be wrong
  2. I hate the strained sound, even on chris, that vid was the worst ive seen him strain lol! I guess i was bugged because i felt like i was really having to open up so unnaturally wide, literally all the way. but playing around its gotten to where it is comfortable, but still nice and open. I have always had a closed throat, and maybe my jaw was trying to compensate. I really focused on opening and relaxing my throat and that helped. And now i find it easier to break the rules like Phil said.
  3. I have the opposite problem too-- if im singing with people or cant hear myself... i can barely sing at all. And if i can hear myself still but i am singing along with someone who has no technique (especially no head voice), my technique goes wherever theirs is, which is to say it leaves completely and i cant sing in head voice at all haha. All psychological im sure, though since i don't sing in groups much anymore it doesn't bother me!
  4. So this has been bugging me for a while... Whenever I watch Chris Cornell sing, his mouth barely opens at all! Just look up any youtube video of him. in every range, lowest to highest, he barely opens his jaw, and never opens it all the way. sometimes he will have a big "Smile", but his jaw is still pretty closed. I know that having an open mouth is generally very important, especially for high notes, and I know that when i sing along with chris that I HAVE to open my mouth all the way to get the sound that he does on higher notes. (not that i sound like him, or I would be croudsurfing right now Around my bridge, I do find it easier to stay relatively closed like he does, but as i get higher, it feels natural to open up, until a certain point where if i dont it sounds like crap. but chris stays closed the whole range. so the question: Why/How can he do this? and more importantly is there anything i can learn from that?
  5. Anyone notice its a thousand times easier to sing when walking? i dont get it... maybe its because of setting, outside vs inside. but seriously, its weird how much easier it is...
  6. thats some pretty awesome stuff! so your basically trying to get your head voice to sound awesome instead of very light, and in the mean-time youre just belting to replace it? i dont have a head voice sample from you so i dont know where you at, but ill take a stab at this... try humming lightly on an mmmm, or do the Ng exercise from SS, i think it does pretty much the same thing. listen for a buzzy, ringy sound. open up to that light head voice but keep that buzzy sound. that should pretty much always be there. then open the mouth, drop the jaw, push the tongue against the bottom teeth, and increase air pressure. this is just shaping everything for resonance so that that light sound turns into a boomy chesty sound. i think transitioning from your powerful chest voice to this powerful head voice is what your not doing, hence no bridge. mess around with that for a bit and see what happens...
  7. what exactly do you mean by this? first, what do you mean by head voice? i find it hard to believe you can take it down to a C2 which is below chest for most people (if we are talking c2 as in america... idk if its different for you). are you calling it head because of the sensations you feel? im a bass too, and i feel "head" vibrations in my whole range. you should definitely post a recording explaining these things, and you belting and the same thing in head voice. even just a recording with a phone if its all you have, then someone could definitely help!
  8. I could be wrong, but chesters screams sound a LOT like the TVS overlay distortion. exactly like it in the chorus. it sounds like in the long scream hes just exaggerating, or overdoing it, which can really be tiring, and maybe not so healthy. hes definitely going all out the whole time, ive heard interviews or something where he talks about how much air support he uses.... im not sure thats what hes using on the really raw sounding stuff before the long scream though, sounds like something different. is that the unpitched kinda screaming you were talking about mr bounce?
  9. it can get confusing because there is a small range where you could sing in either head or chest voice. i didnt mean you were straining in chest; for your head voice samples, you were using head voice, but it was forced and constricting muscles were tensing. would i be right in guessing that in your head voice samples, you are finding that heady resonance, but trying to make it loud, or pushing a lot of air, trying to make it sound more like what robert does in his head voice?
  10. when you say 'regular', i think you are actually trying to belt too high. a properly shaped and resonated head voice can sound like a powerful belt. you definitely want to be in head voice for all these notes. but even in your examples of head voice, you seem to be pushing/ straining/ pulling chest. the E#4 was the closest, at 1:02. finding the lowest head voice is difficult, and it would take a whole lot of explaining to explain it, so ill give an example. listen to the song 'God only wants you' (and appreciate that Screaming D5, one of my favorites) Jimmy Gnecco sings this almost completely in head voice, NOT falsetto (it does sneak in, but if you dont hear any breath its not falsetto). try to sing along and sound like this, and sing to other songs and sing it like this, very very light. you should get to a point where you can take this light sound all the way down to a soft chest, and get a seamless transition. notice how the resonance feels when you sing this. the stuff you will have trouble with, the resonance will be about level with the top of your jaw, the higher stuff where the resonance is behind your nose-ish is easier. but overall it should seem soft and ringy. singing with that big belty sound in your head voice feels just this easy. what you want to do is focus on the resonance and keep it there, while employing the shaping of the mouth, leveraging of the tongue, and all that intrinsic anchoring. ill go out on a limb and say you will know when youve done it right. the most important thing is connecting this soft sound seamlessly with a soft chest voice. then you can feel the resonance and see when it changes from chest to head. (since its slightly different for everyone). the lowest head voice notes, when you are finding them, will be very very soft, almost falsetto. you cant be trying for a more powerful head voice like in your clip. the power comes from the shaping and anchoring. hope that wasnt too confusing!
  11. you can tell the constrictors are engaging if you break when traversing the passagio, or if you break when getting softer or louder. my suggestion is dont try to combat it. what i mean is, jumping from one problem to the next is difficult and frustrating. just make sure you have the foundation and work from there. when you get pillars, its what the workflow does. instead of jumping from one thing to another, you get a set path that will lead you exactly where you want to go, and if you follow it correctly you dont have to worry about getting rid of a problem because it wont be there. so yea... make some lemonade and get that money for pillars! lol
  12. well, twang technically isnt the same as compression, but compression of the vocal folds is part of the twanging process.
  13. it hurts because your twanging your vocal chords together so hard... like your pushing your hands together as hard as you can instead of just putting them together... too much muscle. i did the same thing for about two years lol. i tried to explain diaphragm control in a post not too long ago, find it and see if it helps. i feel like this light closure and diaphragm stuff is the hardest to understand and explain, but i hope it will click for you.
  14. that second one actually sounds like 'quack' to me, which is the opposite of falsetto, too much twang. the break on the way up was probably improper diaphragm control and tensing in the neck, there wasnt a break on the way down. robs program will do wonders for you. i just want to make sure you know the difference between falsetto and closure, because you can really get confused if you dont. falsetto is no oscillation in the folds, just the air passing through, like this: https://www.box.com/s/52f3fa72d73afb6c8dbf the light sound you want to start with sound almost exactly like falsetto to you in your head. its just light closure, and i bet if you do it you will swear its falsetto. hang on. just make sure to get all the breathy airy stuff out. you should be able to lightly sing this way all through the range with no breaks, then you can make it sound awesome. it sounds like this: https://www.box.com/s/1adccf5fac8303165488 i feel like if you understand that, then Robs program will turn you into a god. to get that sound into what you want, all you need to do is do the tongue leverage, shape the mouth, and all the other stuff robs clearly tells you how to do. its easy to from that falsetto-y sound to big: https://www.box.com/s/8a3fd49b2838f191ca54 and it still feels like you are singing in falsetto... youll notice rob uses falsetto as a tool even. (sorry if my sound sucks, i did this first thing in the morning without warming up or anything) hope this helps... definitely get robs stuff as soon as you can! (i cant remember how to link stuff...)
  15. Yea, the diaphragm doesnt have too much too do with whether your stomach is in or out, its mostly other abdominal muscles, which don't have anything to do with singing. ive always heard 'breath with your diaphragm', use more air pressure, hold your breath, all that stuff. and it just doesnt seem to help. its hard to understand exactly how to use the diaphragm and what it feels like. let me try my hand at explaining this... Even when breathing correctly and powerfully with your diaphragm, you can still control your breathing wrong, and it will be impossible to sing correctly. As I understand it, there are two ways to control your breathing: 1. with your diaphragm, and 2. with your vocal chords. Take a deep breath right now. There are two things you might be feeling right now. The first (wrong) way, is that when you hold your breath, the diaphragm relaxes, and you can feel slight pressure pushing upwards in your throat area. You can further get the feeling for this by trying to breath out, but keeping your folds closed. Do this, and you can also figure out how to release bursts of air, which is the folds opening up and letting the air through. This is all wrong but its good to get the feeling I think so you can understand the way everything works. The second (and correct) way: take a deep breath, but keep breathing in until you are running out of space. Once you have run out of space in your lungs, hold it there, without relaxing the diaphragm. It is a different feeling of holding your breath, but you should now be holding your breath with your diaphragm with your folds relaxed. Instead of that pressure against the folds, you have the ability to push the air in and out without pressure, as slow or as fast as you want, without the sudden burst of air escaping the vocal folds. This is all before any phonation in the folds and is completely silent. Besides the point where you are full of air, it is difficult to hold your breath with your diaphragm, any other level of air in the lungs, and you are either very softly breathing in or out. That’s ok because if your holding your breath, you arent singing. We want to sing. this feeling is basically what you should feel when you are singing. if you arent controlling your breathing in this way, the throat will try to control the air pressure. that is one huge place where tension can creep in. i believe that breathing/ breath control is the foundation for pretty much every activity you can do in life. its the first thing to master but its only a piece of the puzzle. but if you can control your breathing like this, then you can check it off of the list of things that are causing tension and move to the next thing. i really hope this helped. let me know, maybe i can help more