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benny82

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Everything posted by benny82

  1. I made a short clip about it. This is just on my cell phone. No special EQ or something like that. Was a little bit too close to the phone so excuse the plosive puffs. https://app.box.com/s/i2sb1pcz3u4irg6nz9cxwinini0uw72l The key vowel you can train this sound on is /OE/ as the 'e' in the word 'herb' Of course the EQ'ing also takes part in his special sound. I also think that the fact that he is a lower voiced guy is involved too. Fabio Lione would probably not be able to get the same sound color, no matter how hard he tries.
  2. Muscle memory can be a beast. If you program it to some unneccessary tension it can get very hard to get rid of misbehaviour. The excercise is indeed great to get the proper narrowing in the back of the vocal tract that gets you a more "deep" placement.
  3. @Kevin Ashe is right though. They key is (just as in the high range) to stay "connected". This also means that, at some point, fold closure gets so strong that a registration into M0 ("vocal fry") will happen. Many people make the mistake of opening the folds (usually by dumping the larynx) to prevent the registration into vocal fry. But that registration is the natural thing to happen in the low range. Even basses sing their lowest notes in M0. It just sounds fuller and more resonant compared to a tenor voice. Just don't ignore the fact that there must be a registration event in the low
  4. Depends a bit on what your understanding is about "chest voice" or "head voice". In the middle range you use a coordination that is not the same as your speaking voice and also not the same as your falsetto. It has the vibratory mechanism of the speaking voice, which is why some people would say it is still "chest voice", but it has the resonance mode of falsetto, which is why some people say it is "head voice". Others just call it "mixed voice" There are several methods to learn the coordination and for everyone something different tends to work better or worse. Personally I prefer to tr
  5. It's normal for the beginner. This area is the passaggio. The main reason for the voice cracking there is that the upper vibratory mechanism (M2) is too weak in that area and will not work, while at the same time the lower vibratory mechanism (M1) loses its resonance amplification. The coordination has to be learned to sing your lower register through the whole passaggio without the aid of the "chest resonance".
  6. So here is a little test about M1 vs. M2 that I would like you to do. I think this helps quite a bit about M1 vs. M2 (and @Felipe Carvalho I have seen you do similar things on YT); - start on a low note in your speaking range on typical speaking volume - sing AH as breathy/dopey as possible - then add Edge/twang to the note without increasing volume If you do not increase volume your voice should go into vocal fry because the twang increases the fold closure/resistance and the breath pressure will be not enough to cause a full vibration - increase breath pressure very slight
  7. 1. Yes, I would think so, too. I do think that the lower male voices can do a powerful M2 from something like A4 on, though. 2. Sorry, you are right. What I wanted to say is that the width (not the amplitude) of the signal is the "vertical depth". Thus a more "square" shape has a higher vertical depth than a "bell curve shape" for example. Titze describes in his article about reading the EGG how you can put the signal sideways and mirror it to kind of get a "picture" of the vocal folds similar to the animations Rob posted. I forgot about the turn sideways when talking about the depth.
  8. Very interesting read @Felipe Carvalho and a lot more clear than most articles about the M1 vs. M2 thing. I would also agree with almost everything you said there. Here are some further points to think about. Hope they contribute to the thread: 1. Is M2 the same as "falsetto"? The thing is that falsetto usually describes a certain sound that is very light and sometimes breathy. It goes a bit in the same direction as Rob's question. There is definitely a distinct difference between a counter tenor falsetto and a rock tenor "fake belt" or "reinforced falsetto". The latter can even produce
  9. Yes, as opposed to the balloon excercise, this one is really for the diaphragm. I remember Steven Fraser describing a similar excercise with a book on your stomach here.
  10. It's simply a misunderstanding. The diaphragm is an inhaling muscle, so it will not be strengthened by exhalation excercises (like blowing into a balloon). It is also debatable if the diaphragm even needs to be specifically strong for singing. You might want to refer to the other thread about the diaphragm that we had recently. When people say "strengthen the diaphragm" in many cases they are actually referring to the exhalation muscles. And regarding those it is very important that they work freely and are able to "push" heavily when needed. These are the muscles you also train with the
  11. I can definitely relate to that. I think it has more to do with endurance though than with strength. Singing in that sense is more like Marathon running than 100m sprint. Marathon runners do not have specifically storng leg muscles usually. What they need is coordination, rhythm and endurance, to keep their muscles going for a long time. Aside from that I still think that, if anything, the exhalers need a lot more strength and endurance training than the diaphragm. The diaphragm is pretty much used 24 hours non-stop. It is probably one of the most used muscles in the body. The exhalers th
  12. Very well put. This is what I mean. The opposition of the diaphragm is needed to get better and more smooth control. It's the only reason why we don't sing on the exhalation muscles alone. There is no need to specifically strengthen the diaphragm imo. The power it naturally has is usually enough to provide the needed opposition. The exhalation muscles have to overcome the oppsition of the diaphragm to create pressure on the lungs and this pressure needs to overcome the resistance of the vocal folds and vocal tract to create airflow and sound.
  13. Exactly my thoughts. Support is a lot more about control than about power. There is no need to "strengthen" your support or to train the diaphragm. Actually, if you look at the size of the instrument (the vocal folds), the lungs and breathing muscles are vastly oversized and way too powerful to drive such a small instrument. One should also consider that the diaphragm is an inhaling muscle and not an exhaling muscle. People often tell you to "hold back" air with the diaphragm to reduce pressure on the larynx. But why would you want to "hold back" if you could just push less hard with your
  14. There is no unified definition of "chest voice" really. But on those pitches you mention you probably make register transitions regardless of the method you use to classify the registers. The pure "chest voice" usually starts to get harder to use around C4 and most singers make a register transition in the E4 area. It is not uncommon for the chest voice to be pulled up to something like G4 but rarely higher. The register above chest voice (call it "mixed voice" or "head voice", whatever) usually extends up to the C5 area, sometimes a bit higher. Above that you will usually use your falset
  15. Yep, another problem that often happens is when people "go big" in singing they tend to open up the vocal tract to create "space" when you need to do exactly the opposite (create narrowing/resistance).
  16. Yeah, as Draven said, it's just a visualization to get the "lifting" effect. There is no scientific hint that it is even possible to "widen" the palate. For some the visualization of "lifting the palate" works, for some even the visualization of "lowering the palate" (to make it easier for the "placement" to rise above it) works. Other people can trigger the correct tension by "biting the apple" or by "stretching their molars sideways"
  17. I would not say damage, but I can definitely relate to it. It is more like over-tension. It also happens if you "sing into yourself" while listening to a normal song, not only extreme stuff. You are basically tensing the muscles in the throat without providing the airstream that is usually there to provide some relaxation.
  18. I agree with Draven. I think "lifting" the soft palate is some of the big myths in singing. The recent research indicates that the soft palate actually tends to go down for the higher range and not up. There is also research that shows that the soft palate basically never fully closes while singing with about 15-40% of the airflow being nasal dependant on the singers. Nevertheless, "lifting" is usually talking about a sensation in the area of the soft palate. Jeff Stanfill has a nice video on it and he calls it "widening" the soft palate, which means you tense it towards the sides instead
  19. Yeah, but it is also very interesting how different people look from different angles at the same thing ;-) CVT modes have the advantage that they are probably a lot easier to exactly define physiologically (by degree of narrowing in the vocal tract). That does not mean that they are the most practical in application. What I often see when beginners use the CVT book and start to hear the sound examples is something like this: Hmm, Edge sounds like it is pretty much unusable outside of certain belty sound colors in the very high range (centered Edge is very close to TVS "quack
  20. This is definitely the case from my experience (I have both books). The TVS modes are also more in line with the typical perceptions the singer has from my experience. The most extreme example is Edge. In TVS Edge is strictly foward placed on more open vowels. In CVT Curbing CAN be forward placed (if you use a very open A as in "cat") but it can also be backward placed (for example on OE as in "herb"). From my experience this difference is so significant to singers in terms of perception that they would put the coordinations in different modes, just like TVS does it.
  21. I think you are using Curbing and Edge more in the TVS sense of the word, right? In CVT it is pretty much the definition of the Curbing mode that it cannot be used on volumes higher than medium. It even has a symbol that shows a volume fader going down. In classical terms I think it mostly resembles "mezzo voce" (which means "half voice" or "diminished voice"). The TVS mode "Curbing" is indeed quite close to the concept of "Covering", the CVT Curbing is not. TVS Edge on the other hand is characterized by forward placed more open vowel shapes while in CVT Edge is simply characterized
  22. 1) yes it is perfectly possible to use open vowels if you lighten the tone a lot (= bridge early into Neutral). James LaBrie is a perfect example of someone who does exactly this. You still have to stay on the open vowel (and modify the closed ones to open ones) to stay "shouty" in tone. 2) you cannot do a "non-shouty" medium volume high note in Overdrive. Overdrive will always be VERY LOUD after the passaggio. CVT states that around G4 Overdrive becomes so loud that you cannot bridge smoothly into another mode anymore because OD exceeds the volume limits of all other modes at that point.
  23. Yes, the question is: What is the best "something" for you. At least for me, modifying the vowels consciously usually leads to overmodification. The "something" I do in the high range is just to increase twang, narrow the pharynx and let the vowel do what it wants. If I sing an AH my first priority is twang and narrowing, as a second priority I still think "sing AH". In combination those two lead to a sligth modification to UH/OH/OO that gets stronger the higher I go. My narrowing modifies the vowel, I'm not consciously modifying it. There are certain cases where I DO consciously modify t
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