Gneetapp

you dont have to "quit" something just because it doesnt come easily and you dont have to quit just because you wont be a star overnight. Sometimes you just have to take your time and look into it a little bit
ANYONE can sing to one degree or another and maybe you are just missing something basic like decent breathing or something similar?
 
Many people told me I cant sing or play guitar etc....but I cant quit because I suck at gaming too...so im stuck.

"(guitar) play it properly (something I can't do "
Learn the Basics first.........Chords........Progressions.......Rhythm............    The rest is subject to opinion and choices.  First and foremost a single guitar provides a basic rhythm (beat) and basic chord structure accompaniment for the singing.  The rest is embellishment that is learned a little at a time while gaining confidence.  Much faster this way than trying to perfect the embellishments first.

Alright, so 5 months later, here we go! Going to upload some stuff within the next few days.

I love Bonnie Rait.  I already thought about learning this. I thought it would look like I was trying to copy Robert or something so I stopped. Good or Bad I'm in.

Reaper here.
I noticed some folks record acoustic guitars to sing along. I have a tip that works wonderfully with any 2 channels interface.
- Record the guitar using two channels, one with a mic in level with your ears, and close to you, pointing to the fretboard, another with the line out (if the guitar has some sort of pickup, if not, another mic pointing to the bridge).
- On the first mic (fretboard), apply some compression, not more than 3:1, with a very short attack, perhaps even 0 attack. This will be the "center" channel, and will carry body and warmth.
- On the line out/bridge mic, apply a high pass filter, cutting everything bellow 100Hz, or even higher if you can get away with it, experiment. Also apply compression, but now, leave a decent attack time, something between 5 and 15ms should work nicely. This will be your "side" channel.
Now for the trick, duplicate the second channel (line out/bridge), pan the original hard left, and the copy hard right. Then on either of them, this is up to you, unlock the "snap to grid" feature of your DAW and DRAG manually the whole track so that it gets out of sync by a few miliseconds. The offset should be visible with a good amount of zoom but it should be quite gentle, don't overdo.
And that's it, a simple technique that can be done with almost any DAW default tools. It will sound rather good, provided that you play it properly (something I can't do )

I have sonarx2 studio. I still have no idea how to use it.... but one day....one day may I unlock the knowledge 

I'm now remembering that, some months ago, we were working on voting for a song for one of our new genre challenges. One song seemed to get a lot of suggestions, but because of the selection process, it did not get chosen. 
Things must be kept uniform and fair, but the most important thing that goes on here is that we choose the challenge songs that everybody wants to sing. 
 
With that being said, who would still be up for an I Can't Make You Love me Challenge?
 
 

Reminds me of Steve Martin's bit on how to make a million, tax free.
First, get a million dollars. Second, when the tax man comes around to collect the tax, remember these two words - "I forgot."
Great song choice, MDEW. The best parts were the "fake" part. Though I am going to have to channel Jens a little bit. It was not "fake" unless you entire voice is fake. Why? Because it is a sound that you were able to emit with your voice. What's different, whether you imagine an old man voice or not, is how you resonated and how you did the vowels. Which means you do have control. Which means that creating that sound was not a matter of invasive surgery, it was a matter of disregarding things told to you in the past.
Singing is mental, as mental as is martial arts. One of the few things I have had "official" lessons in is martial arts, assorted combat, armed and unarmed. In 1977, and it sticks with me to this day, my Kenpo Karate instructor (who was also my scoutmaster and a lead person in the church I was attending) pointed out that the kicks, blocks, and punches were ten percent of the art. Mentality was the other 90 percent. He was right, as I would later find from my friend who was a SEAL in Viet Nam. And would see in the Dao of Jeet Kune Do, Bruce Lee's viewpoint in the subject.
And I think it holds true for singing. Doing the work of training is a thing we can do. Changing our minds to accept the instructions, AND the results, that is the hard part.
Keep faking.
 

https://app.box.com/s/xtczgyz7dgjy48mtrmqg0yydtkwh0466
Whitesnake cover!

Hi MDew, I thought you've come a long way developing your sound man. I liked your tone throughout the song, except at the bridge, where it sounds like you lost focus. I think you are on the right track with your voice, and with more practice you'll make this song sound really good. I kind of agree with some folks here who say that you might benefit of using support in a better way, so you would be able to stabilize the voice. Even though I don't think that you will sound beefy with more engaged support, as I believe it is just a matter of vocal placement, but I think JonJon made an interesting suggestion of trying to sing/emulate Dickinson or Dio to get a different sound. I think it would be safe and beneficial to you to experiment, as you already know you should not yell to achieve these types of sound. Cheers

Thanks Gneetapp, This was an experiment, Now that I have the idea to use someone else's voice if you do not like the tone, I have been making a little progress. This is a lighter version of Louie Armstrong.
I have been imitating "Speaking" voices since childhood but with "singing" I had the impression from many sources that it should be natural without manipulation. Most Vocal Technique books and Videos on singing would have you do scales and sirens "Slightly Above" your speaking volume and "Relax" extrinsic and intrinsic muscles.
Imitating voices is the opposite of that. Some people may have a natural tendency to compress the vocal folds, engage the twanger and really fill the lungs before speaking but that is not my tendency with normal speech.  For imitating I purposely manipulate these elements.
Luckily for me Roberts Program has you Compress, Twang and Dampen the larynx with purpose for the sake of "Working out" the vocal mechanism. If it was presented to me like that a long time ago I would not be in the shape I am in Vocal wise.
Other programs would have you Do the Meh, Meh, Meh for resonance, Nae, Nae Nae, for twang, Buh, Buh, Buh for compression and Vocal fry for fold closure but they would have them independently with slightly above speech volume never giving the idea that these things are used purposely together ALWAYS.   Robert puts them together with Work flows and that is why there is such a difference in his program than others. AND he shows the intensity and passion that goes into it. 
 

Tony Rice was born in my hometown lol. (though he moved away as an infant)      He did a show here a few years back. he was still getting it pretty good.
 
I gotta say it....you reference your childhood and your perception of families expectations or feedback they gave you or whatever. at some point though, as regards singing, you need to let all of that go
Im only reading between the lines because I dont know your background that well.
Im gathering that you are saying that you came up with a strong bluegrass background, or other traditional "mountain" vocal style. But now you want to get into more traditional, middle of the road rock type sounds
 
In that case maybe youd be better off to actually try to OVERCORRECT a bit.  For instance maybe actually go for a real Dio sound. A really heavy compressed, super supported sound. Or maybe even a Bruce Dickinson tone, which can be a heavy covered sound.
Those sounds are OPPOSITE of what you have now. and you may never actually reach those sounds....but in doing so, you'll probably end up dead in the middle with a good basic rock tone
 
its kind of like if you have $50 and want to become a millionaire. Whats the best way? Well a good way is to aim to make $10 million...then even if you only get halfway there you easily reached the 1 million lol
sometimes it better to make a radical mind shift as opposed to inching along
 
Peace, JJ

I was playing in a local band, we played at a graduation party, mostly family members of the graduates, I sang with an acoustic while the drummer was setting up and the rest of the equipment was put inplace. The audience just stared at me. I sang like 6 songs. Not a peep. When I walked off the stage many people pulled me aside and said they loved what I did. I just stared back and said "Why couldn't you show me that while I was up on stage feeling like a fool?".    Sometimes you just get a tough crowd.

It's partly how the mic reacts to plosives. Get real close to a mic and just say like B or P real hard and it wil pop the mic. There are mic shields, but a real good one can get through.
There are a few other factors. When you sing a vowel there would be less compression than some of these plosives that block off the airflow. So if you have a higher compression and then kind of 'explode' the voice it can be more fatiguing.
Beyond that, it can be stylistic. But sometimes a hard consonant is great for effect. Think of them as percussive elements of the voice. If the rhythm makes sense, sometimes it can form a bit of snare/kick/hi hat drum effect. But if it doesn't make sense, sometimes it sounds like there is a guy pounding on the snare drum completely randomly, because unless the words are written very carefully it might not sync very well to the music. 
As a general rule it usually sounds better to go easy on them if in doubt.

There are a few technical issues. It's kind of droney and drifts flat. The droney thing has a lot to do with phrasing. You can try to treat each syllable as something special. Like you're tossing out syllables to the listener at different speeds and intensities.
For the flat thing, if you have an instrument like a keyboard, play the melody on there and sing along. Try sweeping abovee and below the notes and right on the dot. It's more of a feeling and an inner ear thing that gets developed over time. 
At the end the high note sounded a bit strained, it sounds like the speaking voice is getting squeezed. Bridging into a lighter phonation or supporting the note with a clearer vowel would both work, but it's not an easy fix there. Toy with vowels and with sliding a falsetto around at different volumes. Don't be afraid to try different things than the speaking voice. 
The more recent clip is going to be more difficult for people to hear pitch without a reference (backing). But I think the pitch is overall less flat at least compared to itself, and the phrasing has more emphasis and variety. The high notes are still going into a strained territory and sound flat due to tension. 
If you keep training, and especially training smart you'll be able to address all of these things. It will take a lot of time and diligence. Targeted lessons could address these things faster, but at the same time, a willingness to experiment can go a long way. Things to toy with would be try making sobbing sounds, yawning sounds, operatic sounds (think an open throat), quacking sounds (twang, middle back of tongue arched upward), hootie sounds (falsetto like an owl), piercing sounds (lean into bright resonance), quiet sounds (murmuring), and loud sounds with open vowels. But try to make any given sound with the least strain.
A big part of it is coordination and flexibility. Right now it sounds like speaking voice is getting slammed upward and hitting limits. Your coordination will likely need to be a little different up there. Most of us are the same. Whether we were taught with lessons, trial an error, or books or whatever. When dealing with pitch range we've all had to be flexible to some degree.

Yeah, so many choices there. Would allow us to hear some interesting stuff.
Like a Late Legends 2016 challenge? I like that.

MDEW, I remember I once said this is one of Bee Gees' songs I can sing. But that was before I really tried.  Good Job!!!  

Hey Champ,
 
Ya, ok... but this presents another issue. How long have you had 4Pillars?
Look, I often hear this, ... "I want to wait a while until I get this done or that module finished or the book read... ", etc.. 
Don't get trapped into a procrastination cycle!!!
 
You do two things... you study the course work while at the same time, you train the workouts; onsets, ITRs, etc... 
Not one after the other, its both at the same time... Your in the gym now, get going, start working out.

Yeah! Your timbre is really good for this song JonJon! I liked it. I can totally relate to you regarding the high pitch passages man. But it takes good technique and good practice to even things out. Good sound.

Yeah! Your timbre is really good for this song JonJon! I liked it. I can totally relate to you regarding the high pitch passages man. But it takes good technique and good practice to even things out. Good sound.

of course, now that im just walking around the apartment singing, I can hit all the high notes lol

I've been teaching a lot of new students lately, so haven't had time to dive into the course as much lately. Granted, I've been teaching the onsets in more of a TVS way now, and have noticed a big improvement on helping my student's get results even faster than before, not just that but pinpoint issues extremely fast too. For myself, it has given me a lot more control over my voice as well, but in ways I didn't know were even an issue. This is exactly the type of program I've been looking for, since I feel I'm already pretty advanced in my singing.
I'm writing this just to say thank you for one thing in particular. After learning the lift up/pull back technique, using TVS coordination onsets, and even contract & release (although I overused it at first, ouch, lol!), my opened up my voice more than I thought possible. Before, I could easily sing a C5, even up to an E5 while belting, but only for about 30 minutes before feeling some fatigue. I could even belt up to a G#5 for a very short period. With the fatigue, I figured I was pushing too hard, but didn't know another way. So, with the new album being written, I simply started writing and altering my songs to stay lower in pitch than that.
After practicing TVS methodology, I quickly realized just how much a belt is truly just head voice with TA being added. With this realization, I could suddenly control the volume and pressure of my belting much more than before. I can belt the E5 for hours now. To be clear, I know the difference in sensation and sound from a true belt vs. falsetto with twang or added harshness. I haven't ventured much above that, since I currently still fight the urge to push. The last time I belted the G#5, I was teaching a soprano a certain song, and didn't realize how high I was singing until it started hurting 15 minutes in. Then it was too late, I had pulled a muscle and it took me 3 months to recover. Needless to say, I'm overly cautious about belting above the E5 now. Not that I normally sing anything that calls for anything higher than that anyway. 
I'm very excited about this discovery, and I'm looking forward to the lesson on belting to refine it even more. Thank you for taking the pressure off my upper belt range. This will be extremely important as The Silent Still begins to tour our Rock Circus Masquerade production at the end of this year.

Hi JonJon, it's difficult to give you precise feedback, because in the recording you can't actually hear how much resonance you have (how loud you are). But it sounds to me as a soft speaking, lullaby singing kind of volume only on a high note, wich makes the volume a little bit higher. Basically the higher and or louder you sing, the more support you need. And support is something you have to consciously apply, otherwise it is probably going to be passive support. For those killer notes you need a ton of breath support. You need to squeeze yourself empty, go super saiyan like your are crushing a diamond inside your belly with your core muscles (pulling in lower abdominals beneath your bellybutton, pushing out flanks, engaging lowerback muscles and a sensation of pushing your diaphragm down). Franco Tenelli in is his art of appoggio series on youtube explains it with examples of what the sensations of good breath support actually feel like. Shortly put: no tensions whatsoever in the throat or neck, and when you're a newbie, sore core muscles and maybe even difficulty breathing after sometimes only minutes of singing with appoggio support. It's is possible you are going to be sore the next day like you over did it working out in the gym.
Power and technique cannot be bought separately in the store of awesome voices. The strength is part of the technique. Some people will say you need some strength in the muscles inside your throat as well. Maybe, but it is not like you can bulk those up, they going to stay small, it is more a matter of coordination. 
As far as vowels go, my theoretical framework by wich I understand the voice is that of CVT (complete vocal technique). Not everybody  is familiar with that and maybe you already use Lunte's four pillars. Wich vowels you use on the high C's depends on the sound you are going for. An open O vowel as in 'open' is possible but very difficult and loud and shouty. An easier option would be a more twanged vowel as in stay or herb that you can make sound like uh as daniel said. An uh that is very loud, twanged and aggresive, snarling sounding. Think of chris cornell on his high notes.  The uh vowel can also be sung more quietly, (still louder than what you are doing now) in a held back plaintive manner. Think stevie wonder. 
But what I hear most of all, is not properly supported high notes, not just by you on this forum. Lots of peeps. 
Sing the passage you wanna learn a semitone or couple of notes lower, get it right and move it up a note. Maybe start on the pitch where you feel you are resonant with ease and work your way up. You have got to learn the right balance of support and manipulations in the throat. This takes some time. Practice everyday, you will get there. 
 
Hope this helps a bit.
Woof Woof!

Ty guys. Really appreciated. I could have done a better job but i did it in full take and didnt bother to edit bad parts.
 
Gonna do a dream on full cover  soon when i get time

The whole vowel modification thing is finding a throat shape that works for you. Have you ever listened to Bon Scott on early AC/DC? Did you wonder why you cannot understand a thing that he was singing? it was not because he was singing with marbles in his mouth, it was because that is the throat shape that allows him to sing that high.
  The proper UH for you may be something that does not even sound like UH. A fine example of Vowel modification is Adele Listen to her speak and then listen to her sing. There are many Videos of her performing live. I use her as an example because of the BIG difference between her speaking voice and her singing voice.