Xamedhi

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Xamedhi last won the day on May 23 2017

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  1. Hey all! I haven't posted in a very long time. I've been working a lot on my singing and my band. I want to share with you the fruit of my effort, showing you our (and mine personally too ) first ever single and video at the same time. I hope you like it. PS: seems I had problems embedding the youtube link, i'd accpet wny help with that, or suggestions. https://www.youtube.com/watch?v=e3T8OtPYiTg
  2. I have a vocal fold gap, and have to constantly work to erase it. The best way I have found to avoid fatigue is actually talking in a med to loud volume and with clear and well placed vowels. If my vowels are lazy, I immediately hear the buzz of turbulent air making my voice brighter unintentionally, and this translates in adjacent larynx and neck muscles trying to compensate the lack of compression. This could turn very fast into heavyness and a burning sensation on the left side of my neck. When this gets bad it turns into an electric feeling. The placement of the tongue is very important, as Draven already pointed, its the back of the tongue which should be raised to direct the sound up into a place where a natural mixed voice starts ocurring. If you do an IH or EE your tongue naturally rises on the back. if you keep the velar port under control and dont go crazy on the NG sounds you should be fine. I tend to sing with a sensation more towards Ds and Bs, to avoid nasailty.
  3. Have you listened to Haendel's Messiah? Dude, those Baritones singing tenor parts sound awesome.
  4. I never ever warm up with lip trills or lip rolls. My voice has a tendency to get light and unconnected, so doing those doesn't help me at all. They dry out my vocal folds and kind of nullify any ability of me to generate a chesty tone above my second passaggio hahah So yeah, you can warm up without lip trills. What I do is WAH-WAH-WAH and YEH-YEH on the center of my voice on a medium volume and then loud for about 5 minutes. For my particular voice, which has a tendency to pull my larynx up, I focus on keeping a more "classical" position, so my chest voice engages better and in a beefier way. The head voice muscle (CT) warms up very well on the extreme of your chest voice, so if you do a sustained "yell" in a controlled way on say an E4-F4-G4, depending on your voice type, your headvoice will automatically be warming up. After I do that for 2-3 minutes, I do the same WAH WAH with the same position but in a lighter way, from the center of my voice to my highest headvoice note, and then come back trying to NOT CRACK. Coordination above all. Don't crack. And then lean on it more, bit by bit, until you can do medium volume NOT AIRY falsetto/headvoice, going down like a siren wth the WAH WAH's, and not cracking. This is where my warm up ends and I begin the beef of my training. Then I do a couple of medium to loud OOs a bit above my first break, and then I'm ready to go to the full voice sustained WAAAAAH sirening up and and down that I do. Then I do YEEEH, YIIIH, WOH and then WAH morphed into an OO and siren up. All of these are sirening up and then down on the same breath. Concentrating on not to crack anywhere, not even an unintentional vocal fry sneaked into the second passaggio/break. This is loud ( loud for my voice ). This can go on for like 15 minutes. Then I sing a couple of songs to practice the real thing, and then to finish I do another couple of minutes of controlled "yelling" on WAH, YEH and OO( Overdrive really, for those who know the term ) At this point my voice feels really worn out so I start doing warm down WUHs from the low-med range of my voice to my high headvoice, in a med volume and then backing up to a lower volume. This for 1 or 2 minutes. I have to say that I have a vocal fold gap, air leaks through my folds unintentionally all the time, so I have to be very conscious of the sounds I make. They HAVE to be sealed, they MUST sound closed, never airy. Whenever I feel brightness due to air I stop immediately and start again. I must avoid vocal fry and whispering, and I need to talk med to loud and clear, with well positioned vowels, or my gap starts bothering and fatigues my left side of the neck. Whenever I relax and let my larynx rise and do poor vowels, by turbulence kicks in, and in question of minutes I start feeling my left side of the neck burning and if too much, starts goosebumping. So I know that this warm up works well for me because I start at the next day with a stronger voice, both on the chest voice and headvoice side. If you're wondering how do I sing haha, here's an example:
  5. Men don't form nodules as far as I know, Only women and children. You would have to yell everyday for hours for a good couple of months. You probably have just an imbalanced voice right now, try to balance it with exercises and don't yell as it could be too tough on your vocal muscles.
  6. I forgot to mention that using it on my lowermid to low range is almost impossible, at least for now... It seems that I need the smaller space a higher note requires to make the walls -or whatever vibrates inside the vocal tract- to be nearer and be able to collide. I can do this from like E4 and up. Doing this on B4 and up is easier ( when I get the coordination right), as probably my twang helps with the walls touching.
  7. I'm currently learning how to do that distortion, it's the only one I've been able to do in a healthy and sustained way. Support almost doesn't change in the mid range, it's the high range that needs more "push" at least on my voice and right now. I really concentrate on keeping the base phonation's sound height of the larynx and embouchure position, and only moving the parts OVER the vocal folds, and picture like there is nothing obstructing the actual folds. Just ask me if you wanna know something else that I feel or whatever, I must say I found this less than two weeks ago though so take it as a grain of salt, lol
  8. This is not very related, but I couldn't stay silent, hahah. As much as I deeply love Kyo for his awesome screams, I wouldn't take his early screaming ( up to 2009 probably?) as an example to follow xDDD unless I want me some nice vocal surgery xP His Uroboros' screams and later sound way healthier though. I totally relate to that, man. When I "sing for myself" , as my mom tells me to do so I don't bother the TV viewers hahah my throat sets into a placement or coordinations that makes my normal singing harder later.
  9. I think of the EE up high as a modified EH. I play around with the position of my tongue and found out that most of what makes MY vowel EE is how I place the BACK of my tongue. One exercise I do is to see how much I can open my mouth towards an AH without the EE changing so noticebly. You will end up with another vowel hahah but you start recognizing the boundaries of your vowels. This is how I shape my EE probably from E4(this one I'm not sure, probably an F4?)-G4 and up, it's like an EH, but I modify just enough for it to sound like an EE. I hope it helps, man
  10. If you have practice improvising or you like it, you can try to fill with that between a couple of songs, man! It could even be of use for you for a future song
  11. Could you upload an example please of how your vocal fry sounds and how the full mixed sounds like? Around an A4-A#4, or higher if possible
  12. It doesn't resemble a vocal fry at all though, in sound. Maybe in the "tight" and "sealed" sensation, but not in sound.
  13. By base level I mean a minimum energy that will be required to "mix", or to engage the TA musculature. The "maximum" limit, like if I want to be louder or sound more chesty, has developed in time.
  14. Training has been fruitful on me, I also achieved the one voice sensation , and I don't worry about bridging now, it happens on its own if I just use MY correct vowels and sing with intention. Whenever I try to lower the volume or energy too much to see "how far can I take it", yeah, it cracks... but that's an awesome example that the voice wants and needs a base level of energy to function properly at any particular range. The best advice I can give you is the same as Bob's. Work the hell out of your falsetto. To me it's the most important and fun thing to do, and also, it's essential to any kind of singing to warm up those muscles. The heavier you wanna sing, the stronger your CT has to be ( to stretch the now stiffened TA ) , and if you sing only in falsetto, you still need to warm up and work the coordinations. So 1) use YOUR best bridging vowels to work on your voice and stability and 2) Work the hell out of your falsetto.
  15. Emotion gives me chills, even if sometimes poor in technique or pitchy. Also, the build up and handling of the rollercoaster of emotions in a song is crucial. This is an example of what gives me chills. She sings it so fragile at times, yet so powerful and sincere. And she expresses it with her body and face. The build up , as I say, is really important, so the complete song is what gives me chills, only that they happen at the end when she does that improvised belting. And then when she calms down and lowers intensity adds to that roller coaster of emotions. And on top of that, to be able to do that as nicely as she did, you must have very good control, so I also admire her technically. As I said, it all adds. EDIT: I just listened to it again ( I posted without opening the video) and I got the chills when she says "I've never learned to hold on.....*and then a spoken* yeah. Hahahah Full goosebumps. And then from 2:35 and on, she feels so free. Its like crying out loud. Its like, idk... It feels so sincere