Xamedhi

Nice! It would be awesome to listen to a full out interpretation of this, man If it was quiet, then I don't really notice. Your voice has enough metal and adduction to make the illusion. I myself need to crank up the intensity to the max to "appear loud" on a recording. Due to my fold gap I don't have that much metal in my voice so I need to really make an effort haha

Oh, damn... lmao. Now I'm so curious I will spend a lot of training time on that area of my voice hahah If there is a bridge I absolutely want to experience it hahah It was easier when I cracked on chest voice, now I don't even know what happens in this bridge... Do you crack? Do you lay an egg? Fall asleep? :'( hahahah Keep uploading stuff, man

Java has a talent for languages! He sings in Korean, Japanese, Italian, English, Spanish hahah You're good in that, man haha I liked the song a lot! What I like the most are the high notes. it caps at an A4, but I liked the G4 the most, and the "NO" that is an A4 by the end. Those have good support, they have a good balance between vocal adduction and air pressure, sounds cool and powerful On the other parts, it sounds a bit shaky at times, and the vibrato you make, I told you this once I think, is produced probably by inconsistent airflow.

Yeah! Indeed it is very interesting. In my voice, from D#5 to E5 I feel a bit of thinning, in E5 it feels like its starting to become pure headvoice and the chest voice that was present dissappears making the sound less round and brighter. I have not experienced much from E5 to F5, only some brute full voice I did for a couple recordings and some falsetto fast and short slides having a sustained E5 as base, so I don't really know exactly what I feel, but there may be some kind of bridge idk, lol.

I have no idea. I swear I have absolutely no clue, lmao. My voice overall is kind of weak, that's how I feel, and my folds gap makes things a bit harder on the Arytenoids, so... I don't really have a reliable parameter. What I've been doing to train range is do the same long, high intensity sustains on pure falsetto as I do on Full Voice, but only from C5 and up. I do OOs starting between D-E5 depending on how the voice is, and go down around C-C#5 on EE. Why EE? Because I found that there is a place BETWEEN the C and C#5 where my EE gets a HUGE amplification and I can lean a lot into this pure falsetto configuration. I believe this is helping me a lot with the adduction on that area of the voice in Full Voice, and also, I can go higher in pitch in a quieter volume, which I couldn't before. I could do an C5-C#5 on a "drop-like" very low volume falsetto, and now I can do D-D#5, probably E5 if I concentrate enough and really stretch the folds out, lol I try this with a "bwop-bwop" quiet sound. But I can do a consistent E5 easily on pure falsetto in mid to high intensity, with short slides to F5. After stretching for a bit, I can probably onset on the F5, but its not consistent at all. What makes the folds be able to stretch so much up to F5 and above? No idea. I think CT strength is the first factor. Then the stretching of the folds, and I think that is trained by going to those notes again and again and sustaining them, stretching the folds just like any other muscle or ligament. Funny thing I have noticed is that I have an easier time singing ( and actually singing, not just phonating ) in the D#5-F5 range when my chest voice is more tired and I can't sing as low or dark as before. It's like the "weight" of the chest voice is shed, but the closure of full voice is kept, so I can go high and sing a lot more comfortable in that area. Does it happen to you Gnee? Or anyone else?

Hahahah, yeah I know.... Most of the material i like to sing, have choruses that move a lot on the F5-G5 even G#5 lmao But I'm happy if I can sing the majority of it, up to a D#5- E5. I can't even go in falsetto that high, hahah.

Hahah.don't worry, man. I can sing up to an E5 and I'm doing fine I think. I've done some occasional F-F#5 but mostly only recordings. The most important thing I think, is to master where the bulk of your singing will be

Hahahha, definitely, man! I like the direction your voice is taking. The thing about this improvising thing is that I personally go very physical and carried away. You can go as intense as you want, not caring about consonants, and just enjoying and memorizing the feelings of the voice in the throat haha I love this pillowy feeling I get on the C4-G4 area on my pharynx/soft palate. Also, the mid range and first bridge must be like iron if one wants to sing around the second bridge, so hammering on the first bridge area on a high intensity, on different vowels ( OOs and EEs are VERY VERY important! I personally work on OOs as much as I do AHs ) is one of the best exercises you can do hahah

I liked it a lot MDEW, really. I like your tone, it feels kind of nostalgic. I would LOVE to know how it sounds in a more Overdrive coordination on the "yes I love you, oh how I love you" verses. If this was indeed a "low energy" take on the song, because it wa late and you couldnt do much noise, I understand. I've read that you feel your voice feels better using more narrow and smaller vowels, right? Have you tried opening those vowels in a more vertical way?

Nice song, man! It sounds really good. You seem to get the vibe and the feeling of the song very well. I haven't listened to the original, but I like your interpretation enough to not want to listen to the original, haha. The only one thing is that I hear some consonant inconsistencies somewhere in there, like... a not well coordinated "L", so the word sounded funny, and something like that. And also, a bit of an inconsistency with the highest notes in the song, It doesn't matter that it changes a bit in timbre, its alright. Voices change throughout the range, we have all sorts of colors and spaces, BUT it didn't sound as reliable as it could be, but it could be due to not being that warmed up. In some of those high places it felt a bit shaky, or a bit chaotic, which I don't mind... but I think it was not the intention, right? That's why I'm making the observation. Overal, I like your timbre and the way you¿re using your voice, man. You have made a lot of progress Now, I know you don't like doing exercises, you like to get right into singing hahah but singing this song as a warm up may not be the most efficient way I think. If you don't like doing exercses you could just grab the guitar and improvise some atmospheric stuff, guitar and voice, sustaining long AHs and other vowels, in different intensities, until your voice feels pumped up and ready to belt and take the pressure, hahah. I do this as a warm up, I don't do scales anymore when training ( unless I want something in particular ), but now I have more of a musical approach. I just do whatever note comes out, in the most comfortable pitch, usually around the B3-C4, in mid-high intensity, and start improvising melodies around that pitch. The area of pitches starts expanding, and when I feel very comfortable sustaining long G4-A4 in high intensity then I know I'm ready to sing and my voice can take the load of more chaotic stuff, like the songs I find hard. I'm just mentioning this to you because I know the feeling of wanting to sing right away, haha, but really really it is always best to sing very warmed up. Because it sounds better and it FEELS so much better. Imagine how it would have sounded if you had warmed up before So, I hope that doing something like this might make you enjoy warming up a little more. Letting my voice do whatever it wants to do and whatever feels more comfortable, cranking up the intensity pretty fast. From the middle of the voice first, to the extremes. At least for me is far more interesting than doing scales. And if you improvise along with another instrument it definitely will train your ear too.

The cool thing about the more "curbing" like tract positioning, in my experience anyway, is that you can add more volume and play a lot with dynamics and retain the chilled or calm feeling of a ballad. Think Adele for example. Now if you play with vowels that have a more closed mouth, you will find that opening your mouth downwards bit by bit while keeping the same vowel ( there may be some adjustments inside, by the tongue or other parts, which is fine ) will enable you to add more intensity to the sound, more energy, and it will sound bigger. This is how I found to start liking the lower parts of songs haha, because I too was all about the middle and the higher parts, the more energetic ones. And this way I am able to use more energy lower, and sound bigger, and also... make these parts more interesting to me. If I don't find them interesting how will I make them interesting for others? haha If you try that, please tell me how it went, man ! Cheers

Its cool that you experiment with other genres I don't mind the changes though, but my ear is very used to it. I liked the change in that line, because it sounds more metal-ish, it also feels better in my throat to do it the way you did it here than the original version, lol Keep making covers like this As for the other thing, I think it's just a matter of taste, really. I like a lot more how your voice sounds on the "when I see your face" line and the lines that follow. It's the kind of timbre you get in that zone, where the sound goes more "intense curbing" than overdrive. Like in All of Me between 3:24 to 3:36.. And I think that is it, that I like more your curbing tone that your overdrive sound. EDIT: Your voice kind of darkens a bit more, and becomes thicker and warmer. In your lower range it is a smaller voice, and is too bright and metallic for my taste in a song like All of Me or the lower parts of "Two much love will kill you"

Oh, I had no idea that term existed. Looked it up and is very similar to what I do. EDIT: haha http://www.homestudiocorner.com/a-case-against-riding-the-fader/ What that guy says he does ( Clip Gain ) is more like what I do, though. Aravind, I think you could practice some more on the timing and phrasing on All of me. The music has very clear accentuations, and you can really use that to your advantage to make your singing more interesting. People like the dancy rythms of this pop stuff a lot

I liked them a lot, aravind. The only things I would point out is that your voice to me sounds more interesting on the mid-high range, where you can lean more into your voice. I feel like you have more control there and are able to use dynamics better. And also I noticed you changed the "when I see your face" line, that line alone makes the song for me on the original, so it was kind of weird to listen to it like that

I don't know if I'm an obsessive, perfectionist or what, really... I have a compression setting for everything I sing, and then change it when I want to do some backing choruses, or whispery effects and stuff... But the main thing is almost always static. What I do, is shape the spikes, or the vocals that stand out more compared to the music. I amplify by 0.2dB and -0.2dB for example, select parts, giving shape to them, like drawing on the DAW, until I'm pleased with the sound and how it mixes with the musical track. Am I being too hands on with the thing? lol Is this a common practice?

Hey! I listened to your 4 covers and I liked them quite a bit. The most noticeable problems were already talked about, timing, some pitchy places, phrasing... I think it can have a lot to do with you singing with earplugs. It happens to me sometimes that I can't listen to the music when I'm recording because the volume is too low, so I end up a bit off rythm and have to start again haha. Now, to me, the biggest issue is the embelishments you use. Its nice in some places, it adds caracter and to your personal interpretation, but done too much, in too many places can become boring or even "annoying". I, for example, don't like when singers do "H"s when the words don't have a "H" in there. Yes, you can do it a couiple of times and it can sound cool, but too many times ...hmmm, my ear starts picking that up instantly. Just like when you end your phrases with an "unanchoring" and you drop in pitch. I actually like when singers "hammer" the pitch sometimes, more so in a stylish way, but when done TOO much, then its all we pay attention to hahah I think you'd have to work a lot on taste, balance, musicianship, like Robert said in the other topic. You sing very well, I like your singing, and it would be great if you trained your voice and took it to the next level

Haha, thank you guys !! I'm working on my low range as much as my high range. I really want to be very versatile. I had the idea to ask for a fellow guitarrist to make the music for me, so maaaybe it could be possible, but it won't be like the original haha

Hey all! Today I had one more free hour in the morning and I felt like recording some low stuff, haha. Not many will know this song, but it's a cool one. Just recorded some pieces and edited it so it sounded even darker. I would love to use a backing track, but sadly, finding one for Ayreon is Impossible. I think it truly is, lol. I had the idea of recording a full acapella cover of this song, singing every character, although I don't know how to growl, so that'd be out of my reach, haha

What I was asking about the siren is just to prove that you can sing higher. Your folds can do that, so all the rest you have to do to sing that high is find the correct vowels and be very conscious about your breath support, as it will help immensely when articulating words on your high range. What I think mostly when I sing on a higher range, is "babbling" the words.. As vowels tend to homogenize more the higher you go ( If you want to go chesty ). Try "babbling" on this area and it will probably help you get the feeling of openness and freedom you need ( while keeping the vowel , because it's like the body naturally searches for the most comfortable way of phonating. No overthinking ) That's the feeling I look for when singing stuff like this: Everything that's on the A4-C5 range has that babbling feeling, and you can notice how my vowels are almost the same ( more towards an UH I think), just with a shade of EH or EE, to make the word understandable. I don't know if what I'm saying is graphic enough, but I will try to record something to show you better what I'm trying to explain I hope it helps, man. Singing stuff we like so much is so fullfiling, even if it doesn't sound well to others haha I support you \m/

My question is... can you sing higher than a B4? If you can't then you probably, like Bob, said, are not ready to sing this song as Dio sings it. I rephrase my question, do you have a coordination where you are in a stable, singable mix where you are comfortable to sing the song in, even if it sounds heady? And then work the song like that. You will be able to add strength to it as time passes, as you already seem to be training. And as time passes I mean whenever you feel comfortable, which can be a day, a week or a month. I went straight ahead to the hard material after I found my mix ( which was very heady and light, and still somewhat is haha ) I went crazy trying all sorts of stuff, Rhapsody of Fire, Dream Theater, Conception, even if it didn't sound convicing. My voice was not nearly as strong as yours, so you don't need to skip the "hard material" at all Just approach it a different way, maybe. Can you siren up from chest to a C5 on full voice? ( doesn't matter if it sounds heady or whatever. If you are familiar with CVT terms I would ask "can you go from chestvoice to C5 in curbing" ?

It sounds like it was an artifact, yeah, probably due to some air leaking or a raise in volume because that's a cheap mic. Or it could have been just me. In the current state of my voice ( I still have a small gap between my folds due to the burning fom the reflux and vomitting in January ), the energy I need to use for singing is quite a bit more, so I have noticed lately that I've been putting too much energy, haha. And indirectly it makes me go a bit sharp in some stuff. It has happened in other recordings I've done while practicing. Ir's more common that people go flat for using too little energy, though, but I think it's the same principal.

Thanks, man I'm training a lot I actually started practicing this song because I want to see if I can audition for The Voice here in Chile haha I don't really feel prepared yet, I really think there's a lot of better singers. But you lose nothing trying

Thanks, MDEW! I still got a looong road ahead, but now I feel like I can sing a lot of stuff, which is enough to make me happy haha

Thank you very much, Musikman !! I'll look for a good backing track and try to make a cover then:B

Yeah, it's been a little quiet for a while. I have the same approach as you, man I like singers with very different voices, Steve Perry, Jorn Lande, Ian Kenny from Karnivool, Roy Khan... and when I sing their songs I always try to get in character a bit haha, and it really helps to bring out different aspects of our voices. I'm glad that you're working on diverse stuff, man. I already commented on your version of Lights, I'd like to listen more of your voice. Lower stuff too!