Xamedhi

I see!  Well, what helps me sing lighter in the high range and keep the voice more nimble and agile in that range is, first, back off the volume ( I've gotten used to use full volume because that's how I've been training, for strength ), but keep the pressure feeling on my throat, and think of a more cartoonish voice. A loose, released cartoonish voice, like Disney characters.

An interesting feeling to play with is like when you hold the air to take a dive, BUT did you know you can go up in pitch in that configuration?  It's like sirening up silently. You feel the larynx tilt when the folds stretch and everything. Then from there make a sound.
To me it's hard to keep the closure as I go up in note, my glottis kind of "relaxes" and I have to concentrate a lot on keeping the feeling of pressure. Then playing around for a couple of minutes like that, making connected headvoice is a lot easier.
From there, try to add a bit more volume, and more volume until the configuration feels stable enough and loud enough to sing whatever you want.
 

That's cool then, because when you try that better warmed up youll find a lot more ease and stability.

As an experiment, try to think of falsetto when doing the B4+ range, even more so on the C5-D5, but keep the intensity of the "yell" coordination at G4-A4. It may help you release a bit of weight and let the voice release more. Your chestvoice is very strong, so it will keep the stability of the coordination anyway.

Also, by the way you are connected in B4-C5, when you are actually well warmed up, you will most likely be able to just slide up to D5-E5 using the same coordination you are using at C5, actually it's not that difficult, because the connection is already there.
Also I feel a second "lightening of mass" around A#4-B4, so I feel the C5 a bit lighter than those two notes, and also a change in resonance ( it feels more deep on the back of my throat and pharyngeal ), but if I keep the energy going it just works itself out. Walk through there very slowly so you get to know what is happening and what is moving, and memorize the motions.

You seem to have a lot stronger chestvoice than me, so that may be why your second bridge point is clearer and higher, but there definitely is another "transit zone" to skill the way through so don't panic haha
Now even it that area is shaky, you should still be able to go up and up if you release more weight. I personally feel like it's just like the back of my throat/folds doing the job when doing lighter phonation stuff, and also the resonance feels a lot more pharyngeal.

 
This is the sound difference in my voice, btw, of the lighter approach on the high range versus the more intense one:

Light and "easy"( less energy required ):
 
 




And the same range but with more intensity, trying to carry more weight up ( more demanding energy-wise ) :

In here the thing I do from 1:14 and then at 1:41
 



And here you can listen how the quality of my D#5 is more pharyngeal or "higher in placement" than my A#4 or even the brief C#5's. 
 


So, try to pay attention to how the feeling of the "air pillow" inside your throat changes depending on which note you are and in which intensity, because as you probably can notice, this "placement" changes depending on the intensity and TA activity involved in the phonation.

 I suggest working at least for a week or two, only on medium intensity as it will be easier to pass through the transitions. Your voice is already quite strong, more than mine, lol, so strength is not the issue here, at all. Focus on the coordinations for now, memorize the motions and the formant shifting.

Another point is that ( also relevant to the warm up thread ), I have a hypothesis that if you haven't warmed up all the muscular groups that work on low, mid and high range in the voice, in different intensities and vowels, then most likely one group will limit your voice capacity. Meaning that probably your TA won't be able to handle the pressure on the higher range, or the CT wont have the strength to stretch the folds and handle the tension the TA is doing, so to me personally warming up is very relevant when singing in the higher range, and in my voice, I dare say... mandatory. lol

Yep, that's it

Try to release just a bit of weight or "grab", and see if the C5 becomes more stable or resonant, and also see how higher you can go, by releasing more and more weight. With the resonance you are using, even if you lighten a lot more it will keep the "chesty" timbre I think. See what happens! you don't lose anything by trying  

I liked both, a lot. But I liked the first one even more, I can imagine more or less the song structure it could have and how the build up works for the climax and stuff... Also I like intense ballads. I liked your ideas to the point of wanting to sing them when I listen to the end result, and I only want to sing stuff I feel.
Also I think  your voice fits well your style of creating. Of course I'm only judging from the two recordings I just heard haha

I liked both, a lot. But I liked the first one even more, I can imagine more or less the song structure it could have and how the build up works for the climax and stuff... Also I like intense ballads. I liked your ideas to the point of wanting to sing them when I listen to the end result, and I only want to sing stuff I feel.
Also I think  your voice fits well your style of creating. Of course I'm only judging from the two recordings I just heard haha

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.

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

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.

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.

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?

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

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've read in some recording tutorial that you can also normalize your vocals or song, but instead of doing it in one move, you actually identify the different parts of the song and normalize each part in separate. This way you don't lose the dynamics of the recording...

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?

Took a listen to the last sample (mix) and in my opinion you sound really good... The only part you were a bit more nasal to me sounded more like an intentional part of your interpretation, am I wrong in that regard?
Anyways, lets be rational, you sing well, maybe someone can say that its not their cup of tea because of their personal taste, but you sing well and this is undeniable. If someone within a group of singers, someone  that is supposed to be an expert, went out of his/her way to say this rather useless piece of information to you while the other folks can't sing in key (and therefore for all practical purposes don't yet know how to sing), I would say its most likely that the problem is really not you.
Keep working with your current teacher, and congrats for the work done so far btw. Send more songs when you can

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  

I took a listen and honestly I did not like it.
In my opinion, you did not just change the song, it seems more you had a vague notion of how it went and then just did whatever in top of it. The two major problems are in regards to rhythm and the mix itself, vocals are dry on top of the track.
I don't know if you are not used to the style, but my suggestion would be, before changing the song, learning it. And if you want to make big changes, you have to make it your own (as in, you will learn the whole thing, drums, bass, guitars, keys, backing vocals, everything that is in there, you should be able to recall and know how it goes). Its a hell of a lot of work, in my opinion too much just to cover a song.
 
Now, in regards to comments made, in special by user KevinRichards, don't take it so seriously, the guy had a video a few years ago which I don't know if he took down from his acc (and should) where he was doing something like 90+ takes on his own song and it still sounded awful.
Even the demonstrations that you can find from him on youtube are full of tensions that totally messes up tonal quality, problems with melody and intonation, confusion in regards to falsetto and head voice, etc.
 
But do aim to set the bar higher, and be honest about what you can teach, if you don't control the quality you deliver, who will? Its way easier than having to defend yourself. If you need help with this style add me on skype, lets chat sometime.

This can only make it harder. Your vocal folds along with your false folds and your glottis regulate both the airflow and airpressure; your lungs (and thus diaphragmatic breathing) is important for the capacity of air and the consistency of flow.
You especially don't need so much airflow on strong, connected sounds, but you do need air pressure. This means that you don't need to take so much air for high notes in a connected setting. Singing in falsetto for instance, requires a lot of air, because the airflow is so high and so you lose air quickly.
I suggest you don't think about your diaphragmatic breathing. For now, only pay attention to keep your voice open:
Retract your false vocal folds: practice inhaling and exhaling WITHOUT making any sound; you might notice that you're opening up your voice in order to stay silent. Then try to sing a scale with the same sensation. Use a more simple scale: C-D-E-D-C and up and up. Use the "Mum-Mum" sound to keep it warm and round. Use the "Nay-Nay" sound to make it sharp and compressed. Go back and forth between the two sounds to find a balance that could work. Good luck.

Hi Hunter
if your having trouble with runs this is what i do, i sing the the part with the runs really slowly and really make sure i get every note then speed it up (it helps a lot.
you have a nice voice just keep up the hard work

Good point, MDEW, on interpretation. In a live performance of NIN, Trent sounded more threatening. Cash sound more remorseful, which is the feeling I had when I sang it. I have hurt people, either intentionally or through my own fumbling messes.
So, what you bring to the song can influence the song.

Nice Job Felipe, ......... Just an observation ............. it helps to record this after a few days of beating yourself up over all the crap that goes on in this life.  There is a certain pain that causes one to think......." I hurt myself today, just to see if I can feel " .........Been there done that .....the expression of this feeling is very subtle. To get it in your voice almost takes reliving it as you sing. It is never a matter of "do I sing this dark or do I express it through a talk/sing? "
    I am also not proposing that every time you sing this you must be in that state of mind (that could put one into the loony bin,).......but certainly while working the song and getting the nuances down it helps.

Man, that is very good

You're getting the hang of how the vowel and embouchure changes while going up, and you are getting how to smooth that passaggio.  Very good.

Some suggestions :3 :

            Your head tilt to your right is a very ingrained thing, try doing the same notes,  hold them for 5 or 6 seconds, and while you are in the note nod left and right, like saying no, slowly and then increasing the speed, just to check if your larynx is maneuvering freely inside and no skelletal muscles are being involved unnecessarily.

       It is noticeable that you put a lot of attention on how you are doing the sirens, although I'd recommend putting even more attention, and doing it even slower, at least for a week or two .  Really, working slow will give you crazy control. You'll feel eveything, like a vocal Daredevil, lol   Muscle memory really is key in this    I'm a ballet dancer, so I know really well how muscle memory works, and how any difficulty will decrease incredibly just by knowing in your body what to do when.
 
     I tell you that because I noticed that you start to rush a bit on higher stuff, don't avoid it, or try to get through it so it ends quickly, haha. Our weaknesses can often become strengths if we put in enough attention and effort on them.  I'm referring also to when you demonstrated those high shaky notes, you almost didn't have any pause in between each other, it would be better to take your time, get your muscles neutral again and try to nail it ( even if it sounds shaky again, you tried your absolute best   That's what counts! ) . I promise if you do every single thing with complete awareness and detail, then in time, all you will have is what is correct...
      This is nitpicking, but I'm a professional nitpicker, haha. I started doing ballet when I was 16 ( OLD :'( ) and I was the weakest in my class. I have followed this philosophy of life and now I'm one of the only two students of my original class that actually graduated and got in on the ballet company. So I guess my experience counts as something, haha
 
 

Hey man! I think it sounded awesome  the only thing I would change in order to get even closer to the original would be to open your eh's a bit. make them a little more towards oh and you are spot on.
If yu do plan to do an instrumental and vocal cover, please let me know of you would like any guest singer  ayreon is one of my top favorite artists so it would be super fun to be a part of that.
Anyways cheers man, sounding really good