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Everything posted by Jabroni

  1. Jon, have you tried top-down sirens? It's possible that coming from the bottom-up you are bringing too much weight up. When I have trouble with certain high notes, I'll start from the top and blend my way down. You might be taking the weight that you have from the C5-D5 area and bringing it up to that F-F#5 and hitting a ceiling. For me, starting around E5 is like another bridge, where more weight gets shed off. The sound ends up being a light but bright and twangy head tone. Don't put too much weight into it, the notes are not heavy, but the bright and twangy timbre makes them sound huge.
  2. Geoff Tate is more of a light mass singer: James LaBrie: Michael Kiske:
  3. It's really a shame how some people go about criticizing his voice. It's one thing to provide a constructive view of your opinions in a more neutral manner, as I believe everyone in this thread has done. But to post some of the stuff that people do on other sites like YouTube is just shameful. Not just with LaBrie, but other vocalists who maybe had an off night, you see some horrible comments. I would venture a guess that probably most of them have never sung a note in their life and have no idea what is involved in singing and how the voice fluctuates from day to day.
  4. That's great! I wanted to see Dream Theater in NYC last week but I was not in the area at that time. It must've been so cool to hear the story all the way through live.
  5. At 1:20 someone ran by... do you have ghosts in your house Felipe?
  6. M, n and ng as in "Hum", "hun" and "hung" are called nasal consonants, which are a type of semi-occluded phonations. As ronws said, they are great for resonant tracking, which is to get a feel for the resonance moving through the resonant path of throat, mouth and head. See the pharynx below for a depiction of the resonance path. A little off topic, but notice how the resonance is in a "C" path. Try to visualize this when singing or practicing instead of thinking of high and low notes. It can help you "see" and "feel" the notes in these resonance areas.
  7. Felipe, great suggestion. That is a great DT song and JLB really conveys the mood. Another one in a similar vein:
  8. These recent performances from LaBrie are outstanding. He is on fire in these videos.
  9. ronws, that's a really good interview. I would like to see more vocalists have these one-on-ones to discuss their technique and training, it's very insightful.
  10. You should give a listen to the Astonishing. Labrie sounds really good and acts out a bunch of different characters with his voice. Petrucci said that no one else besides James would be able to portray the characters like he did.
  11. Awesome cover of an awesome modern Maiden song. Great job Felipe.
  12. For me, it really depends on the era. 90's LaBrie in the Images and Words and Awake era was outstanding, I couldn't understand how people could hate his voice. He was a powerhouse and is one of my influences. He still sounds very good on the albums even to this day. However, by listening to live concert footage from the 2000's, I could understand where they were coming from. It sounded shouty and kind of splatty, which took me some time to get used to. Some concerts are good, some are not so good. Overall though, I do like his voice and he definitely has a very unique timbre. Regarding singing within G4-D5, the "closed" sound that Xamedhi refers to was important for me. This "covered" sound is what allowed me to go higher in pitch while not flipping into falsetto. Not just the covering, but the breath support needed to be correct to. Just a firmness in the intercostal muscle area. I wasn't "taking a poop", that is too much effort. Also, no gripping or strain is in the neck or throat i.e. no veins popping out. It's a balance between the bright and dark sounds. For me, a lot of it is trial and error. The A#4/B4 is my nemesis right now. No issue singing up to A4 and from C5 up to D5, but for some reason that B4 is a challenge.
  13. I've found that shading the EE more towards an "ih" as in the English word "sit" works really well as a vowel mod to move past the second resonance shift (A4-B4 area). EE is too forward for me to smoothly transition into head voice.
  14. Hi muffinhead, in addition to Chris Cornell, check out Geoff Tate as another baritone with incredible high range. Don't get caught up in the classification of your voice if you would like to sing contemporary music. Classification is really only relevant for classical singing. You can sing whatever notes you want if you practice.
  15. Felipe, I am a huge Angra fan and love all 3 of the band. Anything Andre Matos sings is usually in the high range and sounds really difficult. With that being said, this was an amazing cover of a really tough song. You did an outstanding job.
  16. The clip that you posted sounds like a twangy head voice. Whistle/flageolet/M3 register begins around C6 as Jens said, I've heard 7th and 8th octave notes and that's where the whistle definitely is, whereas the 6th octave is where is goes from a bright head tone to more of a whistle. E5 sounds way to early to be going into a whistle. Fabio Lione shows off some whistles in this clip of Carry On at the end:
  17. Just reposed my videos and comments from the previous thread.
  18. I am watching that video again. Do you know of some singer that "Twangs" a lot? Robert did it very well, but I can't see it translated in a singer, what kind of. And Robert's explanation is good. The thing is that he is very Modal, not Falsetto style. But many singers, both male and female, are totally Falsetto singers. We might disagree and call it something different. Why do you think Falsetto is "disconnected"? (Listening to Andre Matos). Early Rob Halford and early Geoff Tate were lighter singers who did a lot of twanging. "Exciter" by Judas Priest and "Take Hold of The Flame" by Queensryche come to mind. If you wanted to bridge early, going from a "full" sounding low note into a weak and windy falsetto would not blend well, thus sounding disconnected. You go from having good fold compression to having very little compression. If you can keep the compression into the head voice, the sound will blend and sound connected throughout. Listen to 2:07 of this clip, Rob Halford sirens from low to high with no break/crack/flip and a full sounding tone throughout, never going windy and weak. No strain or stress at all, just a really well coordinated voice.
  19. This reminded me of when Andre Matos explains (in Portuguese) the difference between head voice and falsetto, with a demonstration at 5:25. I don't know Portuguese, but the short demo he gives is a good example of the difference between the two.
  20. If it hurts, then your technique is incorrect. I'm not sure exactly what you're doing wrong, since without an audio sample it's just a guess, but you're probably trying to yell the note. This is a common mistake to make until you train proper technique. It definitely is possible. Hook yourself up with a good teacher and a good study at home program, dedicate yourself to training the proper technique and you can absolutely sing whatever you want to sing. EDIT: Sounds like Jens and I are saying the same thing, we just keep volleying back and forth
  21. If you practice with a good teacher and good technique, you can absolutely get to that point. Don't think of it as a limit, it's just another note that need to be worked on in your entire range. You can practice to go up into the 8th octave if you want, the limit is only set by yourself. The main thing is that you practice and practice correctly. A 1-on-1 private lessons with a good teacher is great for your training, but if you don't practice outside of those weekly lessons, your progress will be much slower. 10 minutes here and there will add up each day, then you'll realize a few months from then you've made good progress. Experiment with your voice. When you're singing or vocalizing, it shouldn't hurt. Otherwise, try out different sounds with your voice.
  22. Definitely has an interesting vowel choice and timbre. It's an acquired taste, but that rendition is one of my favorite.