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Gsoul82

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Posts posted by Gsoul82

  1. 1 hour ago, sjs94704 said:

    Yes, Reaper can adjust octaves.  And, I'm not looking to take a long time as Draven says to work on being able to reach higher notes and is the reason I asked:

    "I have highlighted the phrases that seem too high to be comfortable for me and so I would like to make a smooth transition downward in notes vs. upwards as the original goes"

    So, if anyone has any suggestions, great!  Otherwise I consider this post closed!

    PS- I'm not here to get solicited to buy a singers training program. Just some advice ....

     

    Right, you're not here to get solicited to buy a singers training program, but think about it; you can be in here getting help for free because you've been granted free access. Think about that :D

    As for the song, if you're suggesting that you move those highlighted parts down but keep everything else the same, I wouldn't do that. You risk messing with the feel of the song that way. So, I'd go with what I said.

     

  2. So, I finally have a technique question. I saw a video about grunting and I essentially was able to work it into a growl that I can apply to singing. I can consistently do this now, but I know this can be harmful if done wrong, so I was wondering, to those who believe they are doing this right, and can consistently do this and have never had any problems, how does it feel to you? I've experimented with it, but not used it a whole ton. I've gotten it to the point where I barely feel it very little, if at all. Just looking for experiences to compare it to.

  3. Speaking voice has nothing to do with your vocal type. Our own in-house coach, Draven Grey has even said most of his students speak at the lower end of their range. I think voice type has more to do with where your voice sits. So, where you can sing with the most ease while using proper technique.That's what I've gathered.

  4. On 8/1/2018 at 9:49 AM, Kat said:

    I would like to join in on this topic because it is something I have pondered often. For me I believe it's all about making you feel the emotion of the song. There aren't nearly enough singers who feel a song deeply enough to make me feel it, that being said there is one who always makes me feel and believe it, her name is Beth Hart. I am going to attach one of her songs. Let me know if you get goosebumps also.

     

     

    I watched the whole thing and it didn't do that for me. I was wondering if that feeling could be generated in you independent of whether you're into the stuff the singer is singing.

  5. 3 hours ago, Lord Zefron said:

    No I am a computer hacker by day and a forum spammer by night (good post there about our freind silly little man, still fooling him self year on after year with his second passagio break LOL).  and funny enough it was myself Lord Zefron who posted that shite about silly littl man

     

    Any road to stay on topic, it takes a lot of lessons and study and practice to master this

    Contempory singing modes classifaction, 4 types, Breathy (fasseto to you), whimpey, wing/ wine, call (or belt to you)

    can not explain them well in words but there are sources out on the next that might help with videos. But best find a teacher who understands this classification and can demonstrate this to you and then you can practice the modes over a set of scales. had this tuition myself but still bolexed it up for months on after

     

    Did you ever work out if you where a Baritone or Tenor, I wonder if there is a test for this

    Yeah, that's what I'm saying, lol. I had to get lessons and have somebody tell me. I don't remember all that we did, but there were a bunch of things we did to test the voice out. I was always much more about how to do stuff rather than how everything works. All I thought made somebody a baritone or a tenor is that they just naturally had a low voice or a high voice; it was just whatever came out. I'd see some debates here and I never went back and forth because I didn't have much of an opinion. We did some exercises and he (the coach) commented on how I went into the higher range. By higher range, I mean the 5th octave. There was some "ease" to the way I approached it. Then we kept testing things and where I bottomed out (about a G2), I was told, was around where tenors bottom out. I had no idea, but that was true for some of the tenors whose ranges I knew. So, essentially, what was being said was that the way I approached the 5th octave, when using proper technique, made me a tenor. I had nothing to compare it to, of course, because I wouldn't know the way it feels to go into the 5th octave when you're a baritone if I'm not a baritone to begin with. It all made sense though. I thought for 8 years that I was a high baritone, then I found out I was a tenor when I applied the proper technique. It's amazing how easy things can be when you do them right, lol.

  6. I think The Four Pillars of Singing deserves a spot in your list of consideration. I don't know about the other ones, besides Singing Success, so I can't speak on those. As far as Singing Success goes, I assume Singing Success 360 is some kind of revamped product from the original Singing Success. Let me tell you, Singing Success had me feeling like I had come up short. Lots of flashy stuff, but when it came down to, "Oh! How do I do that?", there was no substance. There may have been a change of heart and Singing Success 360 is an honest program, but I just can't make the gamble again. I can say that The Four Pillars is an expansive program with a wealth of knowledge. You'll be working on that stuff, while improving for quite a while. There's a lot of work to do, and that's a good thing for you. The guy who created it is a rock singer, so you will absolutely be able to develop your rock and metal chops.

  7. If you're doing it wrong. I tried for years to match these guys who were up in tenor range, because a lot of guys I listened to were tenors. I couldn't do it without flipping into falsetto and ending up with a completely different tone. I finally start working with somebody who knows and not only do I find I'm getting up in that range, I find out that I'm a tenor! After believing for 8 years that I'm a baritone. I got several opinions on that. Some thought I was a baritone, some weren't sure. It just goes to show that it doesn't matter how many times you do something or how hard you try if you're doing it wrong. Failure does not mean you can't do something. An important lesson. :)

  8. 2 hours ago, PianoandGuitarguy said:

    I was curious what people here heard. Both here and on sites like TheRangePlace, they tend to call singers Baritones quicker than classical singers would. Eric Adams of Manowar, for example, is called a baritone, because he has some weight to his sound, and goes down to A2 or so. An opera person I think would call him squarely a tenor. We can got into how rock singers produce the sound a little differently, and that has something to do with it too, but I think in general you have to have a much darker, heavier sound in opera-land before you get called a baritone, instead of a lower tenor.

    With me, for example, I have an E2, and with some mixing my low range could sound bigger, but at best I'm being called a Baritenor for pop purposes, and would likely settle into one of a low tenor fachs if I went the opera route, although opera people tend to wait a long time while a voice really finds itself before they are ready to be certain about it. It's still possible I would wind up singing as a lyric tenor (Pavarotti, for all his hugeness of sound, was a lyric tenor).

    So basically, I wanted to see what 'rock ears' heard.

     

    Oh, I’m probably the only guy here among everyone else who isn’t a Rock guy, lol. 

    All I know is I just went about 7 years thinking I was a baritone and am now being told I’m a tenor. For me, I was automatically singing with a very darkened sound because I was trying to imitate certain other baritones. It happened pretty naturally.

    I would just say that your best bet would be to have a skilled coach, who could hear you while your voice undergoes a test of sorts and they can hear you in different contexts. I say this because I showed people here a clip a few times and it seems unless it’s utterly blatantly obvious (a very deep voice or a very high voice),  it’s not clear from one clip.

  9. 15 minutes ago, Draven Grey said:

    Mostly, the raspy sound you hear is from pulling (as opposed to relaxing) into sob vocal mode with a good amount of breath support, in order to bleed the glottis on high notes. That type of distortion is similar to what TFPOS calls decompressed overlay distortion, or at least founded in the same principles. I also used an "upper grunt" (more compressed distortion) a couple of times, when, admittedly, I was trying to do more of a blues growl but pushed it a bit too hard. I don't usually do an upper grunt so compressed, but it's what happened and it was just one take. I got the blues growl once as an effect too.

    Overall ,I really think I was a bit over-amplified, but since I was sobbing like crazy and my vowel placement was so far back for the style, I got some cool distortion out of it, instead of feeling any sort of pushiness. I've been writing a couple of Udemy courses on grit and screaming, so I thought it would be fun to incorporate it into an old R&B style. I didn't intend for it to be so prominent, but once I felt it I decided to just run with it.

    That’s what I was wondering. It sounded like a growl to me.  You don’t know how long I’ve been trying to learn that. Are you using the vestibular folds to produce this?

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