m.i.r.

Terrible...sounded like two cats screwing on a tin roof.

Actually it was great. I just wanted to be that one ass hole on youtube that hit dislike for no reason, besides being an insecure, self hating, d#%# hole ha ha.

Once again though, awesome cover, great tone. Maybe you can quit your day job....unless your day job is singing, then dont quit lol.

I think you sounded great bono...I agree with strength, I like it better than the original. I also agree maybe some parts you could open the vowel "just a hair" if you really wanted to knit pick. This is the first song I have heard of yours, I was un aware you were on that level...once again you sounded great.

I want to also make a comment to killer's post. The way bono is assending upwards on that partially closed sound. I think that gives some people trouble and others not, some people sound great doing this others not so much. It has some to do with training, opera for example will help build up closed vowels. However, I really think it has alot to do with design of the neck and resonating area, back pressure build up and all the other accoustic properties. Some people can rip in a way on a more closed vowel, where another will get choked off or experience discomfort.

I only say this as I myself can handle closed notes like that pretty easily with little issue(almost covered in a way). He sounded comfortable like me in that aspect. If I open a vowel, usually it will be for a tone choice, not out of necessity. This would be a strong suit for me, and from my guess bono, because he sounded like it had no effect on him.


However, there is a double edged sword to this. In your sample (killer) you twanged early and had a early pharyngeal tone, which I have a hard time to really dial that in before c5. I would like to bring that in earlier many times especially in live settings for increased stamina. However, this still isnt an option to me yet, as i still havent got the right sound with yet. And it may never be an option who knows.

I really believe these differences are a product of the individual accoustic areas of each person. You may be able to get a female to emulate a male voice with training, but a male will do it naturally without training...and 99 percent of the time sound better

Suppose if you really wanted to make the most progress at the best cost to progress level. I would say buy a course like Roberts....MAYBE cvt or tamplins. However, I know the people behind roberts course and pretty sure it would be hard to beat. Then get a personal lesson once a month, twice a month if it could be swung while working with the program.

I never took a course such as that. All my training came from one on one,group, ect. Then as time passed, my training came from trial and error from performance to performance and show to show. After the show figure out what went wrong lol. Why my voice hurt, why it was more difficult to control the last 20 minutes, why the high end lost some of its sharpness...ect ect ect. Try to make adjustments, rinse and repeat.

Though I would say the real time learning is irreplaceable. But if I had to do it all over again, I would do it as I said above. Mixing that with getting out and just doing earlier. I spent too much time and money early on just training, especially in opera.

I will say this, and please dont blast me too much teachers as this is not an insult. I can say for a fact I learned more from two lives shows than 20 lessons. In my opinion, the most effective a teacher can be is teach the basics, then telling the student go use it. Then being there for the student to help with whatever issues. Least that is what I would have loved.

"Hey coach, i sung these 8 songs, these three I got tight and worn out"...or something along those lines. That would have been great instead of having to struggle through it alone and trial error.

Wow this got way too long...sorry

I dont know if I would work on your heady/falsetto tone that much. Maybe get just a tad bit more closure if you wanted to. I think its pretty powerful for how far away from the mic you are, with zero effects.

If you were singing like that into a real mic, with compression and all the usual studio effects. Your falsetto would sound just as good as anyone's else on the radio, or better.

You really sound pretty well balanced and just like someone I would here on the radio singing this style. I mean sure there are little stuff you could work, little more closure for your light tone, a tad bit more control. But even Pavarotti could knit pick his voice with tiny issues. The day you say my voice is 100 percent is the day either your ego takes over logic.....well thats the only occasion I can think of Lol.

However, when you get down to knit picking, then I would say you are doing great. That is surely what I would have to do to find issue with your vocals.....

Oh and fyi i was speaking of the original post

I had just got this song out of my head a month ago. Thanks for bringing it up again *eye roll*

I love it when a female singer has depth to her voice. Doesnt just sound like another mickey mouse screecher.

She has alot of cool over tones in her voice, power, and cool style. To her, YOU SOUND GREAT... To Robert, good job with your guidance, hope the momentum keeps going.

I love it when a female singer has depth to her voice. Doesnt just sound like another mickey mouse screecher.

She has alot of cool over tones in her voice, power, and cool style. To her, YOU SOUND GREAT... To Robert, good job with your guidance, hope the momentum keeps going.

Ha ha, boy named sue was sung by a low baritone lol.

Anyways, i actually listened through my mixing head phones this time to hear the track again. The mix sounded much better through them than some crap computer speakers. I think it is more the type clipping distortion that you are using that is not friendly to my ears. I have always liked tighter warmer guitar distortion. Even if you used this distortion effect and warmed it up a bit it would be better. But that is just to my ears everyone is different.

As I said the mix was better than I originally thought, listening through better speakers. I would still maybe look at compressing the vocals a tad more then running them through a limiter, with a hair of post boost.

To be clear I was not insulting your vocals at all, I like the tone and timber. If i lighten my voice like that, i get a nice clear tone, but not much excitement in the overtone or timber department. So I think it is cool and unique how you can sing.

So clarifying heady tone. Perhaps I shall use a different phrase. I will go with, just barely touching with just enough mass being moved. Its very efficient, even when you had that low note in the song, it was a well connected note, yet still "light". When i hear you sing, except for maybe past the b4 world, i envision two hands with very thin gloves on. You still hear the clap, but it is a warm clap, without spac! I imagine you have some pretty nice stamina singing.

Hopefully that helps a little bit

It doesnt work to ask for criticism, then fight it till the end. Simple, your timing was off, you had no key you stayed in, and some other crap i dont feel like mentioning. Mainly because i know it will flow through one ear and out the other.

If you want to stay like this then good for you, just dont ask for criticism. Stay confident and be a rock star, do what you want.

However, if you really want to improve, gotta drop the ego and say you suck and start from square one. I am not saying you suck, but that is the mind set you need. I just did that to myself about 3 weeks ago.

I had two nagging issues that were not resolving, so it was time to change it up. I took myself down to beginner, told myself you are a rook and suck. I worked with two different people since then, as well as mini advice from many others. You know what, in that short time, one problem is gone and the second is just about gone too. I could have kept for 10 years prob and never fixed them if I didnt take myself down a peg and ask for true help. Instead 3 weeks and massive success.

However let me tell you what I didnt do with the two people whom worked with me. I didnt spend any time talking about myself or accomplishments nor excuses. Just sat the f down and did what was asked of me, no ego no nothing. I couldnt be happier with the results, and very thankful for the help given to me. Especially one person who never gives lessons anymore really.

Point is, you gotta choose one day man which route you are gonna take. Stay a rock star, or knock chip off your shoulder and truly listen. There are alot of intelligent people with good ears here.

It doesnt work to ask for criticism, then fight it till the end. Simple, your timing was off, you had no key you stayed in, and some other crap i dont feel like mentioning. Mainly because i know it will flow through one ear and out the other.

If you want to stay like this then good for you, just dont ask for criticism. Stay confident and be a rock star, do what you want.

However, if you really want to improve, gotta drop the ego and say you suck and start from square one. I am not saying you suck, but that is the mind set you need. I just did that to myself about 3 weeks ago.

I had two nagging issues that were not resolving, so it was time to change it up. I took myself down to beginner, told myself you are a rook and suck. I worked with two different people since then, as well as mini advice from many others. You know what, in that short time, one problem is gone and the second is just about gone too. I could have kept for 10 years prob and never fixed them if I didnt take myself down a peg and ask for true help. Instead 3 weeks and massive success.

However let me tell you what I didnt do with the two people whom worked with me. I didnt spend any time talking about myself or accomplishments nor excuses. Just sat the f down and did what was asked of me, no ego no nothing. I couldnt be happier with the results, and very thankful for the help given to me. Especially one person who never gives lessons anymore really.

Point is, you gotta choose one day man which route you are gonna take. Stay a rock star, or knock chip off your shoulder and truly listen. There are alot of intelligent people with good ears here.

Killer, i totally agree with you on giving a song space to breathe. That is one of my favorite things to do. However, it feels this song would lose alot of its fire if he did that here. I am not even really a fan of quick paced stuff like this, however i like this piece. He really pulls off something pretty neat here.

It is slow to do the cough off at first. And that is totally ok, it is good to really get the feeling of the relaxation, removing all the air, and then the body automatically refilling. Also the fact you use the word gasp, tells me you are taking in way too much air and over supporting.

Whenever you live on small amount of air, and learn complete fold closure, it only takes a small amount of air to create big sound. As I said last post, making sure you close your vocal folds close first then begin support will really help you align that. Also will help you sing long phrases with out having to re tank. Act like you are about to say something then stop, hold that feeling and breath, you will notice the onset of sound. That is the basic feeling of closing, then sound.

As for time frame it takes, when you get things balanced, you can complete the exhale then inhale at the same time or quicker than a regular inhale only. I know it is quicker for me now, than just trying to inhale. I dont have to think about breathing, there are just certain spots in the piece that i know i will need to breath(obviously from being familiar with the piece). You really dont need any more air to sing than speaking, its just more compressed. I just add the quick little exhale and relaxation at the end of a selected phrase.

So for example i would say baaaabbbbyyyyyy the yyyy is compressed then, when I am ready to end the sound, I just release the folds but keep the compression. So sound stops, the rest of the air is quickly released(its only a tiny amount because you only need a small amount, and you have already expelled some from the phrase) then the body has no air, so it refills automatically. Plus during all this, you have that moment of relaxation, and your system gets to "reset". You can hear good opera singers do this all the time, Pavarotti for example. Even some of the power house contemporary singers do it, they just no how to either add it to their style, or hide it all together. I used pavarotti as an example because he is slightly obvious when he does it.

All of this blends in at the end of a phrase, and when the timing is down it takes less time than tanking. Also relieves constriction and helps you stay relaxed, so you are fresh for the next phrase.

As for breathing points right now on that song, I would handle them a little differently. However, i would focus on your balance first. Just remember, a little can make ALOT singing, and relaxation is golden.

Oh and I already said something about the soft palate in your thread about the soft palate

It sounds good especially the first part. However parts of the second parts sounds like you are running out of air, or running out of stamina. Maybe I would look at your breath points in the song, make sure you are taking time to breath. Also, make sure you are giving your folds time to close before the onset of sound. It almost sounds to me like you are exhaling then closing the folds, then they are having to use alot of muscle to catch up with the air and seal it. That can effect stamina as well as pitch control.

Also another thing I would try if you wanted to experiment with it, is the cough off. Its an old classical trick for long dramatic legato lines sung with power at the upper range like this. It really helps with those times when it feels like your folds get stiff and just stop listening. Almost like you jam up on those lines, and you slowly get quieter,stiff, and lose range until you rest for a sec.

The classical world says the breath stacks up on you because you never fully exhale before inhaling again. However, that to me makes no sense really. My theory backed by pseudo science is that its a fact your muscles that control the diaphragm and larnyx are made from muscle tissue like your heart, made to resist fatigue. The pseudo part is, I think your muscles have to contract and release like they are designed to, just like the heart. Imagine what would happen to the heart if instead of pump pump, it would pump then hold that pump for 4 seconds then release. It would prob equal a heart attack pretty shortly. I believe the same holds true for the singing muscles. They are made to contract and release, especially the diaphragm. So on long phrases you are screwing with what their code built them to do. So what once was free and basically impervious to fatigue sudden gets pissed off real quick and quits working right.

Sorry for the babble there lol. Anyways my whole point, the cough off is easy. When you breath between phrases, instead of holding whatever breath you didnt use and inhaling on top off it, just exhale it quickly then inhale. Then your body will basically auto inflate, because that is the natural reaction for it to do so. No air equals must put air back. Its almost like a little cough. Or that exhale when you are releaved, and everything is done and ok, when your whole body relaxes. This will also help you from tanking up on way to much air inbetween phrases, which that in itself will cause constriction. It will help you live on tiny breaths and help with easy fold closure. I know it sounds simple, but its a great trick. I know some time ago, I would die out on long dramatic phrases. Start out great, but slowly fade out, even if i thought i was taking in enough air, its like things just stopped listening. This is one of the big things that stopped that.

Oh and you have to make sure an relax fully for a brief second during this brief cough off. Its like it auto resets everything, and lets your whole singing system stay on the normal routine it likes and wants. Wow sorry for ranting and raving lol.