JonJon

JonJon, thanks for the feedback. Sometimes I guess I just get into the song and don't think about the points you make, which are really good ones. I'll keep them in mind in the future. ~Sophia Grayce~

Thanks for listening! This is really just a rapid-fire demo of getting the song out and tangible - I was planning on going back and fixing a lot of performance and production/timing things later. I agree about adding variation to the delivery for the future. I didn't actually imagine this with drums when I was working on it and I've never used drum programming software but thanks for the reference!

here is an example of what I mean. I dont even necessarily LOVE the song BUT that chorus hooks you really strong. Notice how the vocal delivery on the chorus is totally different than the verse
 

before I even listen to it I will tell you this. if its an original, be prepared to be slaughtered by those who never have, nor ever will write an original lol.
Also remember, for example, that producer Quincy Jones didnt like the song "Billie Jean" and didnt want it to go on the Michael Jackson "Thriller" album....yet it became arguably Michael's most recognizable song
Just a heads up

just some random thoughts:
 
1) Its pretty cool
2) I know its just a rough demo, but it obviously needs drums. U got any drum software? I use EZ Drummer 2...which has its own ups and downs.
 
Just thinking out loud here. As for the particular song itself AND for future reference, id try to develop a little variety in the vocal delivery. That sort of emotionally heavy cry/sob things is really cool and expressive BUT it wuld probably get old after several songs of just that. Do you sing in other styles? for instance if you had that cry thing going but then you also had a brighter more edgy delivery, those 2 would really complement each other nicely.
Thats the way i try to think sometimes as far as building a song. What can I do to build variety and interest as I go. for instance start off really quiet and close right up on the mic and then for the prechorus or chorus move back a bit and really open up the voice. Of course when you are doing that you are also building variety into the instrumentation etc etc
 
overall its pretty good though. nice voice etc

I've been teaching a lot of new students lately, so haven't had time to dive into the course as much lately. Granted, I've been teaching the onsets in more of a TVS way now, and have noticed a big improvement on helping my student's get results even faster than before, not just that but pinpoint issues extremely fast too. For myself, it has given me a lot more control over my voice as well, but in ways I didn't know were even an issue. This is exactly the type of program I've been looking for, since I feel I'm already pretty advanced in my singing.
I'm writing this just to say thank you for one thing in particular. After learning the lift up/pull back technique, using TVS coordination onsets, and even contract & release (although I overused it at first, ouch, lol!), my opened up my voice more than I thought possible. Before, I could easily sing a C5, even up to an E5 while belting, but only for about 30 minutes before feeling some fatigue. I could even belt up to a G#5 for a very short period. With the fatigue, I figured I was pushing too hard, but didn't know another way. So, with the new album being written, I simply started writing and altering my songs to stay lower in pitch than that.
After practicing TVS methodology, I quickly realized just how much a belt is truly just head voice with TA being added. With this realization, I could suddenly control the volume and pressure of my belting much more than before. I can belt the E5 for hours now. To be clear, I know the difference in sensation and sound from a true belt vs. falsetto with twang or added harshness. I haven't ventured much above that, since I currently still fight the urge to push. The last time I belted the G#5, I was teaching a soprano a certain song, and didn't realize how high I was singing until it started hurting 15 minutes in. Then it was too late, I had pulled a muscle and it took me 3 months to recover. Needless to say, I'm overly cautious about belting above the E5 now. Not that I normally sing anything that calls for anything higher than that anyway. 
I'm very excited about this discovery, and I'm looking forward to the lesson on belting to refine it even more. Thank you for taking the pressure off my upper belt range. This will be extremely important as The Silent Still begins to tour our Rock Circus Masquerade production at the end of this year.

thanks, part of it was leaning towards a Roger Waters vocal sound
 
Klaus would be REALLY hard to duplicate lol

haha. I figured this would be a little easy cover to knock off. I struggled hard in several spots. Still had some fun though
 
Cover https://clyp.it/lf0rbklk
Bare VX, no compression, no nothing https://clyp.it/o41ljujd
original song
 
Enjoy and let me know what you all think.

haha. I figured this would be a little easy cover to knock off. I struggled hard in several spots. Still had some fun though
 
Cover https://clyp.it/lf0rbklk
Bare VX, no compression, no nothing https://clyp.it/o41ljujd
original song
 
Enjoy and let me know what you all think.

I liked it and I thought I would have a challenge hearing it because I am so used to Klaus' voice. But I like how your voice sounds on this.
 

Yeah! Your timbre is really good for this song JonJon! I liked it. I can totally relate to you regarding the high pitch passages man. But it takes good technique and good practice to even things out. Good sound.

Very good, JonJon. I really enjoyed this one !!!

of course, now that im just walking around the apartment singing, I can hit all the high notes lol

haha. I figured this would be a little easy cover to knock off. I struggled hard in several spots. Still had some fun though
 
Cover https://clyp.it/lf0rbklk
Bare VX, no compression, no nothing https://clyp.it/o41ljujd
original song
 
Enjoy and let me know what you all think.

of course, now that im just walking around the apartment singing, I can hit all the high notes lol

I submitted this in the Challenge for BeeGees. It is late. I am tired, but wanted to post something.
Be kind, this is a work in progress and a little to laid back to be effective
 

yeah. As u said in another thread, there is a "magical" quality to singing and music in general. A lot of it simply will NOT reduce to words on paper. While many of the great singers we could name were in fact "trained", just as many if not more were not trained.

Actually, according to Douglas Adams, as he wrote "Hitchhiker's Guide to the Galaxy," the answer to the question of life, the universe, and everything is -
42.
Perhaps someone asked the wrong question and should have worried about 6 times 7.
And don't worry, Jon, others are rejecting my ideas in physics. So, it is evidently not a viable model or explanation, according to others who may be experts. I cannot be an expert because I am not a voice coach or teacher of singing.
 

The whole vowel modification thing is finding a throat shape that works for you. Have you ever listened to Bon Scott on early AC/DC? Did you wonder why you cannot understand a thing that he was singing? it was not because he was singing with marbles in his mouth, it was because that is the throat shape that allows him to sing that high.
  The proper UH for you may be something that does not even sound like UH. A fine example of Vowel modification is Adele Listen to her speak and then listen to her sing. There are many Videos of her performing live. I use her as an example because of the BIG difference between her speaking voice and her singing voice.

And knowing this, why would any of the "So called Experts" respond in the first place?  You already have your answer. You gave it yourself. Vowel modification and you are not strong enough yet. And it is not Strength in musculature, it is strength in coordination that takes practice and honing in on your own physical make up. C5 is normally in another place of passage just like E4 to G4 where you used to just flip and go into falsetto. The same rules apply here at C5.
      I am no expert and never claimed to be. I am learning and training like every one else. And when someone asks a question or is trying to make a point the terms become important to give and receive a proper responce.
      By the way the answer depends on how big the angels are and how big of a pin they are dancing on. I do not know if the material the pin is made out of makes a difference in this universe but in another universe it may.

just heard this. so you wanna get this right 
1. don't sing oh in open sing uhpen. but don't swoop to it get right on it attack it on the note.
same with love don't swoop sing uh luhve. as it sounds. not lahve
 
now aside from that some of the approach needs work . but i think you can get it don't swoop it carries weight from the bottom..

Its kinda the same that I say on the blabbering on the technique section... I could say, keep it bright, find more space and go stronger as soon as you get to the higher sections (for example, on "believe" it changes already). The reason is that you are getting too narrow and a bit airy/almost breaking already.
Perhaps, you could use that video I did for middle voice to map down every single vowel that goes above F4 and make sure you are articulating it with a more or less appropriate position (and that will help with the "bright/space" part), but then again, its no magic recipe.
I also had an idea for some other weird stuff that may be helpful to "go strong" and I will throw on the technique section as soon as I find a way to explain it well.
 
But then again, these are band aids that might help a bit and give a idea of how it goes like but won't be really solving the problem at its core. To solve it with technique you would need to... train technique... train support slowly and piece by piece, adjust emission based on it, adjust the EE vowel, adjust all the other vowels using it, start working on the positions for passagio, adjust one vowel using the position, train going in and out of the covered position, train the EE vowel on the covered position, train passaggio on EE, adjust all other vowels for head voice using EE, train the passagio on them all, and so forth.
Usually, alone, this fails big time on the "support" part, and many of these aspects are done on parallel constantly refining everything.
 
How did you train support and attack of sounds so far? How did you assert the exercises and which songs did you use to apply it?

the "pros" I tongue in cheek refer to are the ones who argue for 10 pages over tiny shades of meaning in ancient Italian terms lol. yeah, thats REAL practical
I just answer "14"....as in how many angels can dance on the head of a pin etc
yeah, in any case im nowhere near strong enough to do anything meaningful with c5 yet lol. I just figured some of the megapros would lay out a doctoral thesis on vowel narrowing and the position of the left toe as it affects squillo during el nino years

Hi guys!
Lately im not active on forums as i have alot going on. I dont really practice singing and my "range extending" is put on hold...but i cant just stop singing all together..
So i did a small cover of a Whitesnakes song..
Hope you guys like it...ther are some errors but im fine with them.
I wanna know how you like my timbre..and does the distrotion at places sound good
 
https://app.box.com/s/77ef7kc6tw0pc6d02p5qm371y5xgs93k
 
cheers

trust me brother, you aint heard nothin' yet