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Found 465 results

  1. This is a hard one, at the same time we all repeat "stay in full voice" and "stay in modal voice", I understand perfectly that the question that would naturally arise is: "How the hell do I do that?" And usually, the recommendation is to go strong. Which is not a perfect solution, but when used with the correct positions CAN allow someone trying it out to figure it out and feel how its like to use the voice in this way. Its such a special and different sensation that many people label it as a new register even though its just the same voice you use to speak with. When that works, its quite nice. However, it can be very frustrating when it doesn't, and there aren't many other choices to experience it. Messing around with something that Daniel mentioned one of these days in a conversation, I kinda rigged together some aspects that make sense thinking of physiology and that I got people to do it (and it worked on both more experience and new students). So first, lets explain a bit the idea. What is the problem to begin with? Well the problem is that the use of modal voice is associated with habitual tensions, and its very frequent that the release of the tensions produces a break in modal registration. Independent control of this is of course totally possible, but can be tricky to figure out. More specifically, when the tensions are released, medial compression is lost and the body of the folds disengages from the movement. So what we need is a reference to increase the medial tension without adding the habitual tensions back in. When should I give this a try? When you have issues breaking above the first passage even though you are sure you are adjusting the vowels and supporting it well. What do I need to know in order to try this? You will need to know how to use vocal fry. You will need to know how to use falsetto WITHOUT being airy. Its very desirable that you know how to use falsetto with a piercing quality, the Bee Gees voice I often mention. How to do it: - First define what you will be working on, for example, and its a quite good example because it goes on the wound almost every time with males. Let's say you want to sing the chorus from "Man in The Box" from Alice in Chains. That A#4 is tricky, because it has a HUGE amount of power behind it and anything less just doesnt cut it. So, lets take a look at the note, the line goes: Feed my eyes. A narrow EE in there will not work (you can do it but it will start to sound like heavy metal, not good for this song), so listen to Layne and you will hear that he sang it like: Fehd mah ahs. (I know some of you got all happy with this one, but its not supposed to sound like that in the end result! ) Which is good enough for the purpose of this exercise. Ok, but wait, don't just go there yet. BEFORE, you are going to practice doing this: - Sing it as LOW as you can possibly go in VOCAL FRY, making sure that all the vowels adjust in the way written up there (Fehd Mah Ahs), trying to find a very relaxed way to produce fry, and already using the placement you normally work with. And by low I mean Siberian Deep Bass morning voice. Map down how it feels like to produce vocal fry, pay close attention to the adjustments and most importantly, what happens as soon as you intend to produce it. Practice going just for this "intention of fry" but not producing sound. Then, sing it on the normal pitch (attack in the A#4), however, in a relaxed falsetto. Try to make it piercing already because you will need it, again using the vowels you will need for the phrase, again using the placement you need. And map this down also. Now practice alternating, VERY DEEP vocal fry, then totally detached piercing BEE GEEs like falsetto. Go back and forth. And feel each. - Finally, you will do this, you will simply create the intention of singing it in the very low fry voice, KEEP that feeling, then just add the falsetto to it and go strong with this, don't think of modal voice or chest, think of this weird combination (fry and falsetto INTENTIONS) and **blast** it out. Chances are, it will be weird and all over the place, which is good. Weird and strange is better than a secure half-assed voice that can't do what you want, at least there is a chance to correct it. Insist on it, give it some shots, even if it doesnt work right away. If you feel tired, or if you are trying it over and over and it just dont work, relax, go do something else, then after 30 minutes or so, try again. If you believe the A#4 is too high for you in the moment, try another phrase that uses G4, G#4 or A4, lower than that will probably go outside the problem spot for most males, but feel free to try it. Girls can raise these references by 3 or 4 semitones (or just work on the A#4, it won't be easy either :P). What you should not do (IMPORTANT): The idea is producing the intention you have when you PREPARE to produce fry, and not to produce a fry like sound. Its NOT supposed to be a "creaky door" exercise, and its NOT supposed to produce creak distortion, the "falsetto" intention should prevent it. Sing that thing clean and strong, and make it sound good. Also, don't try to produce soft voice yet, think powerful, because it is. I strongly recommend you get the basics of breathing/support down because you won't be able to sustain this if you do not breath properly and create the necessary pressure (the attack at least should work). And that's it! I would really like to know how it goes for you folks, even if you already have the necessary control down. There are several exercises that make use of fry in a somewhat similar way, but this particular idea I have never seen explored. Video is done: Felipe
  2. 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.
  3. I threw together a nice little vocal jam track for me to practice with. It's sort of loosely based on the Heart song "Rage". If you listen to that song you see the idea It's basically emphasizing these notes as it steps up higher and higher. E-F#-G#-A-A#-B-C. Next one I make wont skip notes...I skipped notes on this one because I started with 7 drum sections. Obviously its not deal to skip thru those low head tones but I wanted it to end up on high C. Having a basic bluesy rock feel, the track probably works well for either singing the root, the flat 7th, or the minor 3rd. for instance over the E one could easily sing E,D, or G etc When u listen you'll get the idea. There is a little short section where it previews the note for you then a section for you to sing...then the next preview section to hear the note and catch your breath etc I also put it in my 4PS student "log" and maybe i'll add more of them later Enjoy, let me know if u try it out. https://clyp.it/jsv1anfa Heart "Rage". Just first heard it yesterday, it came out in 93
  4. Hello, I'm desperately trying to emulate the hard vocal style of Maynard James Keenan for a cover of "Passenger". I know i'm not a natural tenor, but the notes -- the fry scream sound -- it's all there. Just not the chest-like fullness of his voice during the chorus. Mine is like a whisper of my chest voice, then the head voice, and then a powerful, raspy fry (think "Sail" or Manson's scream). My guess is that most people who try sing this song fail because i've never heard a good cover : /
  5. Hi guys I'm kind of a beginner so please bare with me, and sorry if something like this has been answered elsewhere before. One of the things that really makes certain belts stand out to me is that 'ringing' quality. Not necessarily a overly cutting sound, but a nice round 'pingy' ringing sound. An example of such a belt is below (3.10-3.40, the first 'OOOOH', then 'BLIND', then 'YOUR', 'TRY TRY and TRY' - the whole climax sounds super nice but especially these notes). There are dozens of other examples but I always loved this especially. But my main question is, what is this? Is this twang? What is it EXACTLY that achieves such a round 'ringing' on notes? And HOW?
  6. working on a chorus for a song. The chorus is in D minor and the highest note in the chorus is C5 So I can SORT of ease into the c5 note but its really shaky. Naturally if its doubled and heavily processed it sounds almost legit lol Here is the doubled/processed vox in the chorus snippet: (btw, be forwarned, there is a flat5 note featured lol) https://clyp.it/ybkczkss Now, here is the BARE vx, no compression, no nothing. This is each half of the doubled chorus put back to back. The first time thru was the first one I sang and it was a little better. The 2nd time thru was a little rounded off https://clyp.it/pjyyq1ke So essentially I am trying to hit a C5 on the "o" in "open" and on the "uh" in "love" Here is me JUST hitting those 2 syllables: https://clyp.it/4opbmxzu And to show the struggle, here is one that cracked: https://clyp.it/wpr4fvas So lets have some good discussion on how these sound as is, how I can best train for them to be WAY better for comparison here is a nice B4 by Joe Lynn Turner, obviously im miles from this but this is sort of a goal to aim at: https://clyp.it/o44er4fj Also any discussion on the mechanical aspect of the cracked note. Physiologically, what broke down there? (and thus, what does the training focus need to be)
  7. Hey everyone, I'm a newcomer to the forums so I'd greatly appreciate your help and insights! I started singing a year ago. My university offers voice class for non music majors so this semester I enrolled and that has been going well. My favorite genres are opera, prog metal, 70s rock, and legit style musical theater. I'm not into the whole voice type thing because voices seem to lie more on a continuous spectrum than the traditional discrete categories (soprano, mezzo, etc.). But when I listen to Dream Theater, it seems that James LaBrie's comfort zone and where he sounds best is higher than most guys. I don't even like the terms chest voice and head voice because there's really only one voice but in terms of describing a sound, I would say JLB uses a chest-dominant sound all the way up to the D5. For me personally, there is a resonance transition around C4 and another one near F#4. After F#4 I have a very head-dominant tone. But what if you're going for the James LaBrie sound? I like the way he sings the upper notes--very stable larynx, doesn't sound shrill. Now I'm not a fan of everything he does, like excessive vowel modification and muddied articulation but overall I think there's a lot I could learn from the way he sings open and free. So my questions are, what are your observations on James LaBrie's techniques? If you've sung Dream Theater, what were your strategies for tackling those songs? I'm interested in hearing particularly from those who aren't as high-pitched as JLB. And how do you sustain being in the upper 4th octave? He's consistently in the G4-D5 range and sings B4 for days!
  8. Hi Folks, A few in the forum have indicated that I have a bright sounding voice, so I was tempted to cover some James La Brie! This is a work in progress version. Please indicate errors that you spot so that I can clean them up. Especially areas where you see a dipthong or onset issue! I find that to sing this song, I need to hear myself extremely well(Talking about the high parts in the latter half of the song). In a sense I have to visualize the note as it forms in my vocal chords. Even if my hearing is slightly off(through loud background) I have a big difficulty in getting the weight right. It leads to strain and off pitched notes. Therefore this is a very low margin song for me to cover live. Do you have any recommendations on how I can overcome this problem? Also any tips to improve the mix will be really useful!! Also suggestions for songs that you think will suit my voice!!
  9. For a few months now I've been trying to get accustomed to vocalizing and controlling pitch in whistle register, and at this point I can say, although the amount of time I can access it in a day seems limited, it's requiring less mental effort and becoming more intuitive to use this part of my voice. Using it in songs is another story, but for the songs I've worked on with them included, the whistle sections are among the first things I record since I find towards the end of a session it becomes impossible to utilize. By working with these songs with whistle phrases it's a way of challenging myself stamina-wise and forces me to try to recognize when to rest. The goal ultimately is to be able to have the freedom to use it whenever though, I guess as it develops. The whistle in this song is part of a longer phrase and towards the very end, contains a trill/run sort of ending and is part of a transition from chest to whistle on the same note two octaves apart which probably made it easier. Did all of the background vocals on this also. Any and all feedback welcome. https://app.box.com/s/gyy466kqtc0g4gruinhex8k0favyih11
  10. Hey there! I'm a jazz music student but I'm also a pop singer and pianist. I'd like to be envolved in any kind of project, my favorite genres are pop and r&b, but I'm a jazz listener too and I can sing it. You can check my voice here:
  11. This question will be asking a lot, but I'm honestly totally lost. So, technique wise, I have 100% lateral adduction, that can be brought through each passaggio, and I've spent a lot of time on reducing TA strain to improve efficiency. But my voice has hit a road block. If I go with an edgy high tenor approach, my sound works okay until I start traveling into my nasopharyngeal tones. My nasal tones just cut off completely, and I really can't complete the sound wave. If I go purely nasal there is literally zero change in the output, and if I try to thin my sound by dropping back into the low pharynx, I only get a dopey and heavy tone. On the other hand, if I go with a low tenor approach and focus exclusively on my lower pharynx area, the sound produced balls up in an area that is slightly lower but there is no projection or release of this balled up sound, regardless of mouth position. It seems like the lower approach might be the better one as the sound wave isn't getting cut off, but at the same time there's no projection and all the sound is stuck in a ball. This hasn't changed for a few days, and I have no idea what to do because my voice is pretty much stuck, and confused as to why good adduction and TA balance would produce this.
  12. As I stated in my other post, I've found my head voice, or some kind of voice that makes me sing higher and with more power than I was able to do before. However, after G#4, I hit a sort of wall. I can "sing" up to a C5, but it sounds weak at best and not tonally good at all. I can sing maybe up to an A#4 with some control when doing exercises, but that does not translate into songs at all. The best I can manage to do in a song is A4, but it is not a reliable note at all, and is pretty much hit or miss. What I'm trying to ask, is if I can even touch these notes, does that mean that I can develop them enough to make them practical parts of my range? I really want to be able to sing up to at least tenor high C and make it sound good.
  13. I didn't use to train falsetto but when I started doing so last month I noticed it was helping me open up and remove unnecessary tensions, as well as establishing better placement in the hard and soft palate region. Now in the G4-C#5 range I feel my voice wants to release into those notes, but for whatever reason I've been hitting a wall. I suspect this is due to a mixture of factors: 1. Poor use of the breath. The higher I go the less breath I need, not more. If I blast the vocal folds with too much air, of course they just get slammed wide open. I am learning to use as minimal air as possible for falsetto to get used to the sensation of suspension when singing. 2. Sub-optimal vowels. I may be keeping the same shape as in the low & middle part of my voice, and it seems some gradual adjustment needs to done to go higher. 3. Incorrect mental visualization of the tone. Since everything starts with the mind, I need to have a mental picture of what the desired sound will be BEFORE I sing it. And this may be part of the reason why my larynx has been shooting up and choking off the sound. When I have a lower larynx I find it easier to sing because I have more acoustic space, greater stability, and a warmer, more balanced timbre. So basically I'm curious if training falsetto has helped open up your upper notes and if so, how did you use that as an intermediate step to learn your full/complete voice coordination? I feel that I am almost there but missing some steps, especially with complete adduction, proper vowels, breath management/efficiency, and a lowered/more stable larynx.
  14. Take a look at this. This singer is defying gravity. He sings light yet without breaking or sounding weak. I heard that you must sing in full voice to hit the high notes correctly. I have to tighten up in the abdomen and compress more to go high. But this singer has confused me so much. When I attempt doing it like him, I break into falsetto. I almost have the same tenorish tone quality as him. How do I learn to develop this type of technique? I am studying SLS yet I sound more compressed and "waily" than him.
  15. The Garden https://clyp.it/qrfbaigr Another of my hastily done originals with scratch guitar and the standard pitchy vocals and trite lyrics....then again it's 100% autobiographical. Some slight 90s influence The bass was done at the last 2nd just to have a bass on the track...some of its a little iffy Cool song though? worth polishing? The guitars will have to be redone. The little lead at the beginning clashes with the rhythm because its the same exact tone (nvmnd old strings) For the middle section I have lots of Robert Plant/Beatles psychedelia planned, Lord willing Oddly enough, the main thing I am learning is how important mic positioning is lol. Sometimes u gotta get right up ON the mic...or about a foot away Enjoy
  16. Different people call it differently: head voice, bridging, mixed register, compressed falsetto, laryngeal tilt.. They all mean the same thing right? Singing the range of one's falsetto but sounding more full like chest voice, and does not crack going from low notes to high notes. My instructor can do this. I cannot. He said to practice singing falsetto louder and going to lower notes. I've been doing that for days, but I don't feel any improvement, other than my falsetto getting louder. I still crack going from chest to falsetto, and the falsetto still doesn't sound full. There are dozens of video on youtube explaining how to do this. They demonstrate before and after. But I want to know what it's like in-between, so I know if I'm making progress. Is this technique something you gradually master, i.e. the crack becomes less and less obvious and the falsetto sounding more and more full, or is it a sudden revelation type of technique, where you practice without improvement for a while but wake up one day and suddenly you can do it?
  17. I think I speak really inefficiently. My voice goes, mainly my mix, and my tone completely goes. All the weight comes back in my voice. I really have no idea how to fix this. Lip rolls etc help in the short-term but I think I need to change the way I speak. It's almost as if all the training goes as soon as I start speaking Anyone have any tips?
  18. I have a student who is having a peculiar issue with constriction when using twang in the head voice. He used to have the same issue with chest voice, but we were able to overcome it there. I call it peculiar because it seems to be backwards to any issue I've ever encountered before with other students. Within two notes above his chest voice, he constricts his throat to the point of either a strained almost quacking like voice, or full out choking. We tried every exercise I can think of, from googs to all 6 onsets, lifting, dampening, more harshness, more open throat, "neeyahs", volume w/relaxation, etc. He even forms his "Ee" vowel through throat constriction, and his tongue shapes like a trough instead of helping place the formant in the proper spot. In other words, he's using constriction to form resonance and tone, rather than shaping with the help of his tongue. And when and if he's able to relax the constriction, he immediately pulls into the back of the soft palate, into either the "kermit the frog" placement, or extremely nasal. He can hit the notes, just not pleasantly. Am I missing something? I mean, obviously I am. Does anyone have suggestions on how to get his mixed resonance to pull forward and constriction to relax? We've tried to months, and have had very little, and yet inconsistent progress.
  19. Going by GneeTaps suggestion, I wrote a chorus only today. Worked numerous hours for an 11 second snippet lol. workflow was along these lines: 1) Drums programmed yesterday 2) Started writing melody in D...starting on the highest note and working down. Starting note is (supposed to be anyway lol) a G#4 which is the flat5 in the key of D 3) started putting down a few scratch guitar parts using practice amp 4) sort of bounced back and forth between finalizing the melody and changing the guitar to fit better 5) Sang all the lead VX 6) Layered all the BGV. 4 separate lines, all doubled. It gets a little into the Eagles/Queen/Boston/Yes vibe 7) Redid all the guitar parts (still just used practice amp though). 2 main parts, both doubled 8) added bass 9) mixed....while falling asleep about 10x Anyway, let me know how it sounds. if nothing else its pretty interesting Here are all the various parts....pretty trippy hearing the layered vocal track by itself Full snippet https://clyp.it/41g4esi0 Rhythm Track https://clyp.it/joo5tv4l Full vocal tracks https://clyp.it/155rws0y Lead Vx only, definitely at the top end of my range https://clyp.it/uv0tgitn BGV only, 4 separate parts, each doubled (see if u can pick out the parts) https://clyp.it/bvfb0lkn Enjoy
  20. Where do you guys feel your resonance on low notes and high notes? I never feel it in the mask, on high notes I can feel it on or slightly above the soft pallete but mostly I feel nothing except for ocassionally a little vibration on both sides of my throat right under the chin. I've read that some people can feel the resonance in the top of their heads which just seems insane to me. I'm asking because It's weird and cool that everyone feels the resonance in different areas.
  21. About 2 days ago, while doing some sirens, I finally came across my head voice. I was able to sing up to G#4 no problem that day, when it was difficult for me to sing up to a G4 previously, as I was likely pushing chest voice too much. Now, I can touch an A#4 and feel I still have more range to go. Now, mind you, the tone isn't so great on these notes, but I can sustain them without straining, which is what I've been working toward for a long time. This recent development has made me confused as to what vocal type I am. I feel that I'm a baritone as I can sing down to about F2 without vocal fry, although anything below G2 feels forced, but the high notes are so easy for me to sing, that I really don't know. Does the standard C3-C5 tenor range include head voice? I feel pretty confident that I can reach a C5 in head voice given enough practice. In addition, one vocal coach has told me that I'm a "baritenor," for all that's worth.
  22. The last few months I have noticed less reliability in the upper parts of my head voice. I used to be able to hit a very clean, clear, well connected G5. It started to get a little scratchy, but still there. Now, I can barely hit an E5, and the highest note I can now reliably hit is a D5. What I don't get is that my voice generally feels better than ever. I've been training with Ken Tamplin's Vocal Academy, which has very little head voice development, so I have been doing some basic head voice exercises every so often. I've been getting AMAZING results everywhere else, but the loss of the highest notes makes me think something is up. I do everything by the books - I don't strain for notes, trying to keep my larynx as neutral as possible throughout my range, drink lots of water, steam my voice most days, and I feel absolutely no discomfort when singing. I don't care too much as I rarely use this part of my voice but I can't afford to lose any more notes from the top - I don't want this to effect my high C. I have been on complete vocal rest the last few days - just done some basic lip rolls and tried to vocalise up there but still, the highest note I can barely hit in head voice is E5. Any suggestions of what I can do? I can't afford to have my cords looked at by an ENT so home-remedies and cheap suggestions only, thanks.
  23. Another 1 day wonder. not 100% finished...needs bass gtr and some ad libs such as in the intro chorus fun stuff https://clyp.it/ccf4wf40
  24. I'm hoping to connect with some good producers to make some original stuff
  25. So I have been learning to bridge. Naturally I am going to write songs that encourage bridging. So I wrote one in E. Why E? Well specifically I was thinking about the G#4 note which is the major 3rd in the key of E major. Thats high enough above the passagio that one isnt likely to "pull chest" to reach that G#4. So if we hit a nice clean G#4 then we know we bridged or at least we know we are in a good clean head voice. That was my thinking anyway. I was thinking for instance that if I hit an E4, big deal, thats only right AT the passagio so one could easily hit that in pure chest with a little effort (or easily, depending on the person) Like I said, that was the thought process. In practice I found that E wasnt the best key (at least for me). So I tried to write a basic rock song http://www.themodernvocalistworld.com/topic/10946-minnesota-mama-original-scratch-demo/ If we take it as sort of a given that a lot of basic rock focuses on the root note, then the Key of E is interesting from a bridging point of view. I found myself basing a lot of the melody around the sort of E3-D4 range. Well obviously thats only getting up TO the passagio on that highest note. Youve got almost a whole octave to play with before even going thru the passagio. Yet if we use the root at E4 then we are starting right AT the passagio and there isnt going to be much room to work before one starts getting up to the A4-B4 range...so the whole song is going to be head voice and pretty high ranged at that, I was finding it challenging to write a really WIDE ranging melody that made sense in the song seeing as how the verse was down around that E3-B3 area. So I am guessing that something like the key of A or B would be a good choice. That way you can start around your root and by the time you get to your 5th/7th/octave you are going to be at or thru the passagio. For instance if you start on A3 you will have to bridge just to get an octaves worth of notes. In that case youd get a lot of chances to bridge. Any feedback or ideas along those lines? (Yes, if one writes big sweeping melodies that use 2 octaves then one is going to bridge no matter what lol)