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Found 48 results

  1. Southeastern Wisconsin / Northeastern IL (near state line) - SEEKING MALE VOCALIST (age 21-34) to replace our guy shown in the videos (he's moving to FL mid-to-late summer). Time to get someone in and get them up-to-speed! :)Our current guy is a true Tenor, but we're also open to Baritones / High-Baritones because we can slide some of the super-high songs to our female lead vocalist if necessary. Lead male sings back-up vocals on female tunes and vice-versa. The "lead" video below is an example of our most "Top 40-ish" stuff. The "back-ups" video is an example of our radio-friendly alternative side. The band plays all 2000's+ and has several radio rockers too. List is 100% Billboard hits. IS THIS YOU? OR, does someone else come to mind?? Please contact me or share. Here's videos: Leads: https://www.facebook.com/smart.mouth.mke/videos/2779120108770478/ Back-ups: https://www.facebook.com/smart.mouth.mke/videos/1129574437226986/ Once you get to the videos, you'll be on Smart Mouth's FB Page. Then FB Message us questions or let us know if you're interested.
  2. Hi there! My band is looking for a talented singer to wright and preform vocals for a full length album. We already have all the material demoed out and just need the all important vocals! You will need to have access to basic recording equipment and the ability to track and send your vocal lines to me for mixing. This is a hobby project however any money made will be split equally. Check out our sound cloud for a taste https://m.soundcloud.com/user-364955672/song-12-165-4-4
  3. Which vocal course is best? (I want sing mainly rock - from art rock, blues rock, swing to heavy metal but too can sing most of music genre) I hear (mostly) good opinions about: Ken Tamplin Vocal Academy and course '' How To Sing Better Than Anyone Else '', Kevin Richards (Rpm Vocal Studio) and course '' Breaking The Chains '' ''Superior Singing Method'' of Aaron Anastasi And '' Singing Success 360'' of Brett Manning What do you think about these courses and which is best and help me 'increase' my voice? - Lyssie
  4. My band, Mannequins By Day performs with two backup singers whom are limited in experience and technical training but have overall pretty good pitch and technique. Due to time constraints, we usually do a separate vocal practice from the rest of the band. These vocal practices have been more or less acoustic and generally are pretty pitch on. By recording our live set, I've found that the backup singers pitch is mostly very off when they are on a mic and monitor set up. Essentially, the acoustic practice isn't translating to the stage. We have solid monitoring, so that's not the issue. I think it's a combination of show energy and not being comfortable with a mic. Any tips to help get these singers sounding as good as they do in the living room on stage?
  5. Hi there folks! I just joined today, my name is Liza Jean (stage name, granted), and I sing for a KC-based rock band. I'm an alto/mezzo and my chest range is roughly F3 to D5, and my head voice is about Eb5 to G5. That being said, I can belt an Eb5 in chest, but it comes and goes, as that area is where my vocal break sits. So I guess I'm here with a few questions! I take singing lessons currently, but I'm pretty certain my teacher doesn't have formal training in the sense of knowing the pieces of the vocal chords. She has her own solo project and usually teaches children, and while we've made some great progress with where my voice was last year, I'm still hitting some roadblocks that I'm not sure how to explain, and that neither of us are sure how to overcome. So I thought I would turn to y'all! So without further ado, I'll try to word these in a way that makes sense: 1. When I initially started working on strengthening my head voice, I did by using a lot of nasal-y 'nya' vocalizing. However, I've found fairly recently that this seems to create a lot of tension in the back of my mouth/back of my tongue. When I sing in head voice, it's hard to not fall into it, and if you put your thumbs under your jaw and right at the back where it curves up, that soft space always feels 'weird' when I sing head voice. The best way I can describe it is like someone's stuffed cotton into the space or similar. I'm pretty sure it's tongue tension but I'm not positive. Thoughts? 2. My chest voice is very deep-sounding in tambre, and pretty warm. Even when I belt, there's still a decent richness to the tone, but once I get into head voice, I lose it. My upper register sounds like a completely different voice: it's a little thin in tambre (but not breathy), very bright, and just generally not what I want. I'd love to bring some of the richness of my chest voice into my head voice, but I'm not sure how to. 3. The dreaded vocal break. I definitely have it, and it's very noticeable. What are some good exercises to smooth this out? It tends to sound a bit like a yodel, but there's still a patch of graveliness when I make the switch, even if I slow down the exercise I'm doing. Being able to switch seamlessly between my two registers would be absolutely ideal! 4. In general, I tend to break fairly easily in my head voice. I know this is probably a matter of strengthening my breath support, but in particular words that start with a vowel or glottal stop have a high tendency to break and/or crack, and so far my only real method is to just very slowly go through the vowels while in my head voice, but I'd love if there was a better set of exercises I could do. Songs I tend to sing for practice on these things include Stone Cold (Demi Lovato), Praying (Kesha), and more recently Who You Are (Jessie J). They all have a lot of runs and switching between the registers, and I'd love to be able to sing them and have my voice sound like one seamless, well-mixed register. Any advice is appreciated! (And if I can, I'll try and get a vocal recording up one of these days if it's easier to hear what I'm talking about.) -LJ
  6. As far as Im aware I have a pretty average chest voice range. the highest I can sing are the likes of fear of the dark by iron maiden. Recently I went to see Testament live and understandably I was getting pretty into it. When the singer was saying the typical “are you guys ready” sort of stuff I yelled back “f*ck yeah!” as you do. Somehow I accidentally yelled extremely high and loud (enough for me to hear myself) and I somehow hit this really high note that I have never been able to deliberatly do. Im talking like the trooper and hallowed be thy name range which is really high for me. Its funny because the exact same thing happened to me when I seen Diamond Head live too. Im wondering what made me able to do this so that I can start meaning to do it. Was it just because I was so in the moment and put so much effort into the shout? Or is this not possible? I dont think ive ever tried putting that much effort into singing before due to fear of injury so im wondering if this is what “belting” is?
  7. Posting a few tracks below. If you're interested in working together (singing or rapping) hit me up either in email (listed below) or PM with a sample of your voice. The tracks are unmixed/unmastered so if something sounds off or hurts your ears that's probably it, apologies. Money will not be involved, we're simply two musicians making music together. If we create and publish a project together, we'll split whatever, if any, profits come of it. We'll talk and make a track together. If that goes well, maybe an album. P.S. If you can write/are a decent lyricist, that's a huge plus. https://soundcloud.com/therealwillyboy/pumpkin-invasion2 https://soundcloud.com/therealwillyboy/poopy-butt https://soundcloud.com/therealwillyboy/36-hh (forgive the high notes lmaoo) https://soundcloud.com/therealwillyboy/saasssggg3/s-ok8S9 Email: wyatthobbyistsailors@gmail.com
  8. I love it when a "new" band with a great new sound emerges! Their not brand new but i just found out about them last night. Just had to share for anyone else who might not know about them. I've posted one song and their grammy acceptance speech which is hilarious! really like their melodic, minor-ish, mystique, and they are most definitely groove maestros!!!!! enjoy!
  9. Hello, I need some help with my voice type My range is E2 - F4 and my comfortable note is F2, but I cant sing E2 very loud. In the morning I can hit loud D#2 and a bit quiet C#2. My voice is straining on high notes like C4, F4 but I can still sing them loud (the straining is probably because of bad singing technique and not training enough) I used vocal monitor which tells me that I speak in A2 (if that helps). I stated learning the subharmonic singing technique one week ago and now I can hit G#1 with it but I cannot sustain because Im working on controlling it now. I wonder what is my voice type. I am 18 years old btw. Thanks in advance
  10. Hi everyone im daniel,l im newbie in this forum, so yeah i started to sing early this year inspired by singers like jonny craig n tyler carter, one thing i noticed about jonny craig is that when he tries to sing high there is a little distortion, this is one of my favorites songs by him, u can hear that grit almost all song, i mean i can sing high but that exactly technique is what is hard for me,im self-taught so i dont have i coach so, i wish u could help me or at least understand it n how to perform it or develop it,
  11. We lost another one. Chester Bennington, the lead vocalist of Linkin Park, has committed suicide. He was found hanging in his private home. He was only 41. http://www.bbc.com/news/world-us-canada-40676530 I was never a super Rock fan, but this guy's voice made it easy. I remember as far back as 10 years ago, I loved his voice. It had a "robotic" quality to it. Today, I think the style that got him that sound is known as "false cord" singing. Apparently he was pretty great friends with Chris Cornell as well. They did a song here.
  12. Hi to everyone! I've been reading this forum for a couple of years now and always found it very interesting and helpful in dealing with some of my own issues, so I thought I'd post this project that I've got going on. For a long time, I have suffered from vocal tension and inability to sing past D4 without pushing the "chest voice"/ overly-engaging the TA's basically. However, in the last year or so, I have experienced great relief after starting to do falsetto exercises suggested by Anthony Frisell in his manual "Training Baritone Voices". After reading many other sources later on, I have started questioning the usefulness of voice classification, purely from psychological point in the beginning (belief that one is a lower voice and its effect on the voice and singing), but now also physiological (neglecting upper range), especially in contemporary music (pop, rock, jazz, music theatre...). So now, I am writing a dissertation on the validity of voice classification in contemporary music and have already got some interesting answers. However, since there is barely any research done in relation to contemporary music, I would really be grateful if any of the members here, who give voice lessons, would participate. This is the link if anyone is interested: https://goo.gl/forms/uLMWByDMKYv4IWMk1 Thank you and feel free to spread the link if you find it useful! In general, I would also love to hear your opinions on this. Do you think tutors should classify their students and why?
  13. Hey guys I'm going to be producing a weekly vocal tip video series starting end of January. Honestly I've never really watched any of these type of series and was wondering if there were any topics people wanted covered. If it's something I have experience with I will be happy to oblige. Thanks so much.
  14. Steven Tyler just gets better and better..... He's probably a god or something or maybe Satan him self.
  15. In the world of opera, male singers have much more deep, dark tones to their singing than rock singers do. Even a tenor in dramatic opera might sound like a 'deeper' voice than 90% of all rock singers. For example, this is a low tenor role, but a tenor role nonetheless (singing stars at 0:58) : My questions is, is this more because rock singers mostly consist of thinner, smaller voices, or does the rock style involve deliberately 'thinning' your sound, or at the very least not going for those deep tones classical singers do? I ask because it seems like the vast majority of rock repertoire are 'not my voice', and not even because I'm a bass or bass-baritone, but just a bigger baritone or baritenor by opera standards.
  16. I've been an instrumentalist for a long time, but recently started training with a vocal teacher for the first time ever. She's a classical person, and knows her stuff there, but is flat-out against all breathy tones and dirty tones as impossible to do healthily. Moreover, she's telling me I have a big opera Baritenor kind of voice, completely unsuited to rock/metal vocals, as most rock singers have very thin voices. I wonder if she is right or not (She also says pretty much 100% of all 'those singers' shred their vocal chords and sing over nodules they develop and get surgery or steroids behind the scenes to keep them going - don't know if anyone here would like to challenge the veracity of that?) One of the reasons I went to her was because I had no earthly clue how to do some of the things I was hearing from my favorite vocalists. I could do my 'quasi-opera' voice, I could do a decent impression of Meatloaf and big clean tones like that. But Soundgarden/Chris Cornell type vocals? Nope. Dio or James Hetfield? Not a chance. And death metal cookie monster stuff? No way. I can't even imagine where in your voice that comes from, I seem completely incapable of doing that, or in general putting any hair on my tone at all. I thought I was just missing the technique, but is it possible I just don't have a voice conducive to that type of thing?
  17. Hi, I am Stan from Belgium and I play guitar and I sing in a rock band. We play rock music (obviously) and it's pretty 'rough' music. Not like metal rough, but similar like Foo Fighters, Queens of the Stone age, ... . You get the picture. So frequently, my vocals have to go pretty high and loud. Well, I always sing loud and it's already pretty high, which suits our style of music. But sometimes, there are notes that I just can't reach, but I get really close. It's close to 'screaming', but not like metal screams, but more like shouting really loud. For example, it's a bit like Dave Grohl (Foo Fighters) in the chorus of the song 'The Pretender'. So my question is, is there anything I can do to make my voice go that extra step higher? Like warm up my voice, drink a beer before, ... I really have no idea I'm not schooled or anything. But I need like a kick or a boost to go all the way. Thank you in advance Stan
  18. Hi there, I am continuing from the "weird exercises", and the goal is to touch the more critical spots that gets in the way, instead of following the ideas of "its all mechanics" development that became the norm on the internet culture nowdays. I want to talk a bit about the subject of "power", and the problems that I often come accross. As whole I would define the problem like this: Power is a subjective perception that is on the listener side, you DON'T achieve it through a mechanical technique, you do it with music. And music in its turn is all about creating expectations and sounds that have some pattern to which the listenner can confer meaning. To clarify this, play a major scale on the piano: CDEFGAB And stop on the B. Pay attention on how you anticipate the resolution into the C on the higher octave, the B when played within that context wants to resolve into the C. This is a notion in music called tension and release. A tension means an idea that asks for a resolve, for a conclusion, the release is the conclusion itself. When playing such major scale, if you keep going up to the B (the 7th) and don't let it resolve, the idea will keep asking for a resolution, and when you finally do it, you have power . Same applies to rhythm, if you create a repetitive pattern that can be anticipated, everytime you follow it, you have a resolve. And everytime you change it, you have tension. For example, if you place an accent on the upbeat on a given spot. Anyway, the idea is that the way to think about it is first: - What is it that I can do today, what are the tools I can work with? - How can I use those things and bring the power that I want to a song? All that technique can do is expand your possibilities, but if you are lacking power, its very, very likely that there is a problem in one of these aspects, already in order of importance: Rhythm: Tempo - Nothing is more distracting and annoying than missing attacks, sustain times, resolving a note too early or too late. I am not talking about little interpretation details and creativity, I am talking about not paying attention to what is going on with the song and lack of skill to predict and follow a given tempo. It boils down to this: if you want so, you should be able to follow a beat on any given speed and NAIL the times precisely, if you try to do it and get lost on the middle of it, on a song the problem will be worse. AFTER you have good control over this, then even if you choose to do a phrase or detail more "loose", you will still be able to get back to it and thus confer this detail you did meaning (power). Time Signature: Simple example that happens all the time on rock singing, Iris - Goo Goo Dolls. Everytime someone has a problem with this song, I know exactly what I will hear: an attempt to force a 4/4 time signature on top of the song 3/3. It changes the song entirely and it becomes plain boring. You can blast your voice until you spit blood all over the mic, it will still sound boring. This changes the accents of the rhythm and you end in conflict with the instruments. Often it also causes a tempo problem because you will then have to rush here or there in order to make it "fit" somehow. Solution, pick a metronome that can put accents, and practice different time signatures on it. Pauses: Energy and power does not come from being at 100% volume all the time and then going to 120 suddenly. Its the total opposite, similar to what happens on other forms of arts, power and impact comes from contrasts . And this begins on the TIME domain. What does it mean? It means that if you don't create spots where you don't sing, and just try to FILL the song with as much vocals as you probably can, you won't have the pauses and a big part of your possibility of sounding poweful will go away. Oversinging is a very common issue, let it breath, have patience and wait. DONT sustain on every single opportunity or else when you do it will be already old (another big chunk of power is eaten away). Example, Red Hot Chilli Pepers - Dani California: Black bandana PAUSE, Sweet Luisiana, PAUSE, Robing on a bank on the state of indiana, PAUSE. First because of their style that is a kinda of a mix of funk and rock, if you are not tight on tempo you can forget it. Second, these little pauses are what makes the song live, it follows the "pulse" of the song. If you just sing through it all as one big chunk of voice it will sound weak. On "bandaNA", "luisiaNA", "indiaNA", make these NAs firm, but short, a quick "punch" of voice, not more. And there you go, power. Sustain Times: A long sustained note with vibrato is very dramatic and has the potential to sound very powerful when used correctly. You played your cards right, waited for the right moment, opened your voice and went loud, nailed the attack... And then you go for it, but you make the ending "loose" from the beat. As in, you didn't resolve together with the rest of the song. Very nice, it may be loud, but powerful, no. This "tightness" of a sustained note, has a major impact on the perception of energy, a fast and precise resolution that is on tempo has the same effect of the precision of the attack of the note. If you don't do so, it will sound like you lost the energy midway. So not only when you begin singing is important, but also when you end. Of course this can be used with the intention of creating a mood or context, if you want to convey the idea that of weakness and this "loss" of resolve, its a great way. Since the subject is "problems to deliver power", it ins't the case. There is more to it but I believe I covered the most important aspects related to Rhythm. And this IS the most important part of singing, specially on contemporary genres. Melody: I know that most would think first of being "pitchy". Or not being sure of the melody line, which leads back to the "pitchy" problem yet again. But what I want to discuss is something else. Music is a rather complex form of art and there are MORE than one way to arrange notes within a given key that sounds correct, there are many scales that can be used, and its not uncommon that more than one can "fit" some place without sounding wrong. However! If you change the scale, you will change the feel of the song. And often this can cause problems related to "power" and deceive you into thinking that the problem is technique. And this happens SPECIALLY when there is a point of tension ON the melody, because we naturally want to resolve it, and if you don't pay attention, YOU WILL resolve it. You may be visceral on the singing, but the tension will go away, and you will have a "easy sounding" phrase instead that can very well drop the ball. Remember what I said about the 7th wanting to resolve? Its a semitone interval to the octave, and its not uncommon to have songs that hit on it a couple of times without allowing the resolution. Its very easy to get used to resolving it into the octave on the middle of the phrase, and it can be a challenge to spot this kind of problem. Solution: No easy solution unfotunately, I recommend picking sheet music on a few songs and studying them through it. I also recommend using a piano or another instrument with equal temperament and carefully transpose the melody note by note. Some pieces specially, if you move into more elaborate music, can be challenging in this regard. Dynamics: And we are back to contrasts, but now not thinking of TIME, which is still the most important, but levels. I have already talked about this on other threads, but the core idea is: 1 - know your dynamic range 2 - use it to create patterns Without getting into details on how to use it on the interpretation, the main problem here is not KNOWING your dynamic range, or not respecting it. In this sense. Lets say you have volumes from 1 to 5 to use. So you start the song on 4, then on the pre-chorus you go to 5. And now the chorus... would need to be in 6. You could be lead to believe that the issue is not being able to be loud as you want, but there will always be a limit. If you don't play your card right through the song, no matter how strong your voice gets, you will always trying to do something PAST your capabilities, and on some songs this will make it impossible to create power. Solution, insteand of begining on 4, begin on 2! And that's all. Look at the whole, what is the peak of energy that you will have? What is the valley? plan your dynamic range in relation to that! Vowels: This is not on the technical sense. It works like this, in a nutshell: Open vowels sound stronger than closed ones. So if you decide to sustain an open vowel, it will sound one way, if you decide to sustain a closed vowel, it will sound another. Example, song "Perfect Strangers", opening phrase is: Can you remember, remember my NAME". Now on "name" you have two choices, you can do n-eh-EE-m, or n-EH-ee-m, the vowel in caps is the one you choose to sustain. If you sustain on EH, sounds strong, if you sustain EE it sounds softer. Simple as that. You also can do modifications with the purpose of respecting a metric that is constructed on the song, or slightly modify a vowel to change its feel. But you must be aware of that, if you don't observe this, and choose the wrong vowels for the job, you can also affect power. So in order of importance, if you have a problem with power, look at this in order of importance: 1 - Rhythm 2 - Melody 3 - Dynamics 4 - Vowels The strictly mechanical part of technique here is, in my opinion, the least important factor. Having more options and choices is good, but it does NOT equal making good use of them! I did a video playing around with these ideas in practice, in special showing the difference between blasting it out without paying attention to these details, and... well singing it. Should be up on the weekend!
  19. Thought someone might like these. New to me, but some of you may have heard these. Zeppish/Beatlesque stuff from 90s Both of these are versions of the Jason Bonham band. Motherland (1994) was the name they used for the Bonham band after they replaced Daniel MacMaster (who sang on the song "Wait for You") Then in 1997 he formed "The Jason Bonham Band" with Chas West on vox. I have heard that name before, associated with Red Dragon Cartel (Jake E Lee) but I dont think he sang on the album with Jake. Also I remember that he was the singer for some of the "Bonzo Bash" concerts. But I never heard him on an album Chas West is a beast! Distorts a lot like Jay Buchanan of the Rival Sons love it Zeppelin/Steve Wonder vibe Strong Beatles feel (IMO)
  20. Hi guys, so after some constructive criticism from some youtubers I recently purchased Reaper, and my friends and I are looking to do some better quality recording for some youtube covers and eventually some originals. I have done tons of research on recording and vst plugins, and I have my mind pretty much made up on all of them except for the vocals. Because I am singing in such a niche genre, I am not really sure what vocal plugins would be best for what I am going to be doing specifically.I have a very low bass voice, and we are mostly going to be doing Type O Negative covers and other bands of the same sort, so I want something either geared towards that or something that at least has the tools to handle it. I am going to include a few links for the sound that I am trying to replicate.https://www.youtube.com/watch?v=xD5No_JRrZwhttps://www.youtube.com/watch?v=0Y0WKslm-3khttps://www.youtube.com/watch?v=wiOZ6VlM91Mhttps://www.youtube.com/watch?v=IyhLdI9fcH0As you can see, all these bands have a sort of "epic" sound to the vocals which is what I am looking for, of all the dozens of videos I have seen on vocals or articles I have read, they are mainly describing how to get a commercial radio sound, which is not at all what I am looking for. There are 2 main things I was wanting help with from this post, one help picking out a vocal plugin, and secondly help with just a general starting point how to achieve their vocal sound.I know that there is no all in 1 vocal processor that is better than buying the individual plugins, but I was hoping for some recommendations for a beginner like myself in a bundle. As I said, I have done months of research on this so I am not a complete idiot on the subject, but ease of use and hopefully many presets that would be useful for my purposes would be ideal.And secondly achieving that sound, I know you can't cram years of vocal editing advice into a reply, but I was hoping for just a general starting point for me to go from. I just don't have the ear to be able to tell what they are doing. Effects? Number of vocal tracks? Just the basic stuff.Also what would be a basic starting point for eqing my type of voice, I know you are supposed to boost what sounds good and cut out what sounds like crap, but I am not experienced enough to know what that is. Here is a link to a Woods of Ypres song, and then our cover of it to see what I am working with. Was just recorded with the camera mic.https://www.youtube.com/watch?v=9-zSyRQ5evEhttps://www.youtube.com/watch?v=u-Af9UMqRCEEquipment list:UR44 Audio InterfaceSM7B mic with cloudlifterAs I said, I have also pretty much made up my mind on the other plugins, but I am going to list them here, and if anyone has a better product in mind for what I am going to be doing, I am all ears! Thanks, Brad
  21. Please leave a comment below if u are interested in getting ur track mastered for only $5!
  22. Do you have music on Spotify, iTunes, etc? If you do not, we offer services to post your single, albums, or EPs on up to 14 major music platforms cheap! If you have music on Spotify, we can jumpstart you with tremendous amounts of plays for very cheap prices. If you earn royalties on your music, you can actually make money off of these 100% organic plays. Lemme know what you think! 1,000 Plays - $10 ($4) 5,000 Plays- $40 ($20) 10,000 Plays- $75 ($40) 50,000 Plays- $350 ($200) 100,000 Plays- $500 ($400) 200,000 Plays- $750 ($800) 500,000 Plays- $1500 ($2000) 1,000,000 Plays- $2500 ($4000) 2,000,000 Plays- $4750($ 8000) those are our prices, the prices in the parentheses is how much you would make off of the plays if you made .004 cents per play. (.004 cents per day is the lowest amount of royalties given by spotify.
  23. Anyone heard of this guy? He's had a pretty illustrious career, ranging from the Screaming Trees, to Mad Season, to Queens of the Stone Age, to his own solo work. A baritone if I've ever heard one. And the texture of his voice is quite gravelly and has a lot of character. No technique involved with that, just loads of cigarettes and booze.
  24. Hello What vocal tehcnique does sebastian bach uses on the high notes? For example at the end of I remember you. And in 18 and life when he sings the verse ''and works his fingers to the bone'' I've heard he uses a head voice tone and then he adds distortion over it like a overtone or something. Does anyone know?
  25. Hey everyone, I am stuck with a tiny bit of a dilemma. I play in a cover band in which every member does their share of singing, but while there are some songs I want to sing, I have major problems doing so because I cant hit the notes without going falsetto. I sing a lot of rock and country and while country isn't too much of a problem, I'm starting to hit the proverbial wall with rock. The voice range that I am comfortable singing in is more of a baritone (think Trace Adkins, maybe a touch higher than that.) so when I try to hit notes in songs like This Love by Maroon 5 or even some punk rock songs (Stacy's Mom by Fountains of Wayne or Ohio by Bowling for Soup.) it sounds like my voice is thinning out and my projection just goes away all together unless I sing falsetto but then the tone doesn't fit the song. I know the best way to improve is practice and possibly professional help. But at this current point all I can afford is practice. What I am getting to here, is how can I get my range higher, and not have to sound like my voice is thin or struggling. Are there any exercises or techniques that could help me. Thank you in advance