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devaitis
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You somehow reminded me of Justin Hawkings from The Darkness.

And it hurts me :(. I have never listened to The Darkness. But I today did, The darkness - Girlfriend. The vocalist sound exactly the same like Bee Gees ---> I don't like it much. Come back to dopy...... :(

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Well whatever you like :) But you don't remind me from beegees at all, not at all. And maybe my comparison was way off anyway, don't mind it!

I remember you mentioning somewhere David Phelps as a "dopey sound" that you admire. I got to admit that David Phelps is THE MAN. I don't want him to sound like beegees either ;)

Anyway what matters is if you like the way you sound or not. But still I think your tone is great! Where do you want to go from here, what do you want to have more? A bigger sound? More power? Control? More dopey? :)

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Thanks Jonpall. Ill be waiting.

But guys what is my problem? Why do I put records on this forum? Because I feel my passagio,( mix voice, curbing ) isnt excellent.

Why?

Because I have got "Wave of falsetto" do you got it? I can sing harder and softer but all the time there is a part of falsetto. My voice isnt one voice still, there is difference between F4 and ex G4.

There is good example. http://www.box.net/shared/r2uhyudkmk

"Maybe Im amazed". Durbin has sung it lately on the AI.

Notice that note of light difference between F4 (my last note from chest) and higher, there is no ONE VOICE. Ech Im pathetic. Durbin can sing with one voice, Lambert can, Taylor can, McCartney can, Bolton can..... but devaitis cannot.

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To Jonpall: You are very special person on this forum.

I had your "Bed of Roses" cover on my disc, and have listened this one often.

Because MAN:

Your Bon Jovi (A Johnny cover) - Bed of roses 3.18 or 1.52 is what I want to reach. Teach me Jonpall how do you get this notes with strong, with power with sth i cant do.

Its all I need.

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Great singing, Devaitis!

You don´t sound like Bee Gees so don´t worry :). As a matter of fact there is a dopey sound here too but it sounds great. You crack on one note in the end, notice the "in" phrase, but hey, noone is perfect, just for you to notice.

Cheers!

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I liked this song and truly, Devaitis, I like it better than the original and I don't say that just to be supportive or be "friends" with you. You sang it better.

I agree a little with the Justin Hawkins comparison.

You haven't heard them so here is something for you to compare with.

"I Believe in a thing called Love"

by the Darkness.

Trust me, it's a compliment to be compared to Justin Hawkins.

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devaitis - your voice sounds great. on the C5 you are in head, but maybe a lighter head that doesn't sound as strong as you would like. Coming down to the Ab4 you are in chest again. This song calls for that doesn't it? The guy that originally sang this goes into that light head at C5. I think you sound good on that. I've heard you sing much stronger head tones so I know you can do it. Do you practice scales that connect chest to head like one single voice?

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I'll probably get new headphones today.

But I've actually been considering becoming a part time vocal coach and offer Skype lessons, because I think that's how very many vocal coaches start - they start small and they start somewhere in the MIDDLE of their vocal technique journey. I've been studying vocal technique and practising it for several years now and think I've learned a huge amount of things, although I realize there are so many coaches out there that know more than me. And some people on this forum have already contacted me via email or msn, asking for some vocal help and have all seemed to be pleased with the outcome. I think it would be easiest and fastest to help people via Skype. That's why I'm thinking about this. My price would start on the cheap side. So if anyone knows a friend that would like to try to contact me, or any of you would like to try it out yourself, just let me know. Let me know if I'm way out of line with this.

One a side note, I'm half way through recording my version of Journey's Faithfully and I'm getting more and more comfortable with that type of singing and I'm understanding more and more about the finer details of getting a Perry-ish type of sound. Actually, I'd rather want to call it a pop-tenor sound, i.e. high full notes but without rasp.

Cheers!

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guitartrek: Rather no, I have no good exercises i guess. Some suggestion?

devaitis - The connection between chest (thick folds) and head (thin folds), which for me occurs - depending on vowel and loudness - occurs somewhere between A4 to B4. (Real quiet on and "EE" I can go into head even lower). This transition I practice every day a ton of times using different excersizes - and different vowels. So I have a number of patterns - like a 9 note major scale (12345678987654321) starting the pattern low - like 1=C2. Move up 1/2 step and repeat. keep doing this until you reach your top and then descend by 1/2 step. I do scales, 1.5octave arpeggios, and different scale type patterns and I use a few different vowels, like "ah" "eh" "ee" etc. And I practice some real light, and some real heavy.

The point is that the exercises help me to make my transition from chest to head seamless. I can feel the difference, but try to make it so you can't hear the difference. These type of exersizes really help the head voice sound connected to chest like one single voice. I think you are doing head correctly, but you are using a lighter head with a heavier chest, which makes it sound unconnected (unless you want it to sound that way). You just need to work on matching the weight of head with the weight of chest so you can "command" the two registers to have the same weight so they sound the same.

You might be able to get there just singing songs and talking about how to do it, but I think that is where your frustration is. To me, you need to really work on connecting in a concentrated way. If you were trying to excel in a sport you would HAVE to work out. Singing is like athletics. A solid practice regimine will help you get there FAST. Lunte's program will do this. I use KTVA. Check out vocalPower's website and his videos - they are excellent.

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You might be able to get there just singing songs and talking about how to do it, but I think that is where your frustration is.

My current feeling is that it depends on how you approach singing songs when you practise. If you sing the songs mostly slowly and kind of mix it up with a few vocal exercises, I think singing songs can work excellently. I'm saying this because I spent a long time doing just vocal exercises and didn't really progress that much until I started working out the way I'm doing now.

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jonpall - I think you are right. You can learn a lot through songs. The reason I say this to devaitis is that his approach seems to be ALL about songs and NO exercises. He is frustrated. The Song Only approach doesn't seem to be working great for him. To me he needs to take another approach to learn how to "even out" the weight between chest and head. He is singing a song that goes from Ab4 to C5 - that is Chest to Head in a Major 3rd. This interval is tough to learn how to make chest and head the same sound. If he was working on a scale or 1/2 steps it would bring the transition point much closer together and he could more easily transfer the weight of chest into head. Anyway, that would be my advice for what it's worth (I am not a teacher or a coach!)

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I'm a fan of that old "When a man loves a woman" SLS video on youtube where its shown how to just produce a good sound on high notes, which you can then continue using for a melody. So once you've managed to figure out how to create a good sound, I think you shouldn't put TOO much time into vocal exercises. But then again, I'm not sure if anyone knows what the proper ratio between songs and exercises is.

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CVT says only do exercises for things you need to work on, otherwise work on songs. That's a good approach too. The SLS approach using a specific song to work on is like an exercise in itself - That sounds like a great exercise. I'm coming from KTVA which is basically like a workout regimine - so is Lunte's program. Ken's and Robert's is approach is more like athletics.

I used to play on a volleyball team. The first year of practicing consisted of just playing games when we got together for practice. Then I brought a friend of my that played in college to coach us. He had us spend at least 50% of the time doing drills and specific exersizes. We advanced much faster than when we played 100% games at practice.

With singing I don't think one approach is better than another. All we can do on this forum is offer different approaches that have worked for us. That's what I like about this forum. You get to hear a lot of different approaches.

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And again, I'm going to be your reality check. For some reason, my BS tolerance dial is down low.

So, I'm going to ask some inconvenient questions and hopefully, you will truly reflect upon them.

1) What is this problem you have with the sound of the Bee Gee's? Psychology.

2) Why do you think you sounded like the Bee Gee's? For you did not sound like them. Corrolary question, see question one.

Singing is mental and you are holding yourself back because of your preconceptions and attitude towards a clean sound. You have a great voice, especially on this submission. I just wish you would quit beating the crap out of yourself and see things clearly.

Hey, well, at least I tried. I am, indeed, don Quixote, tilting at windmills.

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Geno, yeah, but note that there is a huge difference in singing songs exactly the way you would sing them live ... as opposed to singing songs slowly, perhaps repeating a single phrase or word over and over, maybe sirening up to a few of the highest words, modifying the tone as you do this, etc.

I totally agree that if you just sing songs at a normal speed, you'll probably get nowhere. That's not at all what I'm advocating.

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I know what you mean. I liken what you are saying to creating "customized" exercises for a particular song. Isolating certains phrases, singing them slowly, doing sirens using the same vowels and pitches as phrases in the song, etc. That is highly effective. I do that too. I use that approach on guitar, when there is a lick or passage from a song that I can't quite get, I'll isolate that lick and create an exercise just for that passage.

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