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Robert Lunte - Sings Original Composition - "Souls of Silence"

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Enjoy... tracked at Starlodge Studio with Dave Hillis (Alice in Chains, Pearl Jam, Soundgarden, etc...).

SOULS OF SILENCE – By: Robert Lunte

In Souls of Silence

Casted Shadows along the way

In times of darkness

Running blind in the city

Looking out, new paradigms in walls that we climb

For a soul was lain, at the altar of time...

Framed and baited, standing guilty with no crime. Can't climb walls that bind me!

Look into the well of fear in your mind, no release from the screen play.

You made it to the break of day, your road, retold then your carried away.

As the victim you portray.

Running through on together, you will stare into the mire, confined in the pain of desire! You can't fall from any higher!

(chorus)

I conceived it

And there I stood with my pride and my faith standing at my side

I did believe it

I made my stand, survived, the pain that I sadly abide

You watch your back and but keep your stride. Your strong, hold on, just another white bride. How long, only you decide.

Chasing through on together, toss all reason into the fire, trapped by the chains of a liar! You can't fall any higher!

(chorus)

I conceived it

And there I stood with my pride and my faith standing at my side

I did believed it

I made my stand, survived, the pain that I sadly abide

There I stood, denied, no mirror to hide, humbled in my pride.

To lead and to guide, the voices, Harrowed in the Night, I turned my minds eye.

For I was sojourned, indicted, enslaved by my Master, enticing a riot!

But now, the fear, and the pain, left and defiant!

Have turned to my Heroes, in Souls of Silence.

http://www.youtube.com/watch?v=FbkI_NS9erQ

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.... Hey "Bobby"... those that teach, CAN sing... hope your enjoying your day.

Friggin Bobby. Great song Sir. Lyrics are amazing.. Did you write the music and lyrics AND sing it? Anyway, great stuff! When is the whole CD gonna be done?

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Thanks Keith! "bobby"? :rolleyes:

Just getting started on it Keith... when I get back from my Masterclass tour in November, will be putting a lot of time into it... have got a lot of other things out of the way, so 2012 will offer more time to be an artist. Thanks for your support.

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Excellent! Love the arrangement and textures. Very nicely produced. Great chord movements and time signitures. I like the heavy guitars alot. The vocals are superb as usual. Great composition.

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Thanks Geno, I know you would not pay a compliment easily. It must have some merit to get feedback from ya... glad you liked it.

Chavie, glad you liked the tune... yes, the ending is pretty cool... can't put my finger on it, but its definitely operatic or theatrical. As much as I can step outside myself, I really like the part. The lyrics are very cool... I'm pretty happy with it... more to come. Thanks for the compliment.

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I agree with Adolph - this is the best song you've posted Robert. It is very complex yet very powerful from an emotional content. It is a deep song that really grabs the listener. It builds interest the whole way through and that's what I appreciate about it.

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Very majestic song. I liked it! Very "blow you away" kinda thing which I'm very weak for :D Also the first time I heard you sing and I've always thought that "those who teach, they teach because they can't!" :P I was glad to be wrong!

There was one thing though that I just didn't understand. With such a powerful approach, with the rasp and rock of it all... The high notes (which weren't that high) notably "confined in the pain of desire!" and a later chorus were sung in falsetto/head voice.. Why!?!?!? Why on earth?!?!?! Why didn't you do it overdrive/power it out to fit the music... It would have sounded more connected to the rest of your voice... This way it would much more have fit a dynamic downshift in the instrumental but.. It just felt so out of place... Some heavy rock singing there would have been AWESOME to say the least... Also, the vowel modification in that same chorus was a bit too much for me...

Well, I guess I'm going to be hated on now since I criticised the leader of the site/boards. Burn me with kindness please.

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Snejk, you aren't alone. You said exactly what I was going to...

As an instrumental song it's impressive. Some lovely textures going on, lots of twists and turns to keep people interested, the time signature changes in particular were pretty cool. You showed a lot of songwriting chops here.

The vocals however were a bit... safe. Like Snejk said, too much head voice, too many vowel modifications for the range you're singing in... what I really want to see is the power, the grit, the attitude, the emotion that goes with rock music, and I just wasn't feeling it here. Sorry Rob.

Edit: For what it's worth though, I had a similar comment on a cover I posted a while back. I don't remember who posted it, but their advice to work on attitude, grit, nasality was some of the best advice I've ever received.

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Yo, Robert, I already commented on your thread in the main site. If you like, I can link it to here. Anyway, solid, man, just solid. This a song. Not an experiment, not an example, not an exercise. This is being an artist. Which you already are and have been for nearly forever. This is not Robert Lunte the teacher, website owner, forum admin. This is Robert Lunte, the artist, as we all are and/or should be.

Again, this is a song. Sung by a singer. Sung by an artist. It doesn't get any better.

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Or, to put it another way. This inspires me. Theory is theory and we will always practice and learn new things. And lately, I've been hearing melodies in my head. Which is a good sign. It means I am ready to write, again. And you are the kick in the pants for me.

edited to add:

here's my post from the main website, where I first heard this. In fact, I'm probably one of the few besides Adolph who takes advantage of the vast resource of the main site.

Ron Stone comments on Robert Lunte's song;

"Truly astounding.

Bravo, maestro, bravo!

This is opera. An aria in what I can feel is an even larger theme. I don't know if you've planned a conceptual opus around this, even though the song stands on it's own.

This really is "bel canto." Anyone that can't hear that, well, they just don't appreciate what beautiful singing is. It doesn't matter if I am the only one that will ever comment on this. People in the main site rarely comment on the vids and performances, which is a shame, since this should be our stomping grounds, our proving grounds, the field of "show your stuff."

And you are doing the hard stuff, with chunks of chorus in the passaggio. It's easier to either bottom out or screech high. But to hold melody and tone right where resonance is shifting, the work of a maestro.

Robert, I hope you know me just well enough by now to know that I say what think, which can sometimes be detrimental to my "perceived status." Let that be a mark of veracity when I say this absolutely is excellent. Not just in singing technique, or even recording and mixing strategies. This is a song. Capiche? This is emotion and story conveyed in melody and harmony. Speaking of which, wicked harmony on the word "time" near the beginning. That was all that and a bag of chips.

I know you haven't been around the forum as much and I can now see why and it is certainly a valid reason. Creating the art we are meant and driven to create.

And for those who read my comment, this is how to sing.

No, you (in general) will not necessarily sound just like Robert. But you can sing like this, i.e., with power, conviction, delicacy, dynamics. It's in there, you've just got to let it out, get out of your own way.

Now I am just blathering and probably sound like a groupie. Never mind that. Excellent work, as an artist. Nevermind the teacher thingy, the school admin thingy, the whatever else thingy. You are a performing artist."

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Very majestic song. I liked it! Very "blow you away" kinda thing which I'm very weak for :D Also the first time I heard you sing and I've always thought that "those who teach, they teach because they can't!" :P I was glad to be wrong!

There was one thing though that I just didn't understand. With such a powerful approach, with the rasp and rock of it all... The high notes (which weren't that high) notably "confined in the pain of desire!" and a later chorus were sung in falsetto/head voice.. Why!?!?!? Why on earth?!?!?! Why didn't you do it overdrive/power it out to fit the music... It would have sounded more connected to the rest of your voice... This way it would much more have fit a dynamic downshift in the instrumental but.. It just felt so out of place... Some heavy rock singing there would have been AWESOME to say the least... Also, the vowel modification in that same chorus was a bit too much for me...

Well, I guess I'm going to be hated on now since I criticised the leader of the site/boards. Burn me with kindness please.

I know what you are referring to Snejk and relax dude, Im not going to snuff you! LOL! When you make honest and good points, remain balanced and don't just use the forum as a platform to roast me because your jealous or some immature attitude, your fine. It's only when you jump on here and just rip on me and my business with no credibility, facts or are not even a proven singer or student... that I get hot under the collar, as anyone would. This post is fine...

Glad to hear that you now realize that some that do teach, can sing as well... but I have to say, only some. You know, that the main reason I did this, not because of my ego or because its hella fun, but because it is my job to try as best as I can to lead by example, to establish credibility in regards to my ability to do the stuff I teach... it pains me to see so many voice teachers never take this risk. I think there are teachers that honestly, if they gave it a good effort, have nice voices... but they are too fearful to put themselves out there. That is what this is about guys... its about saying, "you know what, I got balls and I may not be the most gifted singer in my own studio, but I'm pretty good and can hold my own. I do the things I teach others how to do and ya, there is an artist inside as well". But mostly its about credibility... anyways, I digress... to your points.

I would have to totally disagree with your statement that these registered notes "weren't that high"? Are you kidding me dude? Maybe my laryngeal dumping and vowels were so good that you thought it wasn't? I don't know but those are G#4s and beyond there bud and the last time I checked, that is 5-8 notes above the male passggio! The entire 2nd chorus pedals through a G#4... now there are not many people that can pedal and craftfully articulate lyrics on a high velocity, G#4 without completely shitting out to falsetto or just full out, shouting at it... believe me, its high enough... which leads me to my next point. I understand what you mean with the register changes. These moments are head tones with intrinsic anchoring; laryngeal dumping, tongue leveraging, good vowels, twang and that is precisely what I wanted to do. I was going for a more clean, operatic, chest voice sound... I do not want to try to distort on those notes, to do so, would mean I would have to completely constrict and shout at it and that is not what I teach, nor is it what I want to demonstrate as an artist. This song is suppose to be more operatic, theatery, not a shouty, distorted thing... which is fine I suppose, but that is not the vibe Im going for here. Also, to toss out my technique and just try to get a shouty, distorted tone in it would make the ability to hold onto the lyric and phrasing a lot more difficult, if not impossible.

You have to realize, the voice has limitations and they are unique for each individual. You learn what they are for yourself and then you learn to train pass it and sometimes navigate around it. I can tell you first hand as a voice coach and someone that teaches many people to sing, and I think it needs to be put out there... not everyone can distort easily and not everyone can sing clean formants without distortion easily. I teach vocal distortion and can do it well enough, but I have beginner students that can do it more intuitively, because of the anatomy of their voices, but, they couldn't lock and load a theatery formant without training, which btw, is more difficult to do... I am not a "distortion" artist, it is not what I have trained my life to do, it is not what I am inspired to do and its not what my system is inclined to do until about A4. I always have been and will remain, more of a Geoff Tate, Rob Halford, Steve Perry kind of singer...

For those that are seeking voice training, it is very important to point out to you that what you hear as an artist is not necessarily what you get as a student. People make that mistake all the time... I can teach you to distort, my new vocal distortion techniques in "The Four Pillars of Singing" 2.0 are fully developed and getting great results for a lot of people, but style and technique are two different things. I can teach you to do just about anything you want to do with your voice, especially bridging and head voice work, and we wills start by seeing what your voice is inclined to do and your strengths and weaknesses and build from there. It has nothing to do with who I am as an artist or what I chose to do for one particular song. I think Ron was quick to point that out, there is the teacher and there is the artist and the two cross pollinate a little bit, but are very different skills sets... but again, I digressed...

Bro, these are high notes, I assure you that, so no arguments there... and I am not interested in shouting or muck up the vibe by distorting at the high notes... one alternative would have been to just not sing those notes high. To chose a different movement in the melody.

Lastly you state that the 2nd chorus and the high notes were sang in falsetto/head voice. No they were not. This is part of the confusion, you think that head voice and falsetto are the same thing, they are not. Falsetto would of been a light, windy sound, this is not falsetto , this is twanging through a specialized formant in my head voice. something we discuss here in the "techniques" section all the time on this forum. I suggest you start by watching my video " Falsetto is not your head voice" so you can learn to understand that the head voice is a register that you can sing different vocal modes inside of; falsetto, twang, quack, distortion, etc... and once you understand that falsetto is not your head voice, a world of possibilities open up to you. You realize you are not stuck with falsetto or shouting at flat, constricted chest voice notes too high... you begin to enter the world of twang and formants and realize, that you can sing in the head voice with power and freedom.

Anyways, thats not falsetto bro... far from it, its a fully locked and loaded, twangy boom at very high decibels and execution... something that you have to train to learn to do.

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Snejk, you aren't alone. You said exactly what I was going to...

As an instrumental song it's impressive. Some lovely textures going on, lots of twists and turns to keep people interested, the time signature changes in particular were pretty cool. You showed a lot of songwriting chops here.

The vocals however were a bit... safe. Like Snejk said, too much head voice, too many vowel modifications for the range you're singing in... what I really want to see is the power, the grit, the attitude, the emotion that goes with rock music, and I just wasn't feeling it here. Sorry Rob.

Edit: For what it's worth though, I had a similar comment on a cover I posted a while back. I don't remember who posted it, but their advice to work on attitude, grit, nasality was some of the best advice I've ever received.

Yes, its much easier to be judged favorlly if your instrument is a processed guitar, but try singing, and the Monday morning quater backs come out in waves like the walking dead. Your desire to hear "grit" or distortion is reasonable, but its hard for me to distort on those parts because of the lyrics and notes... as for attitude and emotion... uhm... ? Ok, I'll try to have more "emotion" next time? I guess I just needed to put more of my heart into it... I'll try more harder next time to find some more emotion... Thanks...

:rolleyes:

Im in Paris right now, Im going to go get some sloppy wet, scambled eggs...

PS:

More tunes to come, each will display different ideas and techniques... with "the four pillars of singing" 2.0 training system done, I hope to have more time for artistry.

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Major props for posting this Robert. Both for the courage (which not all vocal coaches have) and the quality of the songwriting, mixing and singing. The beginning of the song is sung very well and I liked it a lot. You can hear a variety of emotion and also distortion. Guys, he IS singing raspy here and there - just not all the time, and less so on the high notes. Whether or not people like the high part is simply a matter of taste. Robert likes the Geoff Tate style so he puts it into his own music. It's his own choice and what he digs. But maybe you weren't missing rasp, but rather wanted to hear more of a "belting" style of singing in the high phrases? Well, that's also a preference thingy. Of course, there is such a thing as putting TOO much "body" into your high notes, especially if it starts to constrict your throat, and you can also put too LITTLE body in your sound, sure.

Actually, about four and half minutes into the song there are a couple of notes that are BOTH high and distorted, which guys like Snejk and Spectrum might have wanted to hear more of. Very cool distortion there, Robert. I've heard Robert teaching distortion and he can definitely both teach it to people and do it, although he states that it's not necessarily his forte nor his preference to do so in his own music.

I liked that clip, Robert. Thanks for sharing your music.

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Hey Rob. I really like the composition and how you performed it. Very diverse stuff, that's what I like. Is it going to be a LP? Maybe you could uplad an mp3 version of this tune? Take care!

Łukasz

DJ, thanks... Yes, this is the first of what will be several recordings for a LP release... the intent is to sell the tunes, but I don't mind giving away this file for now... Here is a link to a box.net folder where you can get the file, found under the folder "performances" (more to come).

You will also find other FREE tutorial and vocal technique lessons I make available to the public and people that are considering training at TVS or purchasing "The Four Pillars of Singing" 2.0. Hope this helps.

https://thevocaliststudio.box.net/shared/5ea5chnvlg45rocq4g4j

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Major props for posting this Robert. Both for the courage (which not all vocal coaches have) and the quality of the songwriting, mixing and singing. The beginning of the song is sung very well and I liked it a lot. You can hear a variety of emotion and also distortion. Guys, he IS singing raspy here and there - just not all the time, and less so on the high notes. Whether or not people like the high part is simply a matter of taste. Robert likes the Geoff Tate style so he puts it into his own music. It's his own choice and what he digs. But maybe you weren't missing rasp, but rather wanted to hear more of a "belting" style of singing in the high phrases? Well, that's also a preference thingy. Of course, there is such a thing as putting TOO much "body" into your high notes, especially if it starts to constrict your throat, and you can also put too LITTLE body in your sound, sure.

Actually, about four and half minutes into the song there are a couple of notes that are BOTH high and distorted, which guys like Snejk and Spectrum might have wanted to hear more of. Very cool distortion there, Robert. I've heard Robert teaching distortion and he can definitely both teach it to people and do it, although he states that it's not necessarily his forte nor his preference to do so in his own music.

I liked that clip, Robert. Thanks for sharing your music.

JonPall... I do not believe I could of explained it better... thank you!! that is exactly what I am struggling to find the words to say... dead on JonPall... and I agree, there is distortion in the lower parts, opening verse and verses... and even in the higher more "belty, Geoff Tate-ish" parts as well... Its pretty clear to my ears... although, its not an overkill... because, that is not what I want to do... I REALLY like that 'boomy' , head voice, belty sound... I love it... distortion is cool too, but the clean, boomy formants for me, are more classy, more theatery and demonstrate or at least show more refined techniques in my view... but mostly, its just my artistic preference. I could of distorted on every high note, but I don't want to...

Thanks for clarifying for me JonPall..

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I know what you are referring to Snejk and relax dude, Im not going to snuff you! LOL! When you make honest and good points, remain balanced and don't just use the forum as a platform to roast me because your jealous or some immature attitude, your fine. It's only when you jump on here and just rip on me and my business with no credibility, facts or are not even a proven singer or student... that I get hot under the collar, as anyone would. This post is fine...

Glad to hear that you now realize that some that do teach, can sing as well... but I have to say, only some. You know, that the main reason I did this, not because of my ego or because its hella fun, but because it is my job to try as best as I can to lead by example, to establish credibility in regards to my ability to do the stuff I teach... it pains me to see so many voice teachers never take this risk. I think there are teachers that honestly, if they gave it a good effort, have nice voices... but they are too fearful to put themselves out there. That is what this is about guys... its about saying, "you know what, I got balls and I may not be the most gifted singer in my own studio, but I'm pretty good and can hold my own. I do the things I teach others how to do and ya, there is an artist inside as well". But mostly its about credibility... anyways, I digress... to your points.

I would have to totally disagree with your statement that these registered notes "weren't that high"? Are you kidding me dude? Maybe my laryngeal dumping and vowels were so good that you thought it wasn't? I don't know but those are G#4s and beyond there bud and the last time I checked, that is 5-8 notes above the male passggio! The entire 2nd chorus pedals through a G#4... now there are not many people that can pedal and craftfully articulate lyrics on a high velocity, G#4 without completely shitting out to falsetto or just full out, shouting at it... believe me, its high enough... which leads me to my next point. I understand what you mean with the register changes. These moments are head tones with intrinsic anchoring; laryngeal dumping, tongue leveraging, good vowels, twang and that is precisely what I wanted to do. I was going for a more clean, operatic, chest voice sound... I do not want to try to distort on those notes, to do so, would mean I would have to completely constrict and shout at it and that is not what I teach, nor is it what I want to demonstrate as an artist. This song is suppose to be more operatic, theatery, not a shouty, distorted thing... which is fine I suppose, but that is not the vibe Im going for here. Also, to toss out my technique and just try to get a shouty, distorted tone in it would make the ability to hold onto the lyric and phrasing a lot more difficult, if not impossible.

You have to realize, the voice has limitations and they are unique for each individual. You learn what they are for yourself and then you learn to train pass it and sometimes navigate around it. I can tell you first hand as a voice coach and someone that teaches many people to sing, and I think it needs to be put out there... not everyone can distort easily and not everyone can sing clean formants without distortion easily. I teach vocal distortion and can do it well enough, but I have beginner students that can do it more intuitively, because of the anatomy of their voices, but, they couldn't lock and load a theatery formant without training, which btw, is more difficult to do... I am not a "distortion" artist, it is not what I have trained my life to do, it is not what I am inspired to do and its not what my system is inclined to do until about A4. I always have been and will remain, more of a Geoff Tate, Rob Halford, Steve Perry kind of singer...

For those that are seeking voice training, it is very important to point out to you that what you hear as an artist is not necessarily what you get as a student. People make that mistake all the time... I can teach you to distort, my new vocal distortion techniques in "The Four Pillars of Singing" 2.0 are fully developed and getting great results for a lot of people, but style and technique are two different things. I can teach you to do just about anything you want to do with your voice, especially bridging and head voice work, and we wills start by seeing what your voice is inclined to do and your strengths and weaknesses and build from there. It has nothing to do with who I am as an artist or what I chose to do for one particular song. I think Ron was quick to point that out, there is the teacher and there is the artist and the two cross pollinate a little bit, but are very different skills sets... but again, I digressed...

Bro, these are high notes, I assure you that, so no arguments there... and I am not interested in shouting or muck up the vibe by distorting at the high notes... one alternative would have been to just not sing those notes high. To chose a different movement in the melody.

Lastly you state that the 2nd chorus and the high notes were sang in falsetto/head voice. No they were not. This is part of the confusion, you think that head voice and falsetto are the same thing, they are not. Falsetto would of been a light, windy sound, this is not falsetto , this is twanging through a specialized formant in my head voice. something we discuss here in the "techniques" section all the time on this forum. I suggest you start by watching my video " Falsetto is not your head voice" so you can learn to understand that the head voice is a register that you can sing different vocal modes inside of; falsetto, twang, quack, distortion, etc... and once you understand that falsetto is not your head voice, a world of possibilities open up to you. You realize you are not stuck with falsetto or shouting at flat, constricted chest voice notes too high... you begin to enter the world of twang and formants and realize, that you can sing in the head voice with power and freedom.

Anyways, thats not falsetto bro... far from it, its a fully locked and loaded, twangy boom at very high decibels and execution... something that you have to train to learn to do.

Thanks a lot for the answer Robert =) I did not wish to come across so.. blunt I suppose... I have a bit of trouble to balance critique so that it comes across as simply my opinion and not some attack on you... Because that's the least I wanted.. Nevertheless it opens up for endless topics and a lot of fun discussion. I was pondering wether I should make a 'video respone' to you so as to demonstrate some of my points and to better, you know, get myself across without sounding like a conceited Swedish stuck-up.

You are right and I love you for saying that each voice is unique and individual!!! Most teachers, not naming names, imply that EVERYONE have the same breaks at the exact same notes and have access to the exact same register with the same timbre, tone and volume. I do not believe this the least!

Simply because a G#4 is not very high for me. I used to need to overdrive them but now I can curb them beautifully in every vowel. I guess we all progress but I've never once had the courage to say "I can!".. I always get stuck on "What if I can't?" and sit there because the moment you think you can do something well, people will try to put you down..

Anyway, tenor C is for me a sticking point when it comes to curbing. I have to use a very reinforced head voice (as you say it). This I would also like to demonstrate as I have a very powerful head voice. However, when I listened to your song, I mean NO disrespect at all with saying this; it sounds like what we in Sweden call "falsett" (in Sweden falsetto vs head voice is simply closure, control and support, but it's a totally different coordination compared to your speaking chest voice). I have no doubt about your volume at all! A good part of mixing is mastering and sometimes even normalizing and using a compressor.

Some people say you can't overdrive above high C. I have a steady overdrive at F (which is just a few notes short of my highes head voice, and to get there I need to flip coordination to head voice). As you say, people are indeed different, we are unique in our voices as whole.

Me, I'm not sure where I would put my register... I have what I think is a kinda beautiful light tenor sound in the upper middle range (up to G4), but what comes natural is a more.. boomy baritone musical voice, like that of Anthem - Chess. Sometimes I feel my range is EXTREMELY limited, sometimes I think I have all the potential in the world, and most of the times I wonder why I try to sing at all =/ - I am one of those who want to be able to sing everything, every note, every style. Which of course is very infantile. I will never be a Russian basso profundo or a counter tenor like Steve Perry.

Sorry, again I drifted into myself but.. I hope this explains some of my reasoning and that I did not at all mean to be rude or anything. Singing is as much about what comes out of the mouth as well as what we interpret with our ears - we all have differences in what we expect, like and all that =)

Anyway, really appreciate your response!!

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Snejk yeah your right in Sweden falsett is usually used to describe almost anything that isnt chest :P we have already had this discussion here on this board :P other terms are used here no need to add more to the mix ;)

Robert great singing i can hear alot of improvements in your voice wich is very nice! Great workshops on lyrics, i really Loves the ending powerfull melodyline :D

Rob any possibility I could get à backtrack of this? Would love to try it out myself

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I have to agree with Robert. I didn't hear any falsetto. And just because a note doesn't have the same timbre and ring as one might have at a baritonic G2 does not make that note falsetto.

But I think, too, that we may be talking a cultural difference here. Where a note that doesn't have the grumble of G2 is considered falsetto, when it is not.

Me? I know the difference between falsetto and a full note without distortion. And they are different.

And I don't think this song needs any more rasp on the vocals. But that is an aesthetic viewpoint of mine. Others' mileage may vary.

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