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New Damage - Soundgarden/May

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Apart from being an awesome recording, I have the feeling that on some of the vocal runs (how you can maintain that power, grit AND do runs just blows my mind) Chris goes rather low in his head voice - A3/B3 or something of the sort, while maintaining chesty, twanged sound. Am I hearing wrong? And another question: this right here is mindblowing vocal technique. How did he let himself go from here to the nasally, sort-of-whiny, barking and definitely not as agile voice of his Audioslave days? In Euphoria Morning there was already a premonition of that more recent sandpapery voice of his, but there he still kept it almost completely together. Just 2 years after that he seemed to have turned his back on his earlier (mindblowing, it bears repeating) technique in favor of that dry growl and yowl. Was it a conscious stylistic choice? I can't seem to get my head around the notion that he might have unlearned stuff he'd been doing for more than ten year, throughout the whole 90s.

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Um, I don't think I understand. Full voice to you equals chest voice? If so, no, of course he's not in chest voice on the D5s/F5s, neither is he in chest voice on many other high notes :lol: It's physiologically impossible, especially for a baritone, which he is ;)

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He's pulling a lot of chest up there. He does not bridge early. You think every human being is limited to C5, and on C# they're going to break? No matter what? You can think that. If you think it's twang, an illusion, post a recording where you're doing it. THEN I will believe in this pedagogy.

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Gladly, as soon as I can :)

Or you can just listen to Adam Lambert? (Or to other examples from forum members in the critiquing section?) Lambert - same power, although not the grit. And yes, there is no physiological evidence whatsoever that a baritone (or a tenor for that matter) can hit F5 with vibrato, then do a run from there, in chest voice. There will not be any physiological evidence, because it's not possible :)

Any logical reasons for you to think that he's pulling chest or you just can't believe a wimpy falsetto can be strengthened to sound like this?

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He's belting his balls off here. Shitload of twang + varying amounts of chest engagement + great breath control = this sound. The extra twang is bringing in the distortion and runs are not a problem because he's balancing his air. Not saying it's easy by any means, nor will everybody sound exactly like him obviously, but the recipe is certainly accessible to anyone.

I think things get tricky because the higher you "belt," the more merged the sound becomes. So the sonic difference can become difficult to tell on a recording, but there is a core to the sound that's always there.

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Well, that's what I'm saying: he's got fantastic technique here. This is not heavy mechanism by any stretch of the imagination, as Americanritual seems to claim. (Or I misunderstand?) But what I'm asking is how did he get from here to his declining form in Audioslave? Was it a conscious decision?

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