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Souls of Silence Cover Complete

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Keith
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I really really tried to produce a quality cover of this song. I mixed it with crappy headphones because my studio monitors broke a while back. Let me know what ya think! AND BE HONEST, ya won't hurt my feelings any, I beat myself up more than anyone else ever could. ;)

~Keith

http://www.soundclick.com/player/single_player.cfm?songid=12269142&q=hi&newref=1

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Keith

I loved the harmonies. Very Dio. Excellent vibrato, as usual.

You are having some difficulty with range about 3'07 "Confined too.." which sounds like falsetto and lets things down bit. Also scream at 3'44. Mind you, I'm not sure if I can do it justice myself.

You made brave and fairly effective efforts at the higher stuff towards the end.

Overall a very different sound to Robert's. I enjoyed it, I will listen again.

Dude... you know better than to front load it with excuses - broken monitors... the cat was sick on my homework. If you email me a link to your seps then I'll mix it for you. You have the vox too loud in this mix.

George

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It's Robert's fault for writing a line that covers more than 2 octaves. :lol:

On the previous test version, I had written that I liked the weight in your low end and that you should keep it. And I may be wrong.

Because I think you might have a smoother line if you bridge earlier. In this, you are bridging late, which is giving the high notes a relative "falsetto" effect. I like falsetto, so it's not something I am against, in any song. I just think this one was conceived to not have it, at least comparing to the original, if we are going to do that, something I don't usually like to do. And I think that is because, in the original, Robert bridges early. When he wrote this song, he was bridging early (the song is a few years old.) So, when he did it, only the lowest notes in the line were bassy, everything else was bridged, at least to my ears. One might also say that it is a song that was written to be bridged early.

Which is a sign of excellent control, to sing for 5 minutes with half the melody smack dab in the middle of the passaggio. The song has a permanent mailbox located in the bridging area of the voice.

Speak of bridge, during the musical bridge of the song and just leading up to it, you have some strong, ringing high notes that I liked. Do that some more.

And no, I could not do any better. I have been invited to do this song but I'm a little scared of it. For me, it is technically as daunting in range and quality as that of "Silent Lucidity." I know I will strain and go sharp on the lowest notes. Or lose adduction. This melody, like SL, goes from upper 2nd octave to the start of the 5th octave. My weakness, my failing, is the 2nd octave. Which doesn't mean I am not willing to try. But I would have to approach it differently than I do other songs. I can't just one-off the track and throw it out there to sink or swim.

People may or may not always agree with Robert on technique, pedagogy, semantics, but dude can write a song.

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Ha! It's funny you mention bridging late, cause I've been working on that lately - I figure it will give our originalsote beef. And yes, the dude can write! It is very tiring to sing this song.

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I thought you did a good job... Don't think it is a good song - Didn't like the song, but the vocals were good.. some polishing up on the highs as mentioned in other posts, and bridging, but overall , - -great job...

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You're a riot, my friend !!! You never miss an "opportunity", do you ??? HA HA

Gotta blame somebody. :D

Most people just know Robert as a teacher and author. But he is also a songwriter and recording artist. The real deal. And sometimes, it's nice to just enjoy a song.

And so far, I think Keith's has been my favorite cover. Jens and Felipe did wonderful jobs, no criticism of them, in the least. Nor of Robert, hmself.

It's like preferring strawberry ice cream to chocolate or vanilla.

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You asked for honest critique, I will deliver. :lol:

First, off, this is totally a personal thing, I don't really like your vibrato. Too slow and pulsing for my taste. But if you like it, keep it. Other people here seem to like it. Maybe keep it the way it is on the high notes, it sounds much better up there. And then work on speeding it up down in the 3rd octave, where it tends to get too extreme. But again, only if you want to. It's totally a matter of personal taste.

Nice harmonies, works well with this song. You could be a little more precise with them, in terms of the rhythm and making sure they follow the melody a little more, if you understand what I mean...try to keep more consistent intervals. Map them out beforehand. It sounds like you were kind of ad libbing them here.

around 2:00...do the "confined", all the F4's in fact, throughout the whole song, in chest voice.

Love the little timing difference on "higher". Rob does it on the offbeat and you do it on the onbeat I think...I like your way better. Works well with the way you kick in the vibrato on the second syllable.

around 3:07...again the phrase is too heady, though this time I think the biggest problem was the A4's were not dampened enough.

the "abide" C#5 could use a teeny bit more girth. Put your whole body into it, blow the air hard, let it distort a bit maybe. Also, maybe get rid of the "ee" diphthong at the end and just say "abahd". I think something about that ee at the end left it off with a girly/operatic vibe that wasn't present during the note. During the note you sounded pretty cool.

Very nice riffy "yeah" in the bridge.

On the end riff of the bridge you twanged too hard on the B4. Of course I'm nitpicking at this point.

On the outro when you first phrase you start going high, I liked the last C#5 but I stuff before I thought was too light and overtwanged.

I would recommend you own up to your baritone range and stick to the original melody there, and maybe just throw in high notes as accents. I think that's more what your voice is meant to do. It's a hard thing for us to accept, I'm a baritone too, but it's what the audience wants, it's not just about the notes you pick musically, it's also very important to tailor the melody to the individual characteristics of your voice. Baritones can sing great high notes here and there, but when we try to sing whole phrases really high, we tend to not do it as well and it breaks the illusion of maintaing full voice. With loads of training it can be done but you're not at that level yet, neither am I, most of us aren't. Singing with good mass and natural enunciation around the A4-D5 range is a really freakin hard thing for a baritone to do. So, my philosophy with that is, train the hell out of it, but in the performing art known as singing, don't do it unless you really have to.

On the high phrases after the key change, again, right around Bb4 and B4 you are overtwanging and not dampening enough.

Keith, the biggest thing I'd recommend training right now is wind & release and dampen & release onsets on A4, Bb4, B4, maybe C5 (there aren't any C5's in this song but if you hear the same quality in that note include that too), and focus on rebalancing your tone to something darker. You have more than enough twang, so just forget about it, erase it from the mind. Put your focus on lowering the larynx, maybe a little more jaw drop too, and work on the vowels "uh" and "aw" up there.

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I can only echo what others have said. Although I truely enjoy the sound of your higher notes this song calls for a more shouty upper register. I have no doubt that you have the range and ability to sing this song with more conviction.

It is a tough song not something that can be mastered in a week.

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Keith as george pointed. Vox too loud and the highs are weak... I think it could be better...

I found even the lower parts more pleasant to listen in your previous take, dunno if its the mix or if you changed the approach...

Sorry man, but I think you can do better...

BTW what happens in those highs that makes you open like that? Its like everything is comming well and then you just do something... I recall you got it well on Silent Lucidity, but after that it kinda went way...

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Felipe: I am not sure what happens. At 2:03 "confined in the pain of desire" I was able to sing those notes prety well. I did not strain. It just happened. Not sure how I did it. The same vocal melody at the end of the second verse did not come out well at all. I tried a few times. It is almost like something is "sticking" in my throat. The second verse part actually felt strained, even though it was airy and complete garbage. As far as the higher notes, the C5 or D5 go, I have been trying to get a Roy Khan kind of high note sound - Still a work in process. Those notes really take the life right out of me. Make me real tired. So, in a nutshell, I am not sure what I am doing wrong, OR, when I do something right I can't duplicate it. It gets frustrating. As far as the mix, yeah, mixed with cheesy headphones. Hard to tell what is going on. If I knew how to fix my voice to sing those notes better, I would have done it by now lol!

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Keith your C#5's in this were great for the most part. You do them far better than I can. It's just the stuff right below it, around A4-B4...that needs some work. Don't sweat over the super high stuff, it sounds pretty darn good right now, it could be a little better but it's mostly there. In your training, focus on putting more boom into the mid-high, upper 4th octave notes.

If you were having more trouble on that second verse phrase than the first, it probably needs some vowel and/or consonant modifications.

I can relate to the sound you're getting on the high end, I tend to associate it with intentionally entering the head voice...it's almost like a "okay I'm going to lighten the mass and shift the placement and add more twang now" thought process. The first step to bridging with more musculature is to let go of that habit. Think less about making a change, and trust that it will naturally happen...it's kind of hard to explain. But TVS dampen and release onsets really really help get into that darker, later bridged coordination, I'd highly recommend working with that. Ask Rob to show you if you don't know how to do them, I'm sure he could make a quick video on it or something.

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You have a very commercial sounding voice Keith, when i hear your middle range i get goose bumps. One day when you have all the piecies together and have your mix and head voice connected you will be a force to reckon with. Great job!

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