Felipe Carvalho Iris (Goo Goo Dolls)

[Felipe Carvalho]

This song is so good to study, always gave me a hell of a time.

http://www.soundclick.com/player/single_player.cfm?songid=12334556&q=hi&newref=1

Every listen and/or comment is deeply appreciated :)

[ronws]

I liked it.

And I understand the challenge. Johnny has one of those ringy voices that makes it seem so easy.

And this brings back good memories. There used to be a show that highlighted a different band each month, doing acoustic versions of their hits. For example, Collective Soul went to Morocco.

And the Goo Goo Dolls went to Alaska, in the summer time, when the permafrost melts a little and turns things into a muddy mess and the local pastime is to body-surf that mud.

Anyway, good job.

[MDEW]

This is one of the songs that I started to work on when I was in an acoustic trio. Unfortunately life happened and we all had to work for a living again.

This is not a song I expected to hear from you but I am glad that you recorded it.

I don't know if you want to know this or not but your accent did come through a little in places. I like it. I would rather hear something of the singers personality come through than a copy of the original.

[Nicogratouille]

I like it! Especially the higher parts. Don't know how to put it but the lower parts sounded less precise to me, less "perfect" for lack of a better word.

Nick

[analog]

Felipe,

sounds good man...only complaint is the same as others, want the 1st verse higher in the mix.

[Felipe Carvalho]

Thanks guys, appreciate the feedback. I agree, its comming low, Ill redo the mix later!

Nico haha I agree man, I am still deciding if it needs to be redone or if I like it like this, what do you think? Is it braking it or adding?

[ronws]

I'd leave it like it is. Sometimes, your first instincts are the best. Second-guessing one's self has led to more dogs and unfinished albums and overwrought stuff than anything.

[Nicogratouille]

Nico haha I agree man, I am still deciding if it needs to be redone or if I like it like this, what do you think? Is it braking it or adding?

I think you can do better!

Nick

[Consumingfire39]

Excellent job Felipe. I know how hard it can be to actually drop some technique for certain sounds... I train similar to you and sing use very similar technique. This has more twang and is less open than you usually go for but you did it about as well as it can be done.

[Felipe Carvalho]

I will remix and see what can be done about it Nick, thanks guys.

Consuming hey, nice to know that man. You going for classical or pop?

[Adoney]

I really like the 'just to know your alive' tone, you should milk that tone for everything! Great work!

[gno]

Overall another truly great performance from you! The high stuff is where your voice shines.

I agree with Nick about the lower verses - they are just a little shakey or pitchy in certain spots. If it were me I'd work to tighten it up - but it's only in a handful of spots. You nailed the high spots perfectly IMO.

I also agree with mdew about the accent - I like the accent coming through a bit.

And I agree about the mix during the verses - the vox needs to come up. The vocal processing otherwise is great.

[MDEW]

Felipe, I just tried this song for the first time. In the Higher parts I have to use a configuration that I have never used before. Loads of twang and lots of air. It feels totaly different from my lower singing.

Does it feel as if you are using the same configuration on both high and low just more energy or does it feel like you switch to another "Mode".

[Keith]

Good stuff bro. Sounds like you had no trouble with this one at all lol. I may try it now that I have undergone some interesting vocal changes!

[MDEW]

Thanks Owen. I think part of the problem that I was having is switching back after "don't want the world" and "everything's made". I will try keeping in mind to only switch on those words.

[benny82]

Excellent job, Felipe. Couldn't agree more with what the others have said. Excellent high parts. The low parts seem to be a bit muffled, but this may even be an effect of the vox being not loud enough.

As for the switch in the high parts. The high part "don't want..." and "everything..." drive you above the magical G4. At least for me (and I think at least for most non-tenor guys) there is a pretty noticable switch because the formant tuning changes. In classical singing, F#4 -> G4 is typically the point where the tuning is switched from F1 tuning towards F2 tuning.

Additionally, there is indication that, if a non-classical technique (higher larynx) is used, the switch between registers (M1 -> M2) is also located in this place.

In CVT terms this would be the switch from an Overdrive-like setup towards an Edge-like setup (or full Overdrive towards full Edge if you are loud enough).

It is actually really a switch and not a smooth transition. If I sing loud on a G#4 I can really "feel" the switch back and forth between formant spaces if I go a little higher or a little lower in pitch. However, technically there is no switch, you just do what you always do and let the flip of resonances happen. I think this flip might be a little bit higher for higher voiced guys, but not much.

[Felipe Carvalho]

hey thanks a lot guys!

Lord, I like that too!

geno, got it! I will redo the take this weekend probably. The accent is something I dont worry so much, I cant fool natives and if I try to mask it, probably it will be just worse . But do let me know if I screw up the language. Tnx!

Keith thanks man, yeah now it is much easier, this was a huge mess not very long ago.

mdew Owen and benny hey guys thanks for the words. I did the study using head voice on the chorus. From what I listenned on the take now, its pretty much what is happening.

But lol, I have no idea how you guys think about all this stuff when singing (edge, overdrive, muscle, formants, lol), I think my brain would forget to breath or to keep my heart beating hehehe. I have enough trouble to count to the beat and remember the lyrics already... Simplify!

mdew no significant shift.

[Nicogratouille]

I hear a significant shift of sexyness above E4...

Nick

[benny82]

But lol, I have no idea how you guys think about all this stuff when singing (edge, overdrive, muscle, formants, lol), I think my brain would forget to breath or to keep my heart beating hehehe. I have enough trouble to count to the beat and remember the lyrics already... Simplify!

I don't think at all when I'm singing. I'm thinking A LOT while training. Muscle memory is absolute key to all of this stuff. It is actually THE thing that allows me to keep it simple while actually performing.

[MDEW]

The thinking about it happens at home while working on the song. That is why I do not like working on songs with people around. You will mess up. You will squeak and be off key. After you are comfortable with the song you sing and enjoy along with the audience.

[Felipe Carvalho]

Yes, studying is very important, I mean that its too complicated to think like this. To work it will have to be more simple.

[MDEW]

In my case working the song is singing the song and taking notice of where problems lie. On the forums I have been accused of over thinking things but that is only because someone asks what I mean by my simple statement. When trying to explain a sensation it is easy to over think by trying to find words that relate to other people.

To me singing has more to do with sounds and sensations than mapping muscular movement. But how do you explain a physical sensation without mentioning the muscles involved with the sensation? It is then that you have to overthink and analyze.

[Felipe Carvalho]

Mdew it would be great, but it does not work. Here is a recipe:

First adjust the vowel EE on the melody of the chorus, you must make it resonant but not hooty, piercing but not annoying, keeping modal voice while relaxing jaw, tongue and the pharynx area, while lifting the soft palate enough to created a balanced vowel. Then you adjust the other vowels on the same way using this EE.

On the EE the tongue blade must rise and move forward, making the articulation of all vowels center around it. Of course vowel quality should be retained. Special care must also be taken with mouth opening since the relaxation of the area above the larynx will expose it to too much pressure if large mouth openings are used or if the production is lowered.

After its working, gradually remove covering adding supra glotal tensions, lowering the tongue a bit and giving room to a more shouty character, however do not let the volume increase, do not let tensions transfer to the larynx, do not let loose legato, let the larynx rise but still keep enough resonance to not let the character "squirell" out and keep the articulation free to sound natural.

And of course, support appropriately.

... Maybe you guys can use this sort of things? To me it would be useless.

Simplify... And get orientation to help you.

[Felipe Carvalho]

It describes. I worked each of these slowly, on easier songs, without thinking ahead just doing exercises I had to do at time and then singing. I don't believe it can result in anything useful, but it is a correct description and I am using it to show that things are not as simple as flip here, formant this, mode that.

Its not a productive way to address things... Not at all.

[MDEW]

Nothing is simple when you haven't learned about it yet. Even easy things are complicated when you must break it down and explain each aspect.

Unfortunately with singing there is nothing you can look at and say "Ah! there is the problem". A correction in one place could lead to imbalance in another.

For me I just want to sing without people throwing tomatoes at me..... Which has happened. :cool: