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The cool thing is that you gravitate towards what turns you on, and a lot of times comes from a combination of different genres. You mix them up in a pot for 10 years and out comes your own unique soup!:D

Amen, brother from the upper midwest.

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MDEW,

Thanks for the links. However, they don't show anything in regards to tilting. But, I know that they are planning to do an MRI scan to see if it actually tilts. :)

I don't know why someone hasn't yet or why we cannot find it if they have. For your own satisfaction you can place your ring finger on your adams apple and middle finger on the area of the cricoid cartilage and see if you can detect any changes. Your fingers should move closer together when curbing and farther apart when belting.

I myself have not been able to effectively Curb or belt. But it does feel as if something is repositioning between my low notes and my high notes.

What does this have to do with Lou? Just this: It sounds as if Lou is keeping thicker folds even in the higher pitches. Curbing has a thinner sound to it. Rock belting seems to be sung on the thin edge of the folds. Also has a sharper thin sound. So is he curbing with more fold closure or more of a Broadway belt with grit added?

I cannot at this point sing any of them without Flipping or cracking or just getting stuck at F# without being able to move my pitch any higher. At least not with any consistency.

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For your own satisfaction you can place your ring finger on your adams apple and middle finger on the area of the cricoid cartilage and see if you can detect any changes. Your fingers should move closer together when curbing and farther apart when belting.

I myself have not been able to effectively Curb or belt. But it does feel as if something is repositioning between my low notes and my high notes.

I can't feel any difference between Curbing or Belting on the same note. However, you'll be able to feel the difference between a lower and higher note because the vocal folds are being elongated to reach higher notes. :)

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I quit worrying about that stuff after I signed a deal with Satan to have the folds of destiny.

\m/

:lol:

I am jonesing for another Martin H musical vid. Those are awesome.

I'll pass on the deal with satan. But the next vid. from Martin? I have to agree with that. :) Whether you belt or curb or just sing does not matter. Sounds good. Your prosody of song is top notch also. :cool:

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I don't know why someone hasn't yet or why we cannot find it if they have. For your own satisfaction you can place your ring finger on your adams apple and middle finger on the area of the cricoid cartilage and see if you can detect any changes. Your fingers should move closer together when curbing and farther apart when belting.

I myself have not been able to effectively Curb or belt. But it does feel as if something is repositioning between my low notes and my high notes.

What does this have to do with Lou? Just this: It sounds as if Lou is keeping thicker folds even in the higher pitches. Curbing has a thinner sound to it. Rock belting seems to be sung on the thin edge of the folds. Also has a sharper thin sound. So is he curbing with more fold closure or more of a Broadway belt with grit added?

I cannot at this point sing any of them without Flipping or cracking or just getting stuck at F# without being able to move my pitch any higher. At least not with any consistency.

He is Curbing with more fold closure (compression). As with any mode there are areas where they reside. You can do Curbing with higher or lower larynx (like in Felipes examples). You can also use Curbing with lower or higher amounts of volume/metal (compression).

The difference between Curbing and Overdrive is not neccessarily the tilt, it is the amount of compression (metal/volume) and the vocal tract shape (= vowel). You can identifiy by the vowels and the "held back" sound that Lou (as well as Felipe) has a tendency towards Curbing in general. But his volume is louder and his compression is higher than let's say Roy Orbison (who also uses Curbing for the high note in the end of the song), because he uses a little higher larynx and more energy.

That said, as Martin wrote, your folds WILL need to elongate at some point in your range, regardless of the mode.

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mdew, i agree completely about lou...(maintaining thicker folds on high pitches) he also uses a lot of support...he alluded to it in his book.

i was just re-re-re-re-re re-reading frisell's book this morning, and he was saying the vocal folds and the musculature controlling the folds have to be developed to be able to handle increasing amounts of breath tension, and he felt the only way to achieve this was to sing a lot of songs.......interesting.....

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mdew, i agree completely about lou...(maintaining thicker folds on high pitches) he also uses a lot of support...he alluded to it in his book.

i was just re-re-re-re-re re-reading frisell's book this morning, and he was saying the vocal folds and the musculature controlling the folds have to be developed to be able to handle increasing amounts of breath tension, and he felt the only way to achieve this was to sing a lot of songs.......interesting.....

Careful there, Bob. That almost sounds like something Daniel would say.

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but dan would also say the folds are these short little guys and they don't need a lot of pressure to sound good...lol!!!!.

But those short little guys with added thickness of fuller involvement of vocal folds for a modal sound requires stronger muscles to stretch them. But you did not hear that from me. :P That would be absurd. ;)

I'll stop now. Just playin around. :D

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