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Bring me to life - Evanescence (acoustic cover)

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Magika Singer
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Really good singing but i think it will be even better if you work on dynamics.

I agree with you....this version was recorded in order to help a friend of mine in "hearing" the beat....here  I link you a duet version of it sung using different dynamics like Amy Lee! the mixing is not mine but my friend's! Thanks for listening!! 

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Well done, I think you should change the recording mix a little softer and release it as a cover. This is really good.

Thank you so much....unfortunately I am not so good at mixing to the extent that sometimes clicking here and there the result is even worse than the starting product..,,,but I could have a try anyway! 

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I got a chance to listen to your Evernecence. Great job.

 

This

 

1:33 - 1:45... nice work... good intonation and dynamics.

 

2:00 - 2:06, ... good belting... I would say try to capture this sound and feeling on more of your song. My ears tell me it needs a touch more anchoring, more bigger larynx movements.

 

3:02 - 3:13 ... another example of more M1 engagement, more chesty, modal voice... 

 

- Move a highly efficient and amplified horizontal embouchure position.

- squeeze the glottis harder with precision, isolated contractions... INTO...

- ... and larynx that is anchored and giving you some "boom"...

- My ears tell me that on the chorus, if you shaded in a bitter "aw" as in "law"...it will nudge your larynx into a great position.

 

Try it and lets hear another crack at it!

 

Overall, its good, keep going... train to make your belts stronger...

 

Controlled Glottal attacks into forward resonant vowels would be a great singercize routine for you. 

 

Hope this helps... 

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I got a chance to listen to your Evernecence. Great job.

 

This

 

1:33 - 1:45... nice work... good intonation and dynamics.

 

2:00 - 2:06, ... good belting... I would say try to capture this sound and feeling on more of your song. My ears tell me it needs a touch more anchoring, more bigger larynx movements.

 

3:02 - 3:13 ... another example of more M1 engagement, more chesty, modal voice... 

 

- Move a highly efficient and amplified horizontal embouchure position.

- squeeze the glottis harder with precision, isolated contractions... INTO...

- ... and larynx that is anchored and giving you some "boom"...

- My ears tell me that on the chorus, if you shaded in a bitter "aw" as in "law"...it will nudge your larynx into a great position.

 

Try it and lets hear another crack at it!

 

Overall, its good, keep going... train to make your belts stronger...

 

Controlled Glottal attacks into forward resonant vowels would be a great singercize routine for you. 

 

Hope this helps... 

Thank you very much for the hints.....cheers!

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I agree with you....this version was recorded in order to help a friend of mine in "hearing" the beat....here  I link you a duet version of it sung using different dynamics like Amy Lee! the mixing is not mine but my friend's! Thanks for listening!! 

 

I like this one as well. And the mix sounds more appropriate here, plus, I am a fuddy-duddy and used to the duet style of the original.

 

As far as your mixing skills, it's okay if you are not good at it. That is why you will take your material that is meant for professional release to a mixing engineer and then, later, to a mastering engineer. That is how the pros do it. And it is not a slight against the mixing skills of a recording musician. It is because these other people have trained their ears for the task at hand. As a musician, you are too close to the work. In addition, the listening skills that you need to sing are different than the listening skills a mixing guy and a mastering guy or girl have. Plus, they have different equipment. You might by mixing with plug-ins, which is okay. Pros tend to have outboard equipment. They will play your file through an output into a physical eq box and compressor and whatever else and the input it into something like Pro Tools.

 

So, the first step is to hire an attorney who specializes in music law. Get copyright payments to ASCAP squared away and do your thing. Just remember, the more of your music production and business you control, the better. That is the whole reason, though many people do not know it, that Prince changed his name to that symbol. He changed it back once the contract to the record company he was with expired. Then, he started his own label.

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I like this one as well. And the mix sounds more appropriate here, plus, I am a fuddy-duddy and used to the duet style of the original.

 

As far as your mixing skills, it's okay if you are not good at it. That is why you will take your material that is meant for professional release to a mixing engineer and then, later, to a mastering engineer. That is how the pros do it. And it is not a slight against the mixing skills of a recording musician. It is because these other people have trained their ears for the task at hand. As a musician, you are too close to the work. In addition, the listening skills that you need to sing are different than the listening skills a mixing guy and a mastering guy or girl have. Plus, they have different equipment. You might by mixing with plug-ins, which is okay. Pros tend to have outboard equipment. They will play your file through an output into a physical eq box and compressor and whatever else and the input it into something like Pro Tools.

 

So, the first step is to hire an attorney who specializes in music law. Get copyright payments to ASCAP squared away and do your thing. Just remember, the more of your music production and business you control, the better. That is the whole reason, though many people do not know it, that Prince changed his name to that symbol. He changed it back once the contract to the record company he was with expired. Then, he started his own label.

Thanks!! Actually I never thought of releasing any of my covers....maybe I did the wrong choice ahahahaa

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