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The Highest and The Lowest Note You Ever Hit?

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Muzikant

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​Keep in m+ind that basically all notes below D2 have that "fryish" sound because people's ears start to percieve the single "clicks" of the vocal fold. So what sounds like fry may still be modal voice down there. 

Also, if you mix the fry quality into your modal voice down there, you can make a pretty smooth transition. Here is me going down, where do you think is the switch from M1 to M0:

https://dl.dropboxusercontent.com/u/69231116/E2-E1.mp3

To me that sounds like blending a fry into a modal voice that is on octave up from where people might think it is. So when people are thinking you're singing a D2, you'd be singing a D3.

 

Try making the timbre slightly breathy (can't fry on breathy notes healthily) and then bridge into the fry on the same note to see which octave your modal voice is in when the pops start appearing. I've found the rattle sound is occurring 2 octaves below whatever my actual modal voice was doing when blending the voices.

 

I blended between a breathy voice and its fry relative here:

 

https://app.box.com/s/q0x6n0hcydq2gl97s8a6ovb81imcwhf1

 

So it's like a specialty case, where the rattle/popcorn thing is not similar to blending the other registers due to the discrepancy in octaves.

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To me that sounds like blending a fry into a modal voice that is on octave up from where people might think it is. So when people are thinking you're singing a D2, you'd be singing a D3.

 

Try making the timbre slightly breathy (can't fry on breathy notes healthily) and then bridge into the fry on the same note to see which octave your modal voice is in when the pops start appearing. I've found the rattle sound is occurring 2 octaves below whatever my actual modal voice was doing when blending the voices.

 

I blended between a breathy voice and its fry relative here:

 

https://app.box.com/s/q0x6n0hcydq2gl97s8a6ovb81imcwhf1

 

So it's like a specialty case, where the rattle/popcorn thing is not similar to blending the other registers due to the discrepancy in octaves.

​I don't know if I understood you correctly. It seems to me that you are kind of "skipping" the mix between fry and modal voice and have a full octave flip in there. 

The first two notes around 0:07 are actually the same note (around D3), just with different resonance setup.

After that you are doing an octave slide from D3 down to something like E2. Then you flip into pure fry and the resonance makes it sound like something around E1. 

From 1:13 on the first few notes are acutally the same notes again (and all are modal), just using different resonance setups. At 1:27 this is the first note that switches into fry, but you indeed make it a 2 octave switch instead of a 1 octave switch.

It seems to me that you are not mixing the registers anywhere. All notes in the clip are either pure modal or pure fry. You are using modal voice down to something like D#2 and then there is a flip.

It also seems to me that those low notes are really quiet, but hard to tell with the mic amplification. If you mix modal voice and fry you should still be able to make the voice carry over acoustic instruments.

Did you try to pitch those notes with a tuner? Notes that are a fry/modal mix can still be pitched quite accurately. Notes that are pure fry are so noisy that a tuner will not recognize it correctly.

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So here I did another recording with a brighter vowel to prevent the "resonance trick". In this case it is easy to hear that the vocal fold coordination stops working around the G#1. From then on I have to use the same "resonance trick" that you use with a darkened vowel.

Those notes are also still loud enough to be heard over lets say an acoustic guitar without mic ampflification.

https://dl.dropboxusercontent.com/u/69231116/lownotes.aac

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I think, and this may accidently mimick things Jens has said, but at some point, even if a guy is a "natural" basso, the mode is going to be "fry" to anyone's ears. Why?

Because frequency is frequency, regardless of humans and their various beliefs. Something, in order to create an 88 Hz tone, for example, must be vibrating at 88 cycles per second, regardless of what material is vibrating. That being said, I think more material or tissue is inherent in this as a lower frequency is a longer wavelength and only larger amounts of mass traveling peak to peak are going to create enough movement of air to make a usuable sound. Given that the tissue generating the sound is about the size of your thumb, it is probably going to be a bit pop or bubble paper or fry sounding to generate that frequency. And just like high notes, the rest of the volume is in resonating that note, somehow.

The one thing that may bring me disagreement is that not every voice will sound the same on, for example, an E2. And different people are going to have varying amounts of control at the extremes of range. So, trying to add more effects to one's lowest note might not be doable, for a lot of guys. Me, for example. Doing an E2, there is no "tone generation" thing for me, it feels like a pulse of sound and all I can do is vary the shape of my resonating cavities. And cheat with mic proximity and gain stage.

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  • 2 weeks later...

C6, C#6 Fallsetto, and C5/C#5 in Full Voice. i've never trully worked on my low notes so i have no clue how low i can go..

​Then post a sample of you doing the lowest sound you can possibly make, right up on the mic. Maybe we can figure it out.

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I think, and this may accidently mimick things Jens has said, but at some point, even if a guy is a "natural" basso, the mode is going to be "fry" to anyone's ears. Why?

Because frequency is frequency, regardless of humans and their various beliefs. Something, in order to create an 88 Hz tone, for example, must be vibrating at 88 cycles per second, regardless of what material is vibrating. That being said, I think more material or tissue is inherent in this as a lower frequency is a longer wavelength and only larger amounts of mass traveling peak to peak are going to create enough movement of air to make a usuable sound. Given that the tissue generating the sound is about the size of your thumb, it is probably going to be a bit pop or bubble paper or fry sounding to generate that frequency. And just like high notes, the rest of the volume is in resonating that note, somehow.

The one thing that may bring me disagreement is that not every voice will sound the same on, for example, an E2. And different people are going to have varying amounts of control at the extremes of range. So, trying to add more effects to one's lowest note might not be doable, for a lot of guys. Me, for example. Doing an E2, there is no "tone generation" thing for me, it feels like a pulse of sound and all I can do is vary the shape of my resonating cavities. And cheat with mic proximity and gain stage.

​Yes, very correct Ron.From around D#2/D2 (where the vibration goes below 80 Hz) even modal voice will have a "fry" quality.

What you are doing around E2 is the same trick that KillerKu uses for the lows and its perfectly valid for higher pitched voices down there. You are using M0 mode, which is basically pitchless on its own. In M0 the clicks of the vocal folds are not perceived as a note of the frequency of these clicks. However, by setting up your vocal tract correctly you can amplify the harmonics of these pitchless clicks that correspond to the note you want to make.

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The highest note I ever "hit" was probably an E4... not doubt I tried to "hit" it really hard and it probably wasn't very successful. However, the highest note I ever SANG was probably A5/A#5... My lowest note is typically something around C2.

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The highest note I ever "hit" was probably an E4... not doubt I tried to "hit" it really hard and it probably wasn't very successful. However, the highest note I ever SANG was probably A5/A#5... My lowest note is typically something around C2.

​     Once I finally started to understand this and let it sink in I started making progress.

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Lowest- not sure, but I think around ~F1 of so was the lowest I considered "real" meaning I wasn't using 100% Fry to sing it, I think I've managed to fry down to either C1 or like B0.

Highest- I've whistled my way somewhere up to G6-C7, but I can count the number of times I've been able to use my whistle register, and I honestly don't really care about whistle since imo it doesn't sound tonally pleasant at all, especially when guys use it.  Highest non-whistle is D6, which I can sing pretty consistently (just don't ask me to sing it "on the move").

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