jonpall Posted November 4, 2010 Share Posted November 4, 2010 About Ripper - that's really the kind of vocals I'm aiming for, I just love this style. I talked to him once or twice and the advice he gave me is to get A LOT of sleep:) Don't know if it helps, but if it doesn't, at least you'll have some nice chill out time:) Singing and then sleeping a lot, alternatively - doesn't sound too bad :) Link to comment Share on other sites More sharing options...
DJDeth Posted November 6, 2010 Share Posted November 6, 2010 Jens, regretfully I don't own a backtrack for Warcry:( I know you can remove the vocals with some software but i don't know how... Anyway, it would be great to hear your screams in that one so I could see if there's much difference between you and Carpenter. I don't know why I'm so curious about it hehe... Link to comment Share on other sites More sharing options...
akarawd Posted January 11, 2011 Author Share Posted January 11, 2011 Here's a link of him an acoustic set http://www.roadrunnerrecords.com/blabbermouth.net/news.aspx?mode=Article&newsitemID=151168 What mode would you say he is in when singing over middle C (disregarding the grit) ; curbing, neutral or overdrive ? It sounds really smooth. PS. I just love that Rainbow in the Dark cover Link to comment Share on other sites More sharing options...
akarawd Posted July 23, 2011 Author Share Posted July 23, 2011 Sth I found out recently, an answer he gave himself : "I sing through a straw , kinda like humming". Here are 2 sources on this technique : http://www.faqs.org/periodicals/201005/2028275111.html Apparently, it's a well known technique and it has a few variatios... I had no idea myself... it works nicely though, helps engage the breath muscles and apparently helps the folds co-ordinate well. Link to comment Share on other sites More sharing options...
Steven Fraser Posted July 23, 2011 Share Posted July 23, 2011 Sth I found out recently, an answer he gave himself : "I sing through a straw , kinda like humming". Here are 2 sources on this technique : http://www.faqs.org/periodicals/201005/2028275111.html Apparently, it's a well known technique and it has a few variations... I had no idea myself... it works nicely though, helps engage the breath muscles and apparently helps the folds co-ordinate well. akarawd: This exercise is fairly well known in classical voice circles, based on articless I have read by Prof Ingo Titze, and teachers I have spoken to. I have used it occasionally for a half-dozen years or so. It is based on the same principles as the semi-occluded voiced consonant exercises, in that it creates a bit of resistance to the airflow, changing the subglottal/supraglottal air pressure ratio. My own shorthand term for this is 'backpressure', but you get the idea. My experience is that the use of the straw immediately causes lighter registration to occur reflexively, that is, without trying to do so. Its especially useful for larger and lower voices who want to learn the feeling of the laryngeal adjustments required to negotiate the passaggio. For the male singer 'stuck' in chest voice, or for the female stuck in chest or middle voice, using a straw in an upward siren starting at the C below middle C (for guys) will change the registration beginning about the A below middle c, so that when arriving at middle C, a more fluid phonation feeling happens in the throat from the lighter registration. Girls/ladies can start this on the G below middle C (for the chest-voice) and the G above mid C for the middle voice. With only a small amount of practice (that is, a few hours over several days) the singer can get to this and then slowly open the lips from around the straw to make an actual vowel, _maintaining_ the character of the phonation which was occuring with the straw. Also, as you mentioned, the use of the straw also provokes the sensations of the exhalation muscular involvement. FYI, this also has application to the issue of undesired vocal fry occuring in the middle of a siren. The same principle and effect works with the puffed-lips hum, consonants V, Z, french J (as in Je or envision), lip buzzes, tongue trills/rolled 'r's, lip bubbles, and to a lesser extent, M and N consonants. I hope this helps. Link to comment Share on other sites More sharing options...
akarawd Posted July 24, 2011 Author Share Posted July 24, 2011 Steven, thanks for all the info and clarifications on this. Just a couple of things : My experience is that the use of the straw immediately causes lighter registration to occur reflexively, that is, without trying to do so On the contrary, I have to admit that I was tempted to use chest resonance all the way up to the tenor/soprano range due to the lack of resonance/volume. I got the gist though now and I will be using a lighter registration for a couple of months. Its especially useful for larger and lower voices who want to learn the feeling of the laryngeal adjustments required to negotiate the passaggio. I'm in no case advocating I have a large voice, but I did notice that any adjustments required to negotiate the passaggio become prominent - really useful. On a side note, I found this a great alternative to vocalizing without disturbing anyone since the sound coming out is muffled and lacks projection in the acoustic space. Thanks again, Thanos Link to comment Share on other sites More sharing options...
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