Відео

Find the right coach and get 1:1 sessions is the best thing you can do imo

There's a lot of processing that was done on the way in (compression, EQ going through hardware as we recorded) so that would be impossible. What you have here is compression, EQ, some reverb and delay, backing vocals and doubling

Thank you! Cheers, hopefully check out the whole song

Been there done that!

I've been classified as dramatic before but I don't care and I don't think it matters for the type of genre that I sing

@@LeoMaiaProg it definitely doesn't matter the tone, quality or vocal weight of the baritone. They all have the same range. I'm a Lyric Baritone. I prefer voices with more depth, growl and harshness. Being on the lighter side of the spectrum we're usually overpowered imposingly by our dramatic counterparts. I love dramatic voices too

I was similar to that when I was 16! Cheers

Cheers man 🎉​@@LeoMaiaProg

Yeah check the video description Cheers!

Your voice type doesn't matter, nice range cheers

No clue

Not super beefed up but plenty of head voice for sure in that song

@@LeoMaiaProg Thank you, Leo. I said to a teacher "I would like to sing Sting's songs" so he coached me on "full voice" and said I failed when I switched to head voice. I was pretty sure it was BS but now it's confirmed. It was 5 years ago ad never met another vocal coach since then.

@@dystopia2386 terminology is weird tho, get 3 different singing schools to name registers, get 4 different answers

Vowel modifications FTW if what's happening to you is what used to happen to me Cheers!

@@LeoMaiaProg from my own practice diagnostics, I think you may be right! Please feel free to link me any videos you have which may help my technique! 🙏🏾

@@Andrewcb112 there's a bunch in the YT shorts channel, cheers!

@@LeoMaiaProg I will be sure to check them out! Thank you and bless you & this community of singers

I can tell you I get into head voice around A4, I could push more chest into it but I choose not to as it gets me tired. Beware that there's backing vocals in this, and one of the voices is going under to add beefyness

That's awesome! Cheers

@@LeoMaiaProg thanks

Cheers!

🤘

If you got it you got it, just need to work on technique to make it resonant

Glad you like the songs! I dont give lessons very frequently, I'm inconsistent and don't have a lot of time for it as it's not my primary job, right now it's pretty hard for me Check kegan from Bohemian vocal studio he is great! Cheers!

@@LeoMaiaProg thanks!!!

Should've

Cheers!

Idk who Grimes is but really I'm not good at whistle / flageolet so I don't use it in songs

@@LeoMaiaProg interesting look up 4am by Grimes… she was Elon Musk wife and the singer girl he dated, not sure if you heard about her in the news… she can generate frequency’s well within the 3k range really comfortable, it sounds very alien-likee

@@saint_alpine I don't follow celebrity news, I didn't know she was a singer or anything Cheers

The pitches are the fundamentals but as I get into middle and higher voices the secondary harmonics are boosted in relation to my lower voices, simply because vowel modifications required to sing there also change the frequency spectrum of the voice But tuners will report the fundamental

@@LeoMaiaProg what’s your fundamental vocal range? I am able to put equal gain on my third harmonic as the first note (or equal gain on the 2nd overtone as the fundamental note) and it sound very airy and ethereal like

@@LeoMaiaProg what's your vocal range, just fundamental?

And that's dynamic range, some head register can stretch it

If you can teach higher you have the range, just means you need to find the technique to use it Cheers!

Always thought they were the same thing. If you Google flageolet vs whistle there's plenty of entries which says it's the same thing, but singing and terminology is always inconsistent Cheers!

@@LeoMaiaProg As a baritone who can do both, they are not the same, they require different things, and they sound very different in quality.. it's not hard to get whistles, you just need to put the most gentle pressure possible on your cords and just let the air out gentle enough. But man, this is not good, you will wake up hoarse the next day and you put your voice in risk, you should work only on what feels easy with no strains and from there push it slowly, don't try to reach fast to notes without support by squeezing, you can fuck your chords

@@s0me0nelse what I did in the video is very comfortable, I don't care what is called but it's the weak top of my range lol Cheers

@@LeoMaiaProg Ok, as long as you don't get hurt that's fine. I worked for few weeks discovering this whistling party trick, and I got up to G7, I bet I could go even higher if I continued, but I was suggested to stop that for my own vocal health and I decided to take that advice.

Cheers!

If you get that falsetto into a nice head voice in full voice, the G#4 doesn't crack!

Hopefully it's helpful! Cheers

There's a lot of YT shorts videos about it in the channel going straight to the point with no frills!

Awesome!!

Yw!

Absolutely!

Yw! Cheers

Until I'm singing a baritone line... Vocal fach is not range ua-cam.com/users/shortsfrv99sMIN9E?feature=share

It's really interesting how people on UA-cam think that over a few videos singing in head voice but before I knew how to sing in head voice I've had teacher after teacher telling me I was a baritone and wouldn't be able to sing high (classical teachers), assigning me sometimes to the bass role in choirs (given when I was younger I could hit a B1 consistently)

​@@LeoMaiaProg i'm a low tenor. I have a daily C2 in chest and i struggled to sing over G4 classically, now i have a C#5 in chest. Most untrained tenors cap out at F4/ G4 cus that's their passagio. But then they unlock the higher notes fairly quickly. Heavier tenors constantly get mistaken for baritones. But the thing is, a baritone can more often than not project a G2 over an orchestra. And they also sound alot heavier when singing high up. A low tenor caps out at A2/ Ab2 operatically. Based on your speaking voice i dont think you would quite cut it for a baritone. And your highs are very tenorish too. Your lows sound very tenorish too.

@@Celatra well when we're talking opera it matters, but for contemporary rock / metal it surely. Imo, baritones sound thinner when singing higher because they switch to head voice earlier while tenors can hold on to chest for longer, my C5s for example which a red full head voice sound super thin in comparison to a tenor C5, but that is my experience and what makes sense to me, we don't need to agree since it all doesn't matter to contemporary singing anyway (the whole point of these videos) Cheers!

@@LeoMaiaProg im metal, everybody thins out the notes. But you still have a very obvious chest dominant mix going on on that E5, and all of your notes sound quite similar to mine in timbre and ring. A baritone usually would be full falsetto with no chest resonance at all already at like B4. But ye. Just wanted to share my thoughts

@@Celatra yeah I'm glad it sounds this way, but from my own doing I'm engaging 100% head voice, I use vowels and cry to give it an edgy sound but it's all head voice starting around G#4 for me Cheers

Using head voice properly! Plenty of short videos in the channel with tips about it Cheers!

Sometimes but not very often, not my full time job I can't be consistent

It works fine, simple interface for 2 inputs, ok preamp, I would change if I needed to record more things at the same time but I do it one at a time so it works fine for me

Thank you!

Glad you find it helpful!

To make it operatic you'd need to be using darker rounder vowels / covering, which I'm not doing here Lots of tips in the channel on how to shape the head voice into something like this Cheers!

I think that is what he meant like its still a mix but its not supported by chest its using the head but its not like normal head voice thats more thin and like you said operatic because this is still mixed ... you cant really belt in head voice that doesn't make sense but this guy is really good he has good control over his voice and it sounds so natural throughout the whole range

@@yunesyousuf3563 terminology is something that it's not agreed on. I am singing in head voice, but head voice in full voice. Basically get the falsetto, add chord closure / cry then shape the sound through vowel modification. There's no chest voice involvement at that higher range. Mixed voice is not a register, but the ability to transition between registers gradually. At that point I have already transitioned into head voice, but it's not an airy falsetto, it's head voice in full voice (meaning full chord closure with a CT muscle dominant vocal chord) Cheers

​@@LeoMaiaProgmix voice is not just transitioning. Both ct and ta muscles are active much of the time. What is called mix is when the dominance starts to become less and you can hear the other sound come on. There are scientific papers showing that both are engaged together so calling it a transition between registers is incorrect. It's a slide on the spectrum ranging from being dominant on one side to the middle to being dominant on the other. If it was a full transition it would just be chest or head

@@NoUsernamae both muscles are always engaged together when you phonate. Registers are not muscle, registers are where the frequency resonates. The break happens when there's abrupt shift of resonance placement, mix is gradually transitioning Of course, in order to gradually transition you have to balance the muscles, but just balancing the muscles it's not enough you need vowel modification, vocal tract shaping, proper airflow etc etc The idea that mix is just a blend of muscles is ignoring a lot of other factors that are needing to achieve gradual shift in resonance Cheers

ua-cam.com/users/shortsVMIMd2YPI0E?feature=share Among other short videos on the channel!

That's exactly right! That said, there is a volume limit. If you are too loud and using too much air pressure, you will get stuck in chest voice as your vocal chords will have to thicken to maintain closure and then you'll inevitably flip to head voice abruptly. Balance is key, enough to get into full voice but not more than that, closer to speech volume than yell volume. Use a microphone for volume Cheers!

@@LeoMaiaProg Thanks for the advice! It looks like if I will experiment descending from head to chest it will help to find the balance (since I will not to afraid to stuck).

Idk what you mean by flipping, it's mixed voice which is characterised by a gradual shift of registers that is not abrupt. My understanding of flipping is when the shift is abrupt. There's some level of head voice engagement since the beginning of the phrase since it's all above my first break. The word hand is where it's above my second break and thus full head voice, with is in between by the vowel EE is always a bit more heady and soft, like the vowel OO, it will always be headier if you're singing it closer to the pure vowel. If I'd sing weth instead of with you'd hear it fuller and less heady Cheers!

Thanks for the reply! The 2nd break is also what I meant by flipping. When I get to the word "with" I hit my 2nd break. I can sing everything up to that easily with full voice. I assume that singing it softly allows it to go unnoticed.

@@erock8222 I don't think I leave full voice, even the highest notes are head voice in full voice and is connected to my chest voice -- that is the trick Try the same note with different vowels to check if it's a vowel thing or if it's really a register thing. If it's a register thing then you should be engaging head voice way before to avoid the flip The singing light thing forces you to engage head voice earlier as you can't yell your chest voice into those notes, do you can feel and understand how the notes should feel. When you get into full voice, it should feel and have the same register approach as you do when you're singing light Avoid pulling chest as means to sing higher at full voice, learn how to engage head voice in full voice so you get the same freedom and effortless feel that you do when singing light Cheers!

Thanks for the info! I'll try to keep all of that in mind.

True words! Cheers

Stuff like this: ua-cam.com/users/shortsVMIMd2YPI0E?feature=share Plenty of vocal tips on my UA-cam shorts! Cheers

To do it cleaner just lean a little less into the compression! And target your soft palate as the resonance chamber rather than your hard palate To stop breaking, you need to understand how resonance placement is what causes it to breaks and how to use incremental vowel modifications to incrementally move that resonance up and down without breaking, got a few short videos on connecting chest and head and also vowel modifications I don't know these vocalists unfortunately, but I would ignore altogether vocal classification for contemporary singing, just find where your breaks are and know how to navigate them properly, ignore vocal fach they're only useful for opera and character to singer matching Cheers!

@@LeoMaiaProg Thank you so much! You're really great!

Thanks bud! Cheers

Expand your belly, keep it expanded, don't clench your abs

@@LeoMaiaProg what do you think about Caruso and Michael Trimble method when you breathing in not out when you inhale

@@ARTEMIYNIK I have no clue what this method is tbh, all I know is that anatomically speaking your diaphragm contracts when you inhale, it relaxes when you exhale. If you just let go of your diaphragm, you will exhale. So singing with the diaphragm and supporting your singing means keeping it engaged using it as a "break", keeping the belly extended, so you don't let go of your air quickly nor put a lot of pressure on your vocal chords to keep the air in. Just breathe from your belly with expanded ribs, start to fill in from the bottom, then sing keeping the belly extended "pushing outwards just a little bit", don't clench your abs. In the end, there's a lot of misinformation out there that makes you think that supporting is this magical thing that once you do right you get to effortless high notes, that's bs imo. Support is just keeping a constant airflow, breathe from your belly, release the air slowly and at the same pace during all your singing. To sing effortlessly and high you need vowels, placement, etc etc. don't think too much about support, don't push much.

Good luck! Cheers

update: i tried it on my way home from work, and it seems to do at least something! i got ozy's "desire" to come out more even in note strength, as well as sweet child o mine. and it significantly improved the line "i guess ill leave the light on, for you" from Another Rainy Night by Queensryche. i intend to keep practicing it, since i like the sound it created, and it didnt hurt at all. i even got it to work at a quieter volume, retaining the improvment in note strength and fullness

@@birdandcatlover5597 nice! That is chord closure in head voice, it's a moment of "OMG" on my own learning. Now you can shape that into the sound you want knowing you don't have to yell or pull chest voice to get to the full high notes

I still havent put more than 30 minutes of practice in, but im already noticing a difference. I was casually playing aorund wiht my voice (cold voice, id been talking to my mom), and its now easier for me to lighten my voice to get the kind of “shimmer” sound Sebastian Bach does. I also suddenly am much closer to singing the verses to “Piece of Me” by Skid Row, in addition to no longer struggling on Rainy Night by Queensryche I also moticed a difference in the first two verses of I Dont Know by Ozzy

@@birdandcatlover5597 nice, skid row is wild shit man really hard to sing that high for so long, body really tries to go back to old habits and out more pressure than healthy and wears out the voice, need to be very careful to pull back and lean a lot into lighter head voice and pick the right spots to go a little heavier once or twice per song Cheers!