This is great, dude. Always the finest and most technical approach to singing and distortion. A shame that I haven't found how the hell i can come up with Hyper compressed distortion yet 😭 (been years at it)
Tony you are really advanced with all the various rasps and distortions from the 1980’s until now. I’m an older bluesy rock singer and I’m curious if you can tell what kind of basic rasp Walter Trout is using in his version of ‘Rock Me Baby Alive in Amsterdam 2016’. Thank you in advance! I hear this kind of bluesy rock rasp in singers before heavy metal singing hit the scene.
@@ToniLinke This is the last question I will trouble you with if you would be so kind as to tell me if you're familiar with Van Morrison.... and what modes does he use? Thanks again!
Thanks! :) Is there a certain aspect that I should go more into detail with? The main things I can say about hyper-compressed distortion and screaming (how to find hyper-compression, how to use vowels for different grades of distortion and creaking, posture etc.) I have said in my rough vocal effects series, episode #3.
@@ToniLinke I really need to rewatch that video then :) Then maybe i might have questions. It's just that it seems to be the technique that produces a certain sound i've been chasing, and in your vocal effect series you go quickly over it, because your video covers so many things (so it makes sense that you would spend little time on each) :)
Excellent. You are so clear at explaining and demonstrating this stuff. I feel like it mostly applies to more modern gritty sounds though (the jazz growl not withstanding, haha) But I would LOVE to hear your take on what you think gave the great Ronnie James Dio his signature sound. To my ears there seems to be more less compression, and there for a more resonant vocal tone underlying the grit (which could get quite heavy for guys like him) Dio, Coverdale (young, Deep Purple era), Tony Harnell ...and more recently Russell Allen (Symphony X) and Jørn Lande, ...also Tommy Karevik (Seventh Wonder, Kamelot, Aryeon) ...I would love to hear your analysis of their technique. I've always been more of a clean singer (Tommy Shaw, Steve Walsh, Lou Gramm) ...but I do love a good gritty rock voice when the moment calls for it. Call it grit envy. Haha
In Ronnie James Dio, I often hear lots of thickness and metal in the sound. For this kind of coordination, I like to combine lots of twang with an otherwise relatively dark sound colour, which is counterintuitive first, but really makes it possible to bring a lot of weight upwards without sounding too nasty or yelly. I guess that's also what you describe as "resonant". In this coordination, for me rattle becomes a bit easier, and I do hear either rattle or distortion (also depends a bit on young vs. old Dio) on top of an already very clean tone. It's definitely less compressed than the examples I give in this video, I mostly did those because hyper-compressed distortion is the technique I personally can controll regularity best in. I hear different amounts of regularity in almost all vocal effects though, and though I can't reliably imitate every single sound variation, it makes sense for it to work similarily regardless of the involved tissue: more regularity means more acoustic stability, more irregularity means a slight "detuning" or "uncentering", or "not allowing the voice to settle down on one stable subharmonic".
@@ToniLinke Super interesting response! Thank you. And I agree, over the decades, I feel like his voc folds probably calloused up a bit and the "heavy" sound became REALLLY heavy. But his young voice...my god...I can think of almost nothing so glorious. His clean tone was just immaculate, and then igniting that gravel that probably scared the living shit out of audiences of that day. Legend. I'm going to refresh my memory about twang, and also watch the video of yours where I see you discussed rattle (that's a description I'm not familiar with, but I "think" I know what you mean.)
Man, your channel is amazing. Sooo much of useful, well-served, technical vocal info! ❤ Hey, if you ever wanna nerd out about throat/subharmonic singing, hit me up! 😅
Tony, have you heard Paolo Nutini’s song ‘Iron Sky’ ? What kind of rasp/distortion is he using? Also, I’ve heard you use the term beautiful in one of your opera videos as a description for a really nice sounding voice. Paolo has a really nice sounding rasp/distortion how does he get such a nice sounding rasp/distortion?
Hi, Toni! Thank you very much for your content, it's very helpful. Could you help me please, the beginner?🙂A week ago I've found a stable vibration (regular distortion). The sound is correct, but too much air is coming out, which creates an extra airy subtone and the note itself lasts for a few seconds (I've tried to sing with less air, but no distortion has appeared). Will it fade away with time and sound will become cleaner or do i need to do something, to look for a different posture? Thank you! sorry for my english🙃
Do you adjust the compression by changing the pressure in your abdomen to go from a regular buzz to a more wet sound? If yes, in which way? I can't seem to manage it without either hurting my vocal cords or losing the grit altogether. It's still a usable grit but it's super hard to move it into my high range (G4 is truly an effort) since I feel, I must move a lot of weight when having this more regular distortion.
Flexing your abdomen more is one way to increase pressure, it's probably suits the hyper-compressed techniques best. If you feel some scratching at the vocal fold level, that's a sign you let too much air through, so in that case it makes sense to do some closure exercises in a lower range with less pressure. Alternatively, you can experiment with different vowel shapes (lips, jaw, tongue), larynx positions, postures (torso, head & neck), and attitudes (introverted/extroverted, happy/angry...). Also, try not to be too loud at first, for hyper-compressed stuff usually less than speech volume is enough, for twangy techniques it the distortion should not be louder than the clean fundament.
@@ToniLinke hab gerade gesehen, dass du Deutsch bist! :D vielen Dank, ich werde damit mal rumspielen. Anfang nächsten Jahres komm ich mal für Unterricht auf dich zurück :)
Your videos seem to have the most detail and are really thorough for people to understand. Just to double check, the “irregular distortion” is the same technique for full on fry screaming, right? Just changing the level of grit added?
You can make a fry scream out of it by having the true folds vibrate irregularly too! So the irregular distortion is kind of halfway on the line between regular distortion and fry scream, if you will :)
@@ToniLinke ok, thank you for your response!! would you say then, learning the irregular distortion or the true fold irregularity (that will become the fry scream) first would be easier?
"Yaaaaaoooowwwwaeeyy!!! And the like, you know 🐭"
This is great, dude. Always the finest and most technical approach to singing and distortion.
A shame that I haven't found how the hell i can come up with Hyper compressed distortion yet 😭 (been years at it)
Have you found a way with twangy distortion? The concept works the same with that one!
Danke für die Tipps :) Saunice, mal wieder n neues Video von dir zu sehen!
Tony you are really advanced with all the various rasps and distortions from the 1980’s until now. I’m an older bluesy rock singer and I’m curious if you can tell what kind of basic rasp Walter Trout is using in his version of ‘Rock Me Baby Alive in Amsterdam 2016’. Thank you in advance! I hear this kind of bluesy rock rasp in singers before heavy metal singing hit the scene.
I hear mostly false fold distortion, achieved by twang and a bit of push :)
@@ToniLinke Thanks Tony for your knowledge! ... Would a singer like Joe Cocker be using the same modes only leaning on his voice harder?
@@arthura8117 yes, but of course he's done a handful of different sounds throughout his career :)
@@ToniLinke This is the last question I will trouble you with if you would be so kind as to tell me if you're familiar with Van Morrison.... and what modes does he use? Thanks again!
@@arthura8117 rattle!
The advice hits a little differently in HD and not in a car. 😂
It's the same camera, but with better light :D
@@ToniLinke 😲 same camera?!
Great video.
Would love it if you did a video on hyper compressed distortion / screaming.
Thanks! :) Is there a certain aspect that I should go more into detail with? The main things I can say about hyper-compressed distortion and screaming (how to find hyper-compression, how to use vowels for different grades of distortion and creaking, posture etc.) I have said in my rough vocal effects series, episode #3.
@@ToniLinke I really need to rewatch that video then :) Then maybe i might have questions.
It's just that it seems to be the technique that produces a certain sound i've been chasing, and in your vocal effect series you go quickly over it, because your video covers so many things (so it makes sense that you would spend little time on each) :)
Bro you are awesome
Excellent. You are so clear at explaining and demonstrating this stuff.
I feel like it mostly applies to more modern gritty sounds though (the jazz growl not withstanding, haha)
But I would LOVE to hear your take on what you think gave the great Ronnie James Dio his signature sound. To my ears there seems to be more less compression, and there for a more resonant vocal tone underlying the grit (which could get quite heavy for guys like him)
Dio, Coverdale (young, Deep Purple era), Tony Harnell ...and more recently Russell Allen (Symphony X) and Jørn Lande, ...also Tommy Karevik (Seventh Wonder, Kamelot, Aryeon) ...I would love to hear your analysis of their technique.
I've always been more of a clean singer (Tommy Shaw, Steve Walsh, Lou Gramm) ...but I do love a good gritty rock voice when the moment calls for it. Call it grit envy. Haha
In Ronnie James Dio, I often hear lots of thickness and metal in the sound. For this kind of coordination, I like to combine lots of twang with an otherwise relatively dark sound colour, which is counterintuitive first, but really makes it possible to bring a lot of weight upwards without sounding too nasty or yelly. I guess that's also what you describe as "resonant". In this coordination, for me rattle becomes a bit easier, and I do hear either rattle or distortion (also depends a bit on young vs. old Dio) on top of an already very clean tone. It's definitely less compressed than the examples I give in this video, I mostly did those because hyper-compressed distortion is the technique I personally can controll regularity best in. I hear different amounts of regularity in almost all vocal effects though, and though I can't reliably imitate every single sound variation, it makes sense for it to work similarily regardless of the involved tissue: more regularity means more acoustic stability, more irregularity means a slight "detuning" or "uncentering", or "not allowing the voice to settle down on one stable subharmonic".
@@ToniLinke Super interesting response! Thank you. And I agree, over the decades, I feel like his voc folds probably calloused up a bit and the "heavy" sound became REALLLY heavy. But his young voice...my god...I can think of almost nothing so glorious. His clean tone was just immaculate, and then igniting that gravel that probably scared the living shit out of audiences of that day. Legend.
I'm going to refresh my memory about twang, and also watch the video of yours where I see you discussed rattle (that's a description I'm not familiar with, but I "think" I know what you mean.)
This is dope. Thanks.
Man, your channel is amazing. Sooo much of useful, well-served, technical vocal info! ❤ Hey, if you ever wanna nerd out about throat/subharmonic singing, hit me up! 😅
Tony, have you heard Paolo Nutini’s song ‘Iron Sky’ ? What kind of rasp/distortion is he using? Also, I’ve heard you use the term beautiful in one of your opera videos as a description for a really nice sounding voice. Paolo has a really nice sounding rasp/distortion how does he get such a nice sounding rasp/distortion?
Sounds like a slightly irregular false fold distortion, mostly twang-based but with a bit of compression! :)
@@ToniLinke Thank you!
Hi, Toni! Thank you very much for your content, it's very helpful. Could you help me please, the beginner?🙂A week ago I've found a stable vibration (regular distortion). The sound is correct, but too much air is coming out, which creates an extra airy subtone and the note itself lasts for a few seconds (I've tried to sing with less air, but no distortion has appeared).
Will it fade away with time and sound will become cleaner or do i need to do something, to look for a different posture? Thank you!
sorry for my english🙃
I would try to find the same distortion a bit higher in the range and see if it's breathy there too. If yes, I'd go for more twang. :)
@@ToniLinke Thank you🙏
Do you adjust the compression by changing the pressure in your abdomen to go from a regular buzz to a more wet sound? If yes, in which way? I can't seem to manage it without either hurting my vocal cords or losing the grit altogether. It's still a usable grit but it's super hard to move it into my high range (G4 is truly an effort) since I feel, I must move a lot of weight when having this more regular distortion.
Flexing your abdomen more is one way to increase pressure, it's probably suits the hyper-compressed techniques best. If you feel some scratching at the vocal fold level, that's a sign you let too much air through, so in that case it makes sense to do some closure exercises in a lower range with less pressure. Alternatively, you can experiment with different vowel shapes (lips, jaw, tongue), larynx positions, postures (torso, head & neck), and attitudes (introverted/extroverted, happy/angry...). Also, try not to be too loud at first, for hyper-compressed stuff usually less than speech volume is enough, for twangy techniques it the distortion should not be louder than the clean fundament.
@@ToniLinke hab gerade gesehen, dass du Deutsch bist! :D vielen Dank, ich werde damit mal rumspielen. Anfang nächsten Jahres komm ich mal für Unterricht auf dich zurück :)
@@jxst.joshing alles klar, bis dahin!
Hey Toni. Thanks for your videos! Bietest du auch vllt lessons an? Falls ja, wo kann ich dich privat erreichen? Danke und alles gute
@@ToniLinke kannst rausnehmen
Your videos seem to have the most detail and are really thorough for people to understand.
Just to double check, the “irregular distortion” is the same technique for full on fry screaming, right? Just changing the level of grit added?
You can make a fry scream out of it by having the true folds vibrate irregularly too! So the irregular distortion is kind of halfway on the line between regular distortion and fry scream, if you will :)
@@ToniLinke ok, thank you for your response!! would you say then, learning the irregular distortion or the true fold irregularity (that will become the fry scream) first would be easier?
@@KeystoneKenny if it's easier for you to get the irregular distortion than the full fry scream, yes - if it's harder, no :D