Agree 100% specially because that is one of my problems when practice... I'm usually to loud in my room and that is a bit annoying to other people then i start singing in a softer coordination but i lose the character i want and like. and turning up the volume in post doesn't solve the problem later. Is really important to be able to sing Loud
Absolutely i agree too. If you play acoustically in the background at a food, it is beneficial to sing soft. A concert won't work like this, you need a different dynamic scope…You definitely need the dramatic and powerful voice. … Thank you for your informative videos👍
Hi Ivan, I'm glad to see you uploading videos again, I've been following your channel for a while. I have a doubt and I'd really appreciate your advice. I'm a 22 years old male, I've been singing since I was 13. I experienced some singing issues and vocal fatigue during the first part of 2022 so I went to a vocal teacher, a certified Estill trainer , and she told me that I am anatomically a "lyric baritone" (My speaking voice wants to transition to falsetto at around an A3 Bb3 depending on the day and currently the highest note I can belt in overdrive is an A4 but anything above E4-F4 feels kinda hard) and that I shouldn't attemp singing with a TA dominant sound/ Belting above a G4, even though I've been doing that pretty much since I turned 17 or so. Does that mean I'll never be able to sing in either Overdrive or Edge up to a C5? Is it possible for my TA and CT muscles to strengthen and stretch to the point where I can carry a TA dominant sound up to a B4 or a C5? Or since I'm a baritone the only possible way of safely doing so is by reinforcing a CT dominant sound or using a non-TA based mixed voice, kinda like the SLS approach?
Hey! I'm pretty sure you can train it! The things you're saying sound rather familiar to me. I was the same! My first vocal coach told me I was a baritone. With hard work I managed to go up to shouted A4s and everything above an E4 felt hard. I don't think it's so much about strengthening any muscles as it is about finding the correct coordination! I'm actually a bit surprised to hear that's coming from an Estill teacher because Estill has some really good tools for teaching belting. Learning about twang and raising the larynx, as well working on my support has helped me carry belted sounds a lot higher!
@@RockVoxYT Thanks a lot Ivan! If you said it can be done then that actually gives me hope. Time... to change my vocal teacher maybe...hahaha take care you guys, your videos are gold, I shared them with all of my friends and colleagues that are into singing.
Thank you! Well, I don't know your teacher and wouldn't want to judge everything based on this one thing, so that's for you to decide 🙂 If you decide to work with someone else, remember that Aaron and I also give online lessons. We might help you with figuring out the things to work on and it's also a way of supporting our channel!
Hi Ivan! Amazing clear explanation, I loved the part with the guitar jeje, reminds me for a while to the movie spinal tap where the guy was so proud of the amp that reaches volume 11 xDD .Apart from the joke yes volume in guitar is crucial and not just for rock but it s not possible to get a fender deluxe reverb sound like Steve Ray Vaughan without reaching the break up of the valves (till digital revolution). It s good to hear singers speaking about singing and not all from all those guys who claim themselves teacher and nor even ever performed neither sound decent.
Hello, I am delighted with your channel and the knowledge about CVT that you give on it. I have a question. If reduce Edge and Overdrive can be "conditionally" 1% metal and 1% density, like curbing, then their difference will be in the brighter, more open and "loud" sound of reduce Edge and Overdrive, as you said in previous videos, but then what distinguishes them on an anatomical level, except settings in the larynx. As far as I understand, something is changing in the vocal folds, which creates a loud character of sound even with minimal values of metal and density. Thanks again for your videos!
That's a rather complex question, but remember that everything with the voice is a gradient. "1% metal" is a perceptual description of what we hear and doesn't have a clear threshold. The borders are fuzzy. All of the parameters that we usually see for metal (increased supraglottic narrowing, higher subglottic pressure, lower airflow, stronger adduction...) will change gradually towards a distinctly metallic sound and where exactly we draw the border is more about individual perception. If we're talking about the difference between reduced density Overdrive and Edge compared to Curbing, I would say that one of the defining characteristics is a larger mouth and jaw opening creating a higher first formant for RD Overdrive and Edge. If you meant reduced metallic, but fuller density Overdrive and Edge, then the difference is also the absence of thyroid tilt in the FD Overdrive and Edge conditions. I hope that answers your question! Ivan
@@RockVoxYT Thank you so much for the detailed answer! I would like to clarify with regard to RD Overdrive and Edge in comparison with Curbing. Suppose there is a situation in which both RD Overdrive/Edge and Curbing have the same amount of metal and density. Are there any changes in the vibration of the vocal folds in RD Overdrive/Edge compared to Curbing (perhaps they close more tightly, closer to M1) or do the vocal folds in RD Overdrive/Edge vibrate the same way as in Curbing (something in between M1 and M2), and screaming is character achieved mainly by creating a higher first formant? (provided that the amount of metal and density in them are the same)
I believe that the difference is mainly in the laryngeal gestures and therefore the acoustic and resonatory characteristics rather than the vocal fold vibratory characteristics. However, there's a larger paper on density coming out soon which might answer that to some degree. I also have a large data set collected for my research project that I plan on analyzing that has EGG data recorded, so it's possible to compare the vibratory patterns of those conditions, but that sort of analysis hasn't been finished yet and I can't report any findings yet. Ivan
Hi Ivan! I just wanted to ask you something. I have been following Gregory West on UA-cam for a long time and therefore you too. He once said you were a friend of his. However, he stopped posting videos a while ago, although he had many plans for the future on UA-cam. And nothing happens on Instagram either. That's why I'm worried about him. Do you know something?
hii! is there a list of reputable/famous singers who use cvt? whenever i try to explain cvt to people they just try comparing it to other pedagogies with famous singers (which is annoying) so i want to knock that arguement out of the park by providing them with skilled, and famous cvt users however cvt has a policy of confidentiality so i was wondering if any famous singers mention cvt
Hey! Thanks for your comment. As you said, CVT is against name dropping and there's even a video online of Cathrine Sadolin explaining why. However, one fantastic singer that has talked about using CVT publicly is Floor Jansen from Nightwish! And sometimes you can find some testimonials on some CVT vocal coach websites, like for example the website of Raz Kennedy.
Hey Ivan! I stumbled upon your video 'cuz #Jesus wanted me to know (I guess, lol). You give hope to an old soul who thought all hope was lost due to the younger generation's ineptness etc. etc. No kidding. You proved me wrong! God bless and be kind to those who preach against you, for they don't know any better. #BibleVerse.
babe wake up, rockvox posted
Agree 100% specially because that is one of my problems when practice... I'm usually to loud in my room and that is a bit annoying to other people then i start singing in a softer coordination but i lose the character i want and like. and turning up the volume in post doesn't solve the problem later. Is really important to be able to sing Loud
Awesome! I agree 100% 👌
Hey that's me 😁! Great video Ivan, awesome that you included samples of drums and guitars, this will be quite handy!
Thank you! And thanks for inspiring me with your video! 🙂
Absolutely i agree too. If you play acoustically in the background at a food, it is beneficial to sing soft. A concert won't work like this, you need a different dynamic scope…You definitely need the dramatic and powerful voice.
… Thank you for your informative videos👍
Hi Ivan, I'm glad to see you uploading videos again, I've been following your channel for a while. I have a doubt and I'd really appreciate your advice. I'm a 22 years old male, I've been singing since I was 13. I experienced some singing issues and vocal fatigue during the first part of 2022 so I went to a vocal teacher, a certified Estill trainer , and she told me that I am anatomically a "lyric baritone" (My speaking voice wants to transition to falsetto at around an A3 Bb3 depending on the day and currently the highest note I can belt in overdrive is an A4 but anything above E4-F4 feels kinda hard) and that I shouldn't attemp singing with a TA dominant sound/ Belting above a G4, even though I've been doing that pretty much since I turned 17 or so.
Does that mean I'll never be able to sing in either Overdrive or Edge up to a C5? Is it possible for my TA and CT muscles to strengthen and stretch to the point where I can carry a TA dominant sound up to a B4 or a C5? Or since I'm a baritone the only possible way of safely doing so is by reinforcing a CT dominant sound or using a non-TA based mixed voice, kinda like the SLS approach?
Hey! I'm pretty sure you can train it! The things you're saying sound rather familiar to me. I was the same! My first vocal coach told me I was a baritone. With hard work I managed to go up to shouted A4s and everything above an E4 felt hard. I don't think it's so much about strengthening any muscles as it is about finding the correct coordination!
I'm actually a bit surprised to hear that's coming from an Estill teacher because Estill has some really good tools for teaching belting.
Learning about twang and raising the larynx, as well working on my support has helped me carry belted sounds a lot higher!
@@RockVoxYT Thanks a lot Ivan! If you said it can be done then that actually gives me hope. Time... to change my vocal teacher maybe...hahaha take care you guys, your videos are gold, I shared them with all of my friends and colleagues that are into singing.
Thank you! Well, I don't know your teacher and wouldn't want to judge everything based on this one thing, so that's for you to decide 🙂
If you decide to work with someone else, remember that Aaron and I also give online lessons. We might help you with figuring out the things to work on and it's also a way of supporting our channel!
Hi Ivan! Amazing clear explanation, I loved the part with the guitar jeje, reminds me for a while to the movie spinal tap where the guy was so proud of the amp that reaches volume 11 xDD .Apart from the joke yes volume in guitar is crucial and not just for rock but it s not possible to get a fender deluxe reverb sound like Steve Ray Vaughan without reaching the break up of the valves (till digital revolution). It s good to hear singers speaking about singing and not all from all those guys who claim themselves teacher and nor even ever performed neither sound decent.
Yeah, absolutely! SRV sound is probably an even better example
yay new video!
Hello, I am delighted with your channel and the knowledge about CVT that you give on it. I have a question. If reduce Edge and Overdrive can be "conditionally" 1% metal and 1% density, like curbing, then their difference will be in the brighter, more open and "loud" sound of reduce Edge and Overdrive, as you said in previous videos, but then what distinguishes them on an anatomical level, except settings in the larynx. As far as I understand, something is changing in the vocal folds, which creates a loud character of sound even with minimal values of metal and density. Thanks again for your videos!
That's a rather complex question, but remember that everything with the voice is a gradient. "1% metal" is a perceptual description of what we hear and doesn't have a clear threshold. The borders are fuzzy. All of the parameters that we usually see for metal (increased supraglottic narrowing, higher subglottic pressure, lower airflow, stronger adduction...) will change gradually towards a distinctly metallic sound and where exactly we draw the border is more about individual perception.
If we're talking about the difference between reduced density Overdrive and Edge compared to Curbing, I would say that one of the defining characteristics is a larger mouth and jaw opening creating a higher first formant for RD Overdrive and Edge.
If you meant reduced metallic, but fuller density Overdrive and Edge, then the difference is also the absence of thyroid tilt in the FD Overdrive and Edge conditions.
I hope that answers your question!
Ivan
@@RockVoxYT Thank you so much for the detailed answer! I would like to clarify with regard to RD Overdrive and Edge in comparison with Curbing. Suppose there is a situation in which both RD Overdrive/Edge and Curbing have the same amount of metal and density. Are there any changes in the vibration of the vocal folds in RD Overdrive/Edge compared to Curbing (perhaps they close more tightly, closer to M1) or do the vocal folds in RD Overdrive/Edge vibrate the same way as in Curbing (something in between M1 and M2), and screaming is character achieved mainly by creating a higher first formant? (provided that the amount of metal and density in them are the same)
I believe that the difference is mainly in the laryngeal gestures and therefore the acoustic and resonatory characteristics rather than the vocal fold vibratory characteristics. However, there's a larger paper on density coming out soon which might answer that to some degree. I also have a large data set collected for my research project that I plan on analyzing that has EGG data recorded, so it's possible to compare the vibratory patterns of those conditions, but that sort of analysis hasn't been finished yet and I can't report any findings yet.
Ivan
@@RockVoxYT Thank you very much for answering my questions! I wish you good luck in your research and thank you again for your videos!
YES!!!!!!
Hi Ivan! I just wanted to ask you something. I have been following Gregory West on UA-cam for a long time and therefore you too. He once said you were a friend of his. However, he stopped posting videos a while ago, although he had many plans for the future on UA-cam. And nothing happens on Instagram either. That's why I'm worried about him. Do you know something?
Hi Felix!
I don't know why Greg stopped posting on UA-cam, but I'm in regular contact with him and he's alive and well, so no need to worry 🙂
@@RockVoxYT Oh, glad hear this! Thank you very much for your answer! 🙏
hii! is there a list of reputable/famous singers who use cvt? whenever i try to explain cvt to people they just try comparing it to other pedagogies with famous singers (which is annoying) so i want to knock that arguement out of the park by providing them with skilled, and famous cvt users however cvt has a policy of confidentiality so i was wondering if any famous singers mention cvt
Hey! Thanks for your comment. As you said, CVT is against name dropping and there's even a video online of Cathrine Sadolin explaining why.
However, one fantastic singer that has talked about using CVT publicly is Floor Jansen from Nightwish!
And sometimes you can find some testimonials on some CVT vocal coach websites, like for example the website of Raz Kennedy.
@@RockVoxYT okay thank you!! also its a great policy xD but it definetly makes it a lil tricky to prove to my friends how cool cvt is.
Hey Ivan! I stumbled upon your video 'cuz #Jesus wanted me to know (I guess, lol). You give hope to an old soul who thought all hope was lost due to the younger generation's ineptness etc. etc. No kidding. You proved me wrong! God bless and be kind to those who preach against you, for they don't know any better. #BibleVerse.