Your videos are pure gold Leo! Being a baritone I am having trouble from around g3-g4 when singing it softly or on a low/medium volume without breaking to falsetto. However I feel it’s rather “easy” to sing it with more power into it. Would love if you could explain in a video or here how to sing softly too! Keep up the good work 🤙
Glad you like it man, breaking means an abrupt change of resonance. No matter if it's soft or not. It's usually a vowel thing or ability to track the second formant. These videos on the subject: ua-cam.com/users/shortsVMIMd2YPI0E?feature=share ua-cam.com/users/shorts0mlJvRmUu58?feature=share ua-cam.com/users/shortsnf2fSsW6iG4?feature=share ua-cam.com/users/shortsiRgen1YuV-g?feature=share Hopefully it clarifies what I mean by break being a vowel/ resonance thing Cheers;
I sir , now I am able to access my mixed voice, but can you you tell me till what range can we do the mixed voice? If I try it i can reach only b4 but higher than that I have to transition to head voice, I tried doing it in mixed voice but it breaks on reaching high head voice notes, i saw some youtubers singing very high in chesty mix or I don't know if I misunderstood their head voice mix with chest voice mix which sounds nearly like chest Please can u checkout heart attack cover by Michael rose and tell me, how he's singing those such high chesty mix notes Video name is" Heart attack by a baritone "
Don't worry about how others do it and don't think of mixed voice as a register. Mixed voice is the ability to transition between registers gradually through an incremental resonance shift. Such a shift is achieved by vowel modifications You can sing B4 in whatever register is comfortable to you. I sing it in head voice like in this video, but my voice is not yours, your breaks may be higher I don't know. Thing is, I sing above my break in head voice in a way that, in context with the song, people think it's chest, but I know I'm just using head voice. If you can only reach with head voice, use it, but shape it properly
Me again Leo. A year ago I tired all of this and kind of get it but I can't get sound without too much compression unfortunately. How does it feel in your throat when you add cry. 🤔
It doesn't feel uncomfortable. If feels like slightly tighter than falsetto as cry IS compression, but it only feels uncomfortable if you add too much air pressure. Sing lighter and it will not feel uncomfortable, and make sure you're not over spreading your mouth with big smiley wide vowels like AH, stick to your vowel modifications to sing a narrower sound which helps alleviate pressure Cheers
@LeoMaiaProg your a really great coach man. Can I send a small sample. At some stage . I think my cry is OK but it kind of a high vocal fry feeling and like you said is tighter. So not always available and sustainable in gigs
Hi! Great video! Please listen to "The Police - So Lonely Isolated Vocals (Acapella)". Is it a kind of "beefed-up head voice"? Sting pretended he's a metal singer in a recent interview with Rick Beato...
@@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 as another baritone (vocal break is around Eb4-F4 depending on the day and vocal hygiene), I can attest that Sting is a baritone. It was actually imitating his tone on Roxanne that I learned how to maintain a resonance in my head voice that sounds very similar in timbre to his You'll also notice that Sting never sings the chorus live the way he does on the studio album. That is, he sings the word “put” during the line “put on the red light” as a D5, but he seems to intentionally avoid this pitch during every live recording I could find of him singing it (this includes decades later from the studio recording and only a few years later) I could be wrong, but I don't think tenors would have much reason to shy away from this pitch… but if you were a baritone who had to be mindful of singing several hours on most days of the week because you're touring, then you might want to avoid fatiguing the vocal folds too much by going out of your head register comfort zone Sidenote: it seems like Sting never mastered using his flageolet register which could've safely extended his range albeit with a different timbre. In the same way you can mix the chest and head registers, it's possible to mix the head and flageolet registers (Justin Stoney & Christof Chapsis have videos that demonstrate this well) Different side note: Danny Richard's Baritone vocal exercises (particularly what he calls the “mask” exercises) helped me realize that adding just a little bit of a crying baby/cat meow sound to my head voice makes it go from “this sounds like Mickey Mouse” to “Oh, this actually doesn't sound too bad”. I first learned to do it in the most cartoonish, exaggerated nasally way possible (M Shadows from Avenged Sevenfold and Axl Rose were helpful to sing along to) and gradually figured out how to just add a slight amount of it to get something like Sting’s timbre Hope some of this is helpful, and keep on singing!
@@KevinFlowersJr Thank you very much for sharing useful information 🙏 Are there other important techniques I should practice to reach this sound? Vocal compression, belly + back support, raising soft palate, SOVT, puffy cheeks, lips rolls… Can I have a chance to hear your voice online?
Hello. I’m working on my head voice and have a bit of an obstacle - it doesn’t sound full like yours after having changed to a more narrow, taller vowel and having lifted my soft palette. Is there another ingredient I could be missing, or is it more likely I’m misunderstanding one of your instructions?
Make sure you have the right chord closure / twang / compression / cry engaged (different words for same thing) Like this ua-cam.com/users/shortsEPD9X1brvJE?feature=share There's a couple other videos on cry and squeaky door exercise
@@hariskrisnadi8870 for me, squeaky door exercise, cartoon character voices, imitating Robert plant, meowing cat, witch laugh, among other things helped me understand the coordination of cry. It started very masky and nasal then I had to teach myself how to use the vowel / soft palate part without losing the cry
Sir, How to sing the lower notes of head voice in mixed voice? They are very weak, in some songs there are only few notes which are high, like these are notes which do not have to be sustained the way you are doing in this video, they are just, like 1 high note exceeding my chest voice so i have to transition to that one note in mixed voice and then again come back to chest quickly without sustaining, what happens is that one note which i hit is in my lower head voice and it's volume is low as compaired to chest so they sound bad and light , and i can't add compression as they have to be hit quickly so i, don't have time to add compression, are you understanding sir?i can easily add compression on high notes but, every song doesn't have compression so what should i, do? I try to sing high songs but those few quick weak, unsustainable or unbeltable staccato notes from chest to head and back to chest are a problem i can't fix
You have to connect head and chest first like my other videos and use vowel modifications according to the pitch in a way that the resonance transitions gradually
Idk what are the semantics you use, this is head voice in my semantics, I start from falsetto and just shape it and add chord closure to it Mixed voice is the ability to gradually change resonance and connect chest and head with no break, rather than a register on itself. On this range, um already on head voice Cheers!
Ighh i need to learn how make my head voice sound like high chest voice!! Is there a video that goes more into depth about what you are explaining here?? Anyone, help?! 🙏
@@Radiantlyrebe sounds good! Lmk if there's anything in particular you wanna know more about that could fit the next short video and when I find time I can do
@@isaiahcore5382 never heard it, but if someone is singing night after night for 2h straight they can't be pulling chest or they won't be able to for long
I love these videos much. I am still missing one point - how these voices sounds with studio quality record - with proper mic, preamp, compressor, EQ, reverb.... It would be great to show difference between sound of camera mic and final record (vocals only).
Most people practicing singing everyday are doing it like this -- in a room with no studio Mic and no processing I like to keep these grounded on reality, on how people will listen to themselves when learning to sing You could listen to my songs to hear how my voice sounds like in the proper studio context. The video on how to sing wintertide shows a comparison too
Not super on the mask no, it gets out of the mask when you lift the soft palate and use rounder vowels and rounder embouchure. It's more in and up Cheers
He has plenty of cry and laryngeal tilt (aka head voice) on his tone, just like Chris Cornell on Soundgarden songs. Yes it is a belt and yes it had plenty of grit, but it's not only chest voice it has plenty plenty of head voice in there and you can clearly hear it specially on "Jesus Christ" that's a little less gritty then "feed my eyes" Here's a related video to what I mean by belt vs mixed voice (they are not opposed to each other): ua-cam.com/users/shortsHu-WT5DUA8A?feature=share
@@LeoMaiaProg there’s a reason you sound nothing like Layne, he’s pulling chest very hard and you’re not. Listen to Phil Anselmo sing with AIC, that’s how it should be done. Timbre over technique, everytime
oh my god this helped me so much to realize what i've been doing wrong with my voice i always thought man in the box chorus was pulling chest combined with vocal fry distortion so i always sing it that way which always hurts my voice, when i sang in basic mixed voice it felt very weak and not chesty so i always sing in pulling back chest Thanks again for this helpful tip
You're welcome! If it's hurting and doesn't feel comfortable, it's not the right way to do it for your voice and it doesn't matter how other people do it, it needs to be right for you Cheers
Well I cover exactly this topic using man in the box as an example in this video: ua-cam.com/users/shortsHu-WT5DUA8A?feature=share Belting doesn't mean being stuck in chest voice and pulling chest. You can belt in every single register. Yes I agree he was belting and the "nasal" quality comes from the EH vowel modification that he leans into (FEHD my eyes instead of feed my eyes) Still on a similar subject and also using man in the box as an example, here's yet another video: ua-cam.com/users/shorts0IZmWJUJbsY?feature=share
@@LeoMaiaProg right, I know belting doesn't mean stuck in chest voice, that's why I'm saying it's a mix. Probably a chest heavy or balanced mix. The head voice you're doing is head voice dominant.
@@Samtar what I did in the video is 100% head voice. Mixed voice is not really a register But terminology is weird everyone gives a different label to the exact same thing All I'm saying is that there's a lot of falsetto, stretch and CT muscle engagement in these songs like man in the box, and approaching it from falsetto and adding the techniques / shaping it into the sound you hear in the records (keep in mind records have doublers, harmonies, EQ, compression, saturation, etc) is one way to get there, the only way in which I got there Approaching it from chest voice with the mentality that I have to take my chest voice up there, that I need it to be "chest dominant" and these other buzz words, just instinctively for me, and for a lot of people that reach out to me for help, causes strain, yelling, shouting, strangling, and disconnection from my upper registers. All it did was collapse my left lung while singing and send me to the hospital for a week with chest tubes. Changing the mindset and finally listening to people saying that I needed to work on head voice and finally allowing myself to hit these notes with a controlled air pressure, by the right techniques such as vowel modification, and not through sheer "push from the belly" instructions taught me what head voice ACTUALLY is and how I completely misunderstood it before. I share these learnings and lots of people that get helped in the process. If just focusing on the instructions of chest voice and the "chest dominant" mindset works for you and gets you to sing man in the box constantly for hours without getting fatigued or strangled, and allows you to connect that to your upper 5th register range with no breaks, that is amazing and great for you! It works for lots of people, we probably all do the same things but attach different labels to it, all because of false kinesthesia (each person feel the same things differently), it just never worked for me and for a lot of people and this perspective that I'm sharing has been helpful to some, but of course, not for everyone If you hear some of my songs in the channel like pneumothorax or wintertide, in the chorus that is high 4th to 5th octave of range, I can tell you I am doing the same of this video here, using head voice from G#4 and up, but you'll be able to hear it in the context of a mix, with the heaviness of the guitars and EQ, compression, saturation, doublers and harmonies, and you may see that in that context it sounds way "chestier" than it actually is. Cheers!
@@LeoMaiaProg Personally I don't think being able to sing the exact same part for hours and hours on end is the important part. I don't believe in necessarily capturing lightning in a bottle, but I don't necessarily believe in the opposite either. If you have learned something that is healthy to only do for a short period of time, I think that's an acceptable approach, and why a lot of musicians have set lists set up a certain way around how vocalists fatigue. I don't think chest dominant mix is something of a buzz word. When you sing in falsetto, your voice resonates almost exclusively in your head. When you are using a mix it is resonating in both your head and your chest, and you can control which has more resonance in it. Buzz word tends to imply an illegitimacy. So, I'm not sure what you find illegitimate about a descriptive word? I certainly do not disagree with your approach to having a healthy voice, and I think you have a fantastic sound, and it's great to approach things with a sustainable mindset - so please don't misunderstand me. I'm also not someone who believes in forcing sounds, or just "pushing from the belly" as you put it. I'm just saying, I don't think Stanley had a sustainable approach, and if you want to actually mimic his sound, you're going to have to risk some things (not something I'd recommend lol).
@@Samtar well if you're singing stuff like power metal (like in the example of the video) or hard rock or something similar, you are singing on the upper 4th and 5th octaves in all songs, meaning it is important to be able to do that sustainably or you can't sing a full 2h show (not to mention night after night if you're in a band or something) the thing about false kinesthesia is that i never ever felt anything resonate in my chest, for instance. even when im singing the deepest stuff like rammstein, i feel it in my mouth, never in my chest. i dont mean to imply that mixed voice is illegitimate, but its misinterpreted. imo mixed voice is just the ability to shift your resonance gradually in a way that connects your head and chest voices without breaking. that said, we do have high 4th octave on plenty of alice in chains songs, or similarly chris cornell's songs on his bands, and they did sing them night after nigh for hours every night. i do agree that doing a big note once in a while that is relying on less healthy approaches is fine, im not against it. i also agree that he wasnt trained or consciously made these healthy choices, but i do think he had plenty of head voice in his high notes and on isolated vocals (with no harmonies or doublers) or even acoustic live it does feel thinner than i thought it was when listening to it in context of the mix and i took it as why he actually managed to do it for hours night after night and yeah i finally just wanted to mention that i dont think trying to mimic one's sound is super beneficial for anyone. different people have different physical structure of their vocal tract and chords, the way for example a high tenor approaches a G4 is very different from a bass approaching G4 in terms of technique, but they both should be able to hit the same note and sing the same songs and sound good without mimicking each other -- that actually is a good idea for a short video btw cheers man, nice chatting!
@@KajiVocals this is head voice, as I showed it starts directly from pure falsetto and I shape it into this sound That said, singing nomenclature is not something widely agreed on different school labels the same thing differently To me, mixed voice is being able to gradually transition from chest to head seamlessly
Yeah, there's no such a thing as mixed voice. There's only M1 (chest) and M2 (head). It's just a blending technique between the two, but no "third voice".
Hi there, I don't have a website, just a linktree to my music and social media. My full time job is with software engineering 😅 But you can reach out on social media and we can chat
If i had watched this video 10 years ago, i wouldn't have waited to my 27s to start learning singing. Because it was only 5 months ago that I noticed it was this way how they sing. However my teacher told me im a tenor, so im able to sing this stuff
When it comes to a little higher than this you'll need to do the same thing to reach it comfortably I also wasted a lot of time not even attempting this kind of stuff thinking and really wish someone had told me this when I was younger... That's why I make these videos Cheers
I keep coming across vocal chords being open or closed etc and in all my years of lessons it was never once mentioned and I'm sort of worried about the information what's right what's wrong and what could damage my vocals?
Vocal chords too open means you're leaking too much air. A falsetto, like at the first example on the video, leaks too much air Leaking too much air means you're drying up your vocal chords and dry vocal chords being used could cause damage, you want them nice and lubed! However, if you over compress and sing everything with a gritty, "lifting a heavy table" kind of compression, then the vocal chords are overly running against each other, that could cause damage too It's the right amount that you need, which is similar to the vocal chord closure when you're speaking. That said, people tend to have more troubles getting their vocal chords properly closed the right amount when singing in falsetto, that's where the "cry" comes from, like a bratty child crying that actually speaks in the falsetto range but that is not falsetto, that had full chord closure like a normal speech Cheers!
You're welcome! Learning the coordination requires some time, effort and willingness to experiment and sound bad in the process, but once you get it then singing becomes much more effortless
Im praticing a lot high notes and stuff, i dont really understand mix voice yet, but im sing the Given up's B4 in chest voice (i think its to powerfull to be in a "crying headvoice" like you did in this video)
Unless your voice is very high naturally, a B4 on chest voice will be shouty and unsustainable... Once you put this crying head voice in context with the rest of the band, compression, reverb, doublers etc etc as a normal production does, it sounds Huge and powerful. Context is everything, I try to show it raw in a room with no treatment so people can relate to it, but I have a new song coming out in April which has really highs in it using this head voice technique and everyone I showed it to thinks it's a super powerful chest voice belt because of the context. I will post an isolated vocals track of it as well and do some content on how to sing some parts of it
@@LeoMaiaProg Intersting... So... I don't have a very high voice when I speak normally, it's a medium tone, but I can reach b4 in chest voice, sometimes almost c5 but I still can't sustain it, and the voice breaks. How do I know I'm doing chest voice? Well, because I raise the notes in the same way I sing lower notes with my chest, without ''changing the register'' with these techniques you showed and so on, also because it sounds very very loud, powerful (like Chester did) and it's not something ''easy'' ' to sustain, it requires pressure and positioning to hold it, and when I try to go to C5, even if I reach it at the beginning, it becomes very difficult to maintain and the voice breaks. When I do it with head voice, it's very easy to hold C5, D5 or higher, but it sounds weak and without power, and I still don't know how to use the mixed voice.
@@DC-gs7bz you need to blend the registers first and make sure there is not break when doing light low volume sirens on OO and EE vowel. Once you learn how to gradually shift registers and resonance according to where your voice needs it in the right pitch, then you can start adding power through cry, compression and such, without leaving the register that you voice wants to naturally be in Shape your head voice into something that is powerful and nice rather than neglecting it is what changed my voice for the better
@@LeoMaiaProg Got it my friend! I have to learn how to mix my voice to reach higher notes easily, but mixing the registers is still unclear to me... do u have any other video talking about this? And back on the subject of chest voice, is it really unusual to be able to achieve a b4 in chest voice? As I mentioned Chester before, is this how he sings these notes or does he use the mixing technique?
@@DC-gs7bz chest is mixing I think, he does it without effort when you see him in isolated settings, he just has good grit techniques I have plenty of videos in the channel, a few talking about the blending and the OO exercise if you check the shorts channel out
I respectfully disagree with you on high notes needing to be sung with head voice all the time because many pop baritones belt up to G4 and do just fine. It takes years of practice, but it's not impossible to do it without strain. But to "pull up" chest voice is not a good idea either because you don't want to force it to happen it happens with years of vocal training. But in rock music, it's okay to use head voice or chest voice for high notes because it's not opera anyways lol. But that doesn't mean that chest voice above the passaggio is always a bad thing. In my opinion, to say that you should never use chest voice above your passaggio is incorrect.
Oh I'm not against belting, in fact I have a video on what healthy belting actually is: ua-cam.com/users/shortsHu-WT5DUA8A?feature=share And if you're talking about just a sheer force air pressure driven pull chest / extend chest voice approach (which some people define as belting, but in my contemporary book you can belt on ANY register through widening the vowel and changing the resonance), sure that is cool too, but it's not "effortless". It has a place on a highlighted note on one part of a song or 2, but wouldn't last you 2h of singing live on something like power metal where the entire song is at the upper 4th octave / 5th octave range. That's where the effortlessly singing words that I used comes from In opera, there will be the one big chest money note, it's not the entire song, and if you're not hitting it with the chest voice resonance then you don't cut through the acoustic unplugged orchestra -- as opposed to rock where you have a mic with compression and EQ I didn't say that chest voice after passagio is always a bad thing in the video, I mentioned that the high notes that you hear in the rock records over and over again throughout the entire song, like a high chorus from helloween songs, that is sustainable and effortless with the right head voice techniques You don't hear me say to never do something And yes the rock and metal and pop techniques are pretty different from opera techniques, that's why I set the context at the start of the videos and the title, they don't translate into each other, different instruments, different tone, different larynx position, different audience expectation, different range, microphone vs no microphone, different frequency spectrum in the mix, etc...
I've always wondered how the fach they sang like this. Thank you. I'm excited to learn this technique.
Cheers!
@@LeoMaiaProg Hey I have a question
@@onlytrueifitsfacts8661 didn't see the question
@@LeoMaiaProg I didn't think you would answer! Well I have a couple of questions first off what vocal type are you considered?
@@onlytrueifitsfacts8661 a baritone but that doesn't matter at all for contemporary singing so ignore this for this type of music
Your videos are pure gold Leo! Being a baritone I am having trouble from around g3-g4 when singing it softly or on a low/medium volume without breaking to falsetto. However I feel it’s rather “easy” to sing it with more power into it. Would love if you could explain in a video or here how to sing softly too! Keep up the good work 🤙
Glad you like it man, breaking means an abrupt change of resonance. No matter if it's soft or not. It's usually a vowel thing or ability to track the second formant.
These videos on the subject:
ua-cam.com/users/shortsVMIMd2YPI0E?feature=share
ua-cam.com/users/shorts0mlJvRmUu58?feature=share
ua-cam.com/users/shortsnf2fSsW6iG4?feature=share
ua-cam.com/users/shortsiRgen1YuV-g?feature=share
Hopefully it clarifies what I mean by break being a vowel/ resonance thing
Cheers;
@@LeoMaiaProg Thank you so much for your response! I will check those out and try to be more observant of where the resonance is at. Cheers buddy!
good to see you again
Cheers bud
I sir , now I am able to access my mixed voice, but can you you tell me till what range can we do the mixed voice? If I try it i can reach only b4 but higher than that I have to transition to head voice, I tried doing it in mixed voice but it breaks on reaching high head voice notes, i saw some youtubers singing very high in chesty mix or I don't know if I misunderstood their head voice mix with chest voice mix which sounds nearly like chest
Please can u checkout heart attack cover by Michael rose and tell me, how he's singing those such high chesty mix notes
Video name is" Heart attack by a baritone "
Don't worry about how others do it and don't think of mixed voice as a register.
Mixed voice is the ability to transition between registers gradually through an incremental resonance shift. Such a shift is achieved by vowel modifications
You can sing B4 in whatever register is comfortable to you. I sing it in head voice like in this video, but my voice is not yours, your breaks may be higher I don't know. Thing is, I sing above my break in head voice in a way that, in context with the song, people think it's chest, but I know I'm just using head voice. If you can only reach with head voice, use it, but shape it properly
Me again Leo. A year ago I tired all of this and kind of get it but I can't get sound without too much compression unfortunately. How does it feel in your throat when you add cry. 🤔
It doesn't feel uncomfortable. If feels like slightly tighter than falsetto as cry IS compression, but it only feels uncomfortable if you add too much air pressure. Sing lighter and it will not feel uncomfortable, and make sure you're not over spreading your mouth with big smiley wide vowels like AH, stick to your vowel modifications to sing a narrower sound which helps alleviate pressure
Cheers
@LeoMaiaProg your a really great coach man. Can I send a small sample. At some stage . I think my cry is OK but it kind of a high vocal fry feeling and like you said is tighter. So not always available and sustainable in gigs
Hi! Great video!
Please listen to "The Police - So Lonely Isolated Vocals (Acapella)".
Is it a kind of "beefed-up head voice"?
Sting pretended he's a metal singer in a recent interview with Rick Beato...
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
@@dystopia2386 as another baritone (vocal break is around Eb4-F4 depending on the day and vocal hygiene), I can attest that Sting is a baritone. It was actually imitating his tone on Roxanne that I learned how to maintain a resonance in my head voice that sounds very similar in timbre to his
You'll also notice that Sting never sings the chorus live the way he does on the studio album. That is, he sings the word “put” during the line “put on the red light” as a D5, but he seems to intentionally avoid this pitch during every live recording I could find of him singing it (this includes decades later from the studio recording and only a few years later)
I could be wrong, but I don't think tenors would have much reason to shy away from this pitch… but if you were a baritone who had to be mindful of singing several hours on most days of the week because you're touring, then you might want to avoid fatiguing the vocal folds too much by going out of your head register comfort zone
Sidenote: it seems like Sting never mastered using his flageolet register which could've safely extended his range albeit with a different timbre. In the same way you can mix the chest and head registers, it's possible to mix the head and flageolet registers (Justin Stoney & Christof Chapsis have videos that demonstrate this well)
Different side note: Danny Richard's Baritone vocal exercises (particularly what he calls the “mask” exercises) helped me realize that adding just a little bit of a crying baby/cat meow sound to my head voice makes it go from “this sounds like Mickey Mouse” to “Oh, this actually doesn't sound too bad”. I first learned to do it in the most cartoonish, exaggerated nasally way possible (M Shadows from Avenged Sevenfold and Axl Rose were helpful to sing along to) and gradually figured out how to just add a slight amount of it to get something like Sting’s timbre
Hope some of this is helpful, and keep on singing!
@@KevinFlowersJr
Thank you very much for sharing useful information 🙏
Are there other important techniques I should practice to reach this sound? Vocal compression, belly + back support, raising soft palate, SOVT, puffy cheeks, lips rolls…
Can I have a chance to hear your voice online?
I love it!
Nice! Glad you like it
This technique is going help with a problem I was facing.😅 I could do it but not with enough volume.
Hello. I’m working on my head voice and have a bit of an obstacle - it doesn’t sound full like yours after having changed to a more narrow, taller vowel and having lifted my soft palette. Is there another ingredient I could be missing, or is it more likely I’m misunderstanding one of your instructions?
Make sure you have the right chord closure / twang / compression / cry engaged (different words for same thing)
Like this ua-cam.com/users/shortsEPD9X1brvJE?feature=share
There's a couple other videos on cry and squeaky door exercise
That compressed cry part still locked
Unlocked or locked?
@@LeoMaiaProg lol sir I meant locked, how did you unlocked it btw?
@@hariskrisnadi8870 for me, squeaky door exercise, cartoon character voices, imitating Robert plant, meowing cat, witch laugh, among other things helped me understand the coordination of cry. It started very masky and nasal then I had to teach myself how to use the vowel / soft palate part without losing the cry
@@LeoMaiaProg thank you sir this definitely will help me and others to get there
Sir, How to sing the lower notes of head voice in mixed voice? They are very weak, in some songs there are only few notes which are high, like these are notes which do not have to be sustained the way you are doing in this video, they are just, like 1 high note exceeding my chest voice so i have to transition to that one note in mixed voice and then again come back to chest quickly without sustaining, what happens is that one note which i hit is in my lower head voice and it's volume is low as compaired to chest so they sound bad and light , and i can't add compression as they have to be hit quickly so i, don't have time to add compression, are you understanding sir?i can easily add compression on high notes but, every song doesn't have compression so what should i, do? I try to sing high songs but those few quick weak, unsustainable or unbeltable staccato notes from chest to head and back to chest are a problem i can't fix
You have to connect head and chest first like my other videos and use vowel modifications according to the pitch in a way that the resonance transitions gradually
No head voice, it's belting in mix (like chest voice sound)
Idk what are the semantics you use, this is head voice in my semantics, I start from falsetto and just shape it and add chord closure to it
Mixed voice is the ability to gradually change resonance and connect chest and head with no break, rather than a register on itself. On this range, um already on head voice
Cheers!
Ighh i need to learn how make my head voice sound like high chest voice!! Is there a video that goes more into depth about what you are explaining here?? Anyone, help?! 🙏
Hey, it's a combination of multiple things, the channel have short videos on the many pieces of the puzzle that helps you get there
@@LeoMaiaProg thank you 🙏 I'm gonna be watching all of your shorts videos lol
@@Radiantlyrebe sounds good! Lmk if there's anything in particular you wanna know more about that could fit the next short video and when I find time I can do
Does M shadows use this technique in the song acid rain? I can never tell if its a pulled chest or head voice
@@isaiahcore5382 never heard it, but if someone is singing night after night for 2h straight they can't be pulling chest or they won't be able to for long
@LeoMaiaProg agreed, but I can imagine he does head voice at shows and pulled chest/mix on record for the sound difference 🤔
@@isaiahcore5382 recording is very taxing too, a whole day singing multiple takes of the entire album...
I love these videos much. I am still missing one point - how these voices sounds with studio quality record - with proper mic, preamp, compressor, EQ, reverb.... It would be great to show difference between sound of camera mic and final record (vocals only).
Most people practicing singing everyday are doing it like this -- in a room with no studio Mic and no processing
I like to keep these grounded on reality, on how people will listen to themselves when learning to sing
You could listen to my songs to hear how my voice sounds like in the proper studio context. The video on how to sing wintertide shows a comparison too
Is that a masked place head voice sir?
Not super on the mask no, it gets out of the mask when you lift the soft palate and use rounder vowels and rounder embouchure. It's more in and up
Cheers
Thank you for always reply my cmts❤
Man In The Box is chest voice lmao Layne was a tenor. If you belt an F4 you’ll achieve a similar timbre, you’re a baritone.
He has plenty of cry and laryngeal tilt (aka head voice) on his tone, just like Chris Cornell on Soundgarden songs.
Yes it is a belt and yes it had plenty of grit, but it's not only chest voice it has plenty plenty of head voice in there and you can clearly hear it specially on "Jesus Christ" that's a little less gritty then "feed my eyes"
Here's a related video to what I mean by belt vs mixed voice (they are not opposed to each other): ua-cam.com/users/shortsHu-WT5DUA8A?feature=share
@@LeoMaiaProg there’s a reason you sound nothing like Layne, he’s pulling chest very hard and you’re not. Listen to Phil Anselmo sing with AIC, that’s how it should be done. Timbre over technique, everytime
oh my god this helped me so much to realize what i've been doing wrong with my voice
i always thought man in the box chorus was pulling chest combined with vocal fry distortion so i always sing it that way which always hurts my voice, when i sang in basic mixed voice it felt very weak and not chesty so i always sing in pulling back chest
Thanks again for this helpful tip
You're welcome!
If it's hurting and doesn't feel comfortable, it's not the right way to do it for your voice and it doesn't matter how other people do it, it needs to be right for you
Cheers
Yeah, I'm pretty sure Layne Stanley was using a nasally mix belt, don't think he was doing what you're talking about here.
Well I cover exactly this topic using man in the box as an example in this video:
ua-cam.com/users/shortsHu-WT5DUA8A?feature=share
Belting doesn't mean being stuck in chest voice and pulling chest. You can belt in every single register. Yes I agree he was belting and the "nasal" quality comes from the EH vowel modification that he leans into (FEHD my eyes instead of feed my eyes)
Still on a similar subject and also using man in the box as an example, here's yet another video: ua-cam.com/users/shorts0IZmWJUJbsY?feature=share
@@LeoMaiaProg right, I know belting doesn't mean stuck in chest voice, that's why I'm saying it's a mix. Probably a chest heavy or balanced mix. The head voice you're doing is head voice dominant.
@@Samtar what I did in the video is 100% head voice. Mixed voice is not really a register
But terminology is weird everyone gives a different label to the exact same thing
All I'm saying is that there's a lot of falsetto, stretch and CT muscle engagement in these songs like man in the box, and approaching it from falsetto and adding the techniques / shaping it into the sound you hear in the records (keep in mind records have doublers, harmonies, EQ, compression, saturation, etc) is one way to get there, the only way in which I got there
Approaching it from chest voice with the mentality that I have to take my chest voice up there, that I need it to be "chest dominant" and these other buzz words, just instinctively for me, and for a lot of people that reach out to me for help, causes strain, yelling, shouting, strangling, and disconnection from my upper registers. All it did was collapse my left lung while singing and send me to the hospital for a week with chest tubes.
Changing the mindset and finally listening to people saying that I needed to work on head voice and finally allowing myself to hit these notes with a controlled air pressure, by the right techniques such as vowel modification, and not through sheer "push from the belly" instructions taught me what head voice ACTUALLY is and how I completely misunderstood it before. I share these learnings and lots of people that get helped in the process.
If just focusing on the instructions of chest voice and the "chest dominant" mindset works for you and gets you to sing man in the box constantly for hours without getting fatigued or strangled, and allows you to connect that to your upper 5th register range with no breaks, that is amazing and great for you! It works for lots of people, we probably all do the same things but attach different labels to it, all because of false kinesthesia (each person feel the same things differently), it just never worked for me and for a lot of people and this perspective that I'm sharing has been helpful to some, but of course, not for everyone
If you hear some of my songs in the channel like pneumothorax or wintertide, in the chorus that is high 4th to 5th octave of range, I can tell you I am doing the same of this video here, using head voice from G#4 and up, but you'll be able to hear it in the context of a mix, with the heaviness of the guitars and EQ, compression, saturation, doublers and harmonies, and you may see that in that context it sounds way "chestier" than it actually is.
Cheers!
@@LeoMaiaProg Personally I don't think being able to sing the exact same part for hours and hours on end is the important part. I don't believe in necessarily capturing lightning in a bottle, but I don't necessarily believe in the opposite either. If you have learned something that is healthy to only do for a short period of time, I think that's an acceptable approach, and why a lot of musicians have set lists set up a certain way around how vocalists fatigue.
I don't think chest dominant mix is something of a buzz word. When you sing in falsetto, your voice resonates almost exclusively in your head. When you are using a mix it is resonating in both your head and your chest, and you can control which has more resonance in it. Buzz word tends to imply an illegitimacy. So, I'm not sure what you find illegitimate about a descriptive word?
I certainly do not disagree with your approach to having a healthy voice, and I think you have a fantastic sound, and it's great to approach things with a sustainable mindset - so please don't misunderstand me. I'm also not someone who believes in forcing sounds, or just "pushing from the belly" as you put it.
I'm just saying, I don't think Stanley had a sustainable approach, and if you want to actually mimic his sound, you're going to have to risk some things (not something I'd recommend lol).
@@Samtar well if you're singing stuff like power metal (like in the example of the video) or hard rock or something similar, you are singing on the upper 4th and 5th octaves in all songs, meaning it is important to be able to do that sustainably or you can't sing a full 2h show (not to mention night after night if you're in a band or something)
the thing about false kinesthesia is that i never ever felt anything resonate in my chest, for instance. even when im singing the deepest stuff like rammstein, i feel it in my mouth, never in my chest.
i dont mean to imply that mixed voice is illegitimate, but its misinterpreted. imo mixed voice is just the ability to shift your resonance gradually in a way that connects your head and chest voices without breaking.
that said, we do have high 4th octave on plenty of alice in chains songs, or similarly chris cornell's songs on his bands, and they did sing them night after nigh for hours every night.
i do agree that doing a big note once in a while that is relying on less healthy approaches is fine, im not against it. i also agree that he wasnt trained or consciously made these healthy choices, but i do think he had plenty of head voice in his high notes and on isolated vocals (with no harmonies or doublers) or even acoustic live it does feel thinner than i thought it was when listening to it in context of the mix and i took it as why he actually managed to do it for hours night after night
and yeah i finally just wanted to mention that i dont think trying to mimic one's sound is super beneficial for anyone. different people have different physical structure of their vocal tract and chords, the way for example a high tenor approaches a G4 is very different from a bass approaching G4 in terms of technique, but they both should be able to hit the same note and sing the same songs and sound good without mimicking each other -- that actually is a good idea for a short video btw
cheers man, nice chatting!
Mixed voice. Head voice has a different acoustic coupling.
@@KajiVocals this is head voice, as I showed it starts directly from pure falsetto and I shape it into this sound
That said, singing nomenclature is not something widely agreed on different school labels the same thing differently
To me, mixed voice is being able to gradually transition from chest to head seamlessly
Yeah, there's no such a thing as mixed voice. There's only M1 (chest) and M2 (head). It's just a blending technique between the two, but no "third voice".
I am impressed by your teaching methods. I am looking for your website regarding vocal coach but I couldn't find anything.
Hi there, I don't have a website, just a linktree to my music and social media. My full time job is with software engineering 😅
But you can reach out on social media and we can chat
If i had watched this video 10 years ago, i wouldn't have waited to my 27s to start learning singing. Because it was only 5 months ago that I noticed it was this way how they sing. However my teacher told me im a tenor, so im able to sing this stuff
When it comes to a little higher than this you'll need to do the same thing to reach it comfortably
I also wasted a lot of time not even attempting this kind of stuff thinking and really wish someone had told me this when I was younger... That's why I make these videos
Cheers
I keep coming across vocal chords being open or closed etc and in all my years of lessons it was never once mentioned and I'm sort of worried about the information what's right what's wrong and what could damage my vocals?
Vocal chords too open means you're leaking too much air. A falsetto, like at the first example on the video, leaks too much air
Leaking too much air means you're drying up your vocal chords and dry vocal chords being used could cause damage, you want them nice and lubed!
However, if you over compress and sing everything with a gritty, "lifting a heavy table" kind of compression, then the vocal chords are overly running against each other, that could cause damage too
It's the right amount that you need, which is similar to the vocal chord closure when you're speaking.
That said, people tend to have more troubles getting their vocal chords properly closed the right amount when singing in falsetto, that's where the "cry" comes from, like a bratty child crying that actually speaks in the falsetto range but that is not falsetto, that had full chord closure like a normal speech
Cheers!
Check out the band King’s X. I think the singer Doug Pinnick is a baritone. He’s amazing
Awesome!
1sr 😂 Love you Leo sir ❤😊
Thanks! Cheers
Thanks a bunch, bro. Im gonna practice; I always loved rock but feared pulling chest voice up. This makes sense. Thanks again
You're welcome! Learning the coordination requires some time, effort and willingness to experiment and sound bad in the process, but once you get it then singing becomes much more effortless
Im praticing a lot high notes and stuff, i dont really understand mix voice yet, but im sing the Given up's B4 in chest voice (i think its to powerfull to be in a "crying headvoice" like you did in this video)
Unless your voice is very high naturally, a B4 on chest voice will be shouty and unsustainable...
Once you put this crying head voice in context with the rest of the band, compression, reverb, doublers etc etc as a normal production does, it sounds Huge and powerful. Context is everything, I try to show it raw in a room with no treatment so people can relate to it, but I have a new song coming out in April which has really highs in it using this head voice technique and everyone I showed it to thinks it's a super powerful chest voice belt because of the context.
I will post an isolated vocals track of it as well and do some content on how to sing some parts of it
@@LeoMaiaProg Intersting... So... I don't have a very high voice when I speak normally, it's a medium tone, but I can reach b4 in chest voice, sometimes almost c5 but I still can't sustain it, and the voice breaks. How do I know I'm doing chest voice? Well, because I raise the notes in the same way I sing lower notes with my chest, without ''changing the register'' with these techniques you showed and so on, also because it sounds very very loud, powerful (like Chester did) and it's not something ''easy'' ' to sustain, it requires pressure and positioning to hold it, and when I try to go to C5, even if I reach it at the beginning, it becomes very difficult to maintain and the voice breaks. When I do it with head voice, it's very easy to hold C5, D5 or higher, but it sounds weak and without power, and I still don't know how to use the mixed voice.
@@DC-gs7bz you need to blend the registers first and make sure there is not break when doing light low volume sirens on OO and EE vowel. Once you learn how to gradually shift registers and resonance according to where your voice needs it in the right pitch, then you can start adding power through cry, compression and such, without leaving the register that you voice wants to naturally be in
Shape your head voice into something that is powerful and nice rather than neglecting it is what changed my voice for the better
@@LeoMaiaProg Got it my friend! I have to learn how to mix my voice to reach higher notes easily, but mixing the registers is still unclear to me... do u have any other video talking about this? And back on the subject of chest voice, is it really unusual to be able to achieve a b4 in chest voice? As I mentioned Chester before, is this how he sings these notes or does he use the mixing technique?
@@DC-gs7bz chest is mixing I think, he does it without effort when you see him in isolated settings, he just has good grit techniques
I have plenty of videos in the channel, a few talking about the blending and the OO exercise if you check the shorts channel out
I respectfully disagree with you on high notes needing to be sung with head voice all the time because many pop baritones belt up to G4 and do just fine. It takes years of practice, but it's not impossible to do it without strain. But to "pull up" chest voice is not a good idea either because you don't want to force it to happen it happens with years of vocal training. But in rock music, it's okay to use head voice or chest voice for high notes because it's not opera anyways lol. But that doesn't mean that chest voice above the passaggio is always a bad thing. In my opinion, to say that you should never use chest voice above your passaggio is incorrect.
Oh I'm not against belting, in fact I have a video on what healthy belting actually is:
ua-cam.com/users/shortsHu-WT5DUA8A?feature=share
And if you're talking about just a sheer force air pressure driven pull chest / extend chest voice approach (which some people define as belting, but in my contemporary book you can belt on ANY register through widening the vowel and changing the resonance), sure that is cool too, but it's not "effortless". It has a place on a highlighted note on one part of a song or 2, but wouldn't last you 2h of singing live on something like power metal where the entire song is at the upper 4th octave / 5th octave range. That's where the effortlessly singing words that I used comes from
In opera, there will be the one big chest money note, it's not the entire song, and if you're not hitting it with the chest voice resonance then you don't cut through the acoustic unplugged orchestra -- as opposed to rock where you have a mic with compression and EQ
I didn't say that chest voice after passagio is always a bad thing in the video, I mentioned that the high notes that you hear in the rock records over and over again throughout the entire song, like a high chorus from helloween songs, that is sustainable and effortless with the right head voice techniques
You don't hear me say to never do something
And yes the rock and metal and pop techniques are pretty different from opera techniques, that's why I set the context at the start of the videos and the title, they don't translate into each other, different instruments, different tone, different larynx position, different audience expectation, different range, microphone vs no microphone, different frequency spectrum in the mix, etc...
@@LeoMaiaProg Okay my bad for incorrectly making an assumption.
good you're back
Whenever I got time I do a quick one!