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Thanks for this. It’s much appreciated. Yeah, I mean I’ve got to a point where I’ve lost a lot of the spark, and I’m having to reflect on my performance. So I’m just being honest all over the internet. Singing covers has caused me all kind of issues with my voice as you kinda change character every four minutes.

different voice types have different notes as their bridges, it's one of the things about voice type that is most pertinent to learning.

@@mogaldeatasugubeata That's my point, they don't. Things get tough at E, up to G is challenging, and is the first area you need to master. Then Ab upwards is into yet another territory, often called the 2nd bridge. If you have a naturally low voice you will have to work longer and more consistent to approach those sorts of notes but ultimately it's the same area that is most challenging. IMO tenors just can naturally hit the notes with certain vowel sounds in those areas a little easier but they will still struggle in the same area. I'm a bass, I know how much of an awakening it was just to go above middle C but now I have gotten a lot better, it's still the same bridge area that is the much harder struggle and of a different quality of challenge.

@@Fiascopia I mean, isn't it that those same notes are going to be even more difficult for a bass because they are even higher in their range? in my own experience, as a low bass my bridge is between G#3 to B3, depending on the vowel and etc., and it is more difficult for me to sustain for example a smooth A#3 than a C3, since the CA and TA are struggling for dominance, being inside my bridge. then indeed notes like F#4, G4 are much harder for me to do, because they're essentially at the very top of my range, and pure head voice at that. a baritone or certainly a tenor is going to easily have chest on those notes because that's on or near their bridge. the bridge is definitely going to be on different pitches depending on voice type since it's essentially where the different registers and resonance registrations transition. when my lowest full chest note is A#1 and a tenor sometimes can't even do an A#2, our chest voices are bound to stop at different points as well...

@@mogaldeatasugubeata Yeah it's tricky because it kind of depends on how you want to describe a bridge but I would say that you can still largely use the same set of muscles and skills up to E4 and then you need to start this process of thining out and mixing. I had several teachers who thought the same way as you do and it limited me in so many ways. Then when I found one who did not I did some deprogramming and now I would say I'm getting G4 into a good spot and working into the second bridge. I highly recommend that you take the advice in this video and from me at face value, internalise it and try to factor it into your singing. There is also a great discussion on range in The Complete Vocal Workout which really made me believe as well (although I think that book is not otherwise such a great book). If you think G4 is the top of your range and that you have a hard limit tho, I would humbly offer you the good news that you are wrong. I can pretty much guarantee that with some work with a GOOD vocal coach who has also overcome the stuggle of bootstrapping a low male voice, you would be able to reconfigure your thinking and get up to E easily and slowly start knocking down notes in and across the bridge (e to G) with all the vowel sounds you will need. I'm on the journey so I can't be totally sure of the end but I have a very low voice and also massively struggled initially to even understand any mecahnics of singing in that fourth octave. My argument would basically be that once you are doing it right you will notice that the quality of the challenge is the same for everyone but yes, bass needs to warm up more, will take much longer to learn to activate those new muscles and will always have a challenge with the final control. However, what I find is that you have a HUGE ADVANTAGE because once you have learned to build and control those muscles you have accurate control over them and a system for improvement (as well as having all those tasty low notes come easy!).

@@Fiascopia generally I agree with what you're saying as far as pursuing developing the entirety of one's potential range, even if we're differing in the idea of what the bridge is and where it is located for different voice types. there's a caveat here that range and voice type are not the same, which I sense comes into play when you're describing only needing to begin mixing at E4. as a low bass I'm already having to do some form of mix at A3. E4, as far as chest or head resonance goes, resonates in between my eyes. yet there are some tenors who can do E4 in pure chest. that's where the differences in bridge location come in depending on voice type, nothing I could do would make that E4 resonate in my chest, as it is far over my bridge. I can and will continue to expand my range (up from G4 to C5 in head and down from A#1 to F#1 in chest are all already within my range, but as yet inconsistent or unstable), but the big challenges I have in the fourth octave are no comparison to the relatively minor difficulties a high tenor would have in the fourth octave, some of whom have no problems singing at even A5 and sometimes hit C6.

@@Guitand1178 yes . Well the first thing is noticing WHEN it happens. As in, what are you singing when it gets tense? Probably as you get higher in pitch . I get students to feel with their hands around the larynx, above the larynx, watch or film yourself , and you’re trying to feel the actual movement happening and see it! Your larynx might be pulling up, swallowing muscles grabbing. Hold around your throat and swallow so you know what you’re feeling for. Then try the motion of yawning , feel the larynx move. You’re trying to keep them stable and stop extrinsic muscles from grabbing. It’s a whole load of experimentation. But try a pitch where it’s not tense. Before you really notice the gripping. Raise up one semitone or tone .. see if it starts to grab. Raise up again , thinking wide and loose and keeping the larynx ever so slightly lower . It would be easier in a lesson! But there’s loads of of talk about this in videos. Try a creaky gentle thin edgy sound. Keeping the cords together with LEAST amount of effort. Easy to say. That’s the experiment. Pretend to cry. Feel what the inside of your face does! 😊 I could run you through it

Great, thanks! Yeah I might do a lesson with you, will check your website - you also sort of “pull” the sound back with “yawning”? Maybe see you in a lesson!

@ well that yawn , only the start of a yawn, is a way of starting to manipulate your vocal tract. Lowering the larynx. Lifting the soft palate- at the back of the roof of the mouth. And the cry technique also. ….. then the creaky fry is more about how you are manipulating the vocal cords. Tilting a little with that creaky thin edge helps achieve vocal cord closure. Lightly tho! There’s no squeeze at all. You have to play with vocal cord closure exercises !

@@singingmatterscalder Thanks again!

@@bf4lvr Thanks ! People are out there . Good to know

@@bf4lvr I hope there’s some useful insight for you , it’s a bit random

@@marinemomma62 fantastic , colour coding ! Yeah. I’m glad it was good timing. 😊

@@SaladDays83 Thanks so much. I try to just be my usual rambling self !

@@sugar172 OOF !! I can’t even play lead guitar …

@@anxylum well that’s got to be one of the most honest kinds of performances out there . It’s dry and natural sounding. Such a great set up . I looked up the mics they use once. I don’t even know if there’s much reverb on those recordings . Yeah I’d say there’s something to be learned from tiny desk . I’m gonna try demonstrate some stuff around this

@ oh… I would love to see a video on this, that would be awesome. ❤️

@@fentonwinmill this is a fair comment. ! No worries .

That's just your learning style/ preference and not much of a critique

He's providing fantastic content and resources for free, tell him that when you're paying for lessons haha

@@davidribeiro5254 thanks so much David ! I appreciate the comment and I really hope it helps

@@davidribeiro5254 thank you and I hope it helped you yesterday morning, I mean afternoon

I feel old and snooty, but this makes me extremely sad. I come from the operatic world and have a knee jerk reaction to any audio-tech enhancement. Now I'm old and relearning a whole lot, and working with mics, trying to at least, i am meeting and using sounds for the first time. Music is enough for one life, but one lifetime is not enough for music. Great share!

@dorefromDetroit thanks! And i get it, im a purist when it comes to some things also! I wish we didn't have to do so much but if we don't the singer will be like "it doesn't sound very professional" I guess we live in the future when I wish we lived in the past

@@flmason I may attempt to make a video with an A-B of no processing and with , even in just a basic way

@@MichaelRayBirchfield ah man. I feel ya . And yeah you know what I mean about how you have to approach differently. I went back to singing after 7 weeks and I was not ready, it was too soon and I did a four hour gig first one back. And then just carried on with a crazy schedule like before . It was too much too soon and I think it suffered from that still now. Although with a mic in my face I’m fine. It’s when I have to try be loud in a room , just can’t do it now. Have to be careful when teaching a bunch of noisy teenagers!

That's what I thought until yesterday with Chester Bennington, I was just trying to hit the notes as intense as I could instead of going back to basics and getting rid of all tension possible, now I'm really building something beautiful.

@@radosawszmid7822 yeah !! And I didn’t even mention the autotune

@@Theactivepsychos sounds interesting ! It can take some real refinement to get across such emotions in a vocal take, I hope it’s going well. Good luck

@ have you ever thought about doing related content to your main videos where you practically critique and analyse one of or more of your audiences vocal takes and apply what’s in your video?

@@Theactivepsychos how could you ever know? And what do you mean? It’s fine to disagree. I know my experience and I know what I see in dozens of students but you know, whatever you think ✌️

You’re probably proving my point: because what you hear makes you think it’s being done a certain way, and it’s probably not.

@@singingmatterscalderwell I’m not necessarily disagreeing but if you listen to the artists thy listened to the three guys I mentioned all have a hyper version of that style, especially Ray. A lot of the grit in those old R&B and blues singers was in the microphone and tape saturation but Ray took that noise and created it with his own voice that then got processed with even more saturation and those beautifully crunchy mics. If you then listen to the next generation you get noddy holder ad Johnny rotten taking it further and then Liam Gallagher taking it even further! We’re not agreeing I’m just saying there are rare cases when those misinterpretations create a new vocal icon!

@ have a listen to the story about John Lennon and twist and shout and how he knew he’d crush his vocal chords so left it until the end. Then Ray Davies when he sings live. There’s 100% the thing you’re talking about that they do. Probably more towards the beginning off their careers but then they mastered the effect so they could do it with longevity.

@ brilliant ! That doesn’t mean they are hurting their voice in the process !! Maybe we can meet in the middle here. I like this idea that they heard the recorded sound and tried to recreate it. Almost inventing the wheel at that time. But they also may have done so within safe and healthy range in terms of how much they put their voice through to get there. This is an interesting story of how raspy singing became a thing. Thanks

I'm so glad I saw this video because I'm going into the recording studio I've been practicing my song with a lighter approach not pushing it and it's so much better. Thank you again

I can have a listen and see what I make of it !

Ah thank you so much ! This is awesome and I massively appreciate the support. My two tiers are $7 and $17 currently . But they both involve some form of 1-1 and support etc. I’m having a look at the whole patreon tomorrow , maybe I’ll make a tier just for you! 😂✌️🙏 I forgot to put the link in. All done a bit last minute tonight. Thanks again

((I did what I said with a $4 dollar tier on patreon, prob gonna change the other one and remove. Obviously no obligation but you got me thinking, thanks ))

@@singingmatterscalder Sweet, I'm in! :) Thank you!

@ amazing thank so much for the support

I have added this to my list of videos , I may even do a quick thing about this topic over the weekend ! Cheers 😊

@@RichardRubendra1963 this is great to hear! Thanks and good luck

@@pianissimo369 thanks so much for the encouraging comment! It means a lot ! Really . Best of luck with your singing development .

@@radosawszmid7822 Thanks and yeah there’s no substitute for being out there playing live, if that’s where you want to end up. I was always one for just getting out and doing it in real life too. That said, if you know why you are doing certain exercises then you can gain a lot from them as well. Often people don’t know why they are doing a particular exercise. But yeah, the real world experience is invaluable Thanks for the comment , I may do some reaction videos tho 😬 😂