The voice teacher community is going to lynch you for giving out all the information for free 😂 I can't believe you even mentioned the problems with bringing mixed voice down too low! No one talks about that... I had this issue for a long time and I was like "why the hell are the upper middle notes for fatigue inducing than the high ones?" I figured it out on my own eventually that I had to let go of the mixed voice squeeze.
can you explain (or make a video :) on the difference of medial compression vs TA usage, and how to access/control them? your content is killer by the way, love your registration system!
Hi, I have a question about the sound colour of mixed voice in the higher ranges. I'm a female and my mixed voice can go higher about and between G5, but when I achieving my high note, it sounds a little bit like a yelling like/sharp sounding high note and has slightly different in sound from the singer that I learn from, altough I try to achieving it with the same vocal mode of the singer.How can I make it slightly dull when I acheiving the high note in higher range? Do I need to concentrate on changing slightly of the sound colour in higher range or it will become more natural with time?In addition,your tutorial is very good 💯,and I'm a fan of you.Thankyou very much for constantly uploading great contents on RUclips for free.I love it ❤❤.And thankyou for your dedication to the singing community.Tutorial of singing with valid science research and evidence really help singers a lot!
I have a technical question about the glottal stop (the restraint you talk about): what does it actually do? Does it just increase the medial compression so that the cords tend to lose a bit of TA engagement and stretch to balance the excess of compression? I'm having doubts because if I start in head voice and I do glottal stops I feel like there's a substantial increase in TA engagement and I end up in chest voice again. So I don't really understand what actually happens when a glottal stop is performed.
A glottal stop is not the same thing as the restraint I'm talking about. A glottal stop can be done in an unrestrained manner, featuring less subglottic pressure and more supraglottic narrowing than the unrestrained version, and conversely, it is possible to have restraint and use more of a vocal fry onset than a glottal stop. The restrained quality seems to involve an increase in the medial compression. In addition, it seems to involve a decrease in the acoustic coupling between the glottis and the vocal tract, usually by reducing the supraglottic narrowing and throwing off the resonance tuning a little. This decoupling involves a divergence between the glottal resistance and the supraglottic impedance, so that the restrained quality could very well involve more thyroarytenoid activity than an unrestrained quality at the same pitch, but only if the restrained quality is either louder or *very* restrained. I do not at present believe that there exists a simple relationship between the restrained quality and TA activity.
well that was kinda embarrassing, I guess I don't exactly know what a glottal stop is then... Anyway I'm referring exactly to the thing you do at 01:33. Thanks for the answer, you're always very informative. Keep it up!
@@gleamingrake7689 I am doing a glottal stop there - that much is correct. But it's a restrained glottal stop with more subglottic pressure than you'd use for a clean glottal stop.
Curbing, Neutral in Reduced Density, and also Edge and Overdrive in Reduced Density, but only when their character is restrained rather than contained.
Hey its jason ive also booked a cvt lesson with you on the 16th. is it really just a twang issue if I cant hit A4 on curbing? after seeing the video i recognized that I had too much of a strong hold, so i let it go, it became better, but now when i get pass g4 it turns into falsetto, and I just can’t hit A4 with a solid voice and it feels like i have to put soooo much effort into “something” to stable it, am i just not twanging hard enough? im also making sure mouth shape is fine and im smiling a bit etc.
Cracking into falsetto around A4 is usually either an issue with the hold or a lack of twang. I will be better able to tell when I hear you in the lesson :)
Curbing definitionally requires metal, whereas mixed voice doesn't. Also, while mixed voice includes some forms of RD Edge and RD Overdrive, certain other forms would fall under cry register in my system, but would be included as Curbing in CVT. So there is definitely a relation, but the lines are drawn in different places.
Here comes nerdy time: 1. When you said the goal was to add a little bit cry so we didn't need to rely solely on medial compression, did it mean by adding cry we introduced more tilting/stretching so that we could lower the resistance to airflow thus lowering the PTP, while maintaining the compression? Or is it that the cry actually introduces more TA engagement in tilting which thickens the folds and thus closing the glottis, so that we don't have to rely on IA muscles to squeeze harder? 2. About one of the two culprit of squeezing spiral, you mentioned trying to sing too quietly in high notes resulting in adding more medial compression. However, isn't that the case that we only need to add more squeeze if we want to stay in mixed voice while maintaining a loud volume?
My suspicion is that cry quality directly introduces more tilting while also narrowing the pharynx slightly. This is speculative, though. As for singing loudly in mixed voice in the high range, you can indeed do so by adding more compression, but I advice against making a habit of doing so, as that is the sort of thing that tends in the direction of squeezing spirals. Instead, you can just use a larger mouth opening, perhaps a slightly lower larynx, more twang, and more thyroarytenoid activity. Ie., instead of making your mixed voice more squeezed, you can just make it chestier when you want to be louder.
@@VoiceStudioEast That makes sense. That said, sometimes I think cry is not a very good verbal cue, since people do cry differently for various reasons. As for the volume, I realize I didn't express clearly enough. I was actually trying to comprehend how singing too quitely at high range in mixed voice coud lead to more squeeze. But I think I actually come to understanding it now from your answers! When getting higher with the folds streching at their maximun, singing chestier in mixed in the upper range can actually avoid squeezing too much, while it's better to switch to another register if wishing to sing more quietly.
@@tphalange9030 Even if you do not increase the chestiness as you go up in pitch, the volume still has to rise, because any coordination tends to get louder when going up in pitch. To make mixed voice quieter, people often wind up stretching the folds even thinner, requiring even more medial compression to prevent a voice crack. While medial compression does increase the volume (hence why it can be used for louder singing in the low range of mixed voice), the stretching and thinning of the folds decreases the volume more than enough to make up for it, so that the net effect of more squeezing plus more stretching is an overall reduction in volume.
I just can't get my mixed voice stable. Thought that practicing creak at the bottom of my range would make my chest voice stronger, but it's making my vocal weight too light and there is a tendency to go to Neutral when trying to add distortion. If creak uses pure TA action, will it eventually make the metallic modes possible, or will it just keep me light forever?
I have seen some studies suggesting a high level of thyroarytenoid activity in pulse register (aka. pure vocal fry), but ordinarily, fry distortion (what is known in CVT as creaking) seems to rely more on medial compression than TA-activity, so I don't think practising vocal fry a lot is particularly useful as a way of stabilising your mixed voice or even for that matter developing your chest voice. It may be helpful for the lower range, but that is because it helps you transition between chest voice and pulse register. Also, thyroarytenoid activity is not the sole requirement for metallic singing. You also need proper resonance tuning and narrowing above the vocal folds. I suggest learning to sing easily with a strong (ie. metallic) chest register in the third octave before proceeding to work on mixed voice. It is know without hearing a recording, but my first guess would be that you are singing at too low a volume.
@@VoiceStudioEastWell, I originally learned to sing by imitating Marilyn Manson, and didn't know anything about falsetto or chest voice. The type of fry I'm talking about is the very very bottom of the range. I have a tendency to sing too loud in the third and 4th octave, and being flat as opposed to sharp. Analyzing the harmonics of this particular fry, most of them favor the 5th and 6th octaves. Also noticed that a lot of my favorite singers spoke in fry. I think I'm on to something. Will let you know if it makes a difference.
The voice teacher community is going to lynch you for giving out all the information for free 😂 I can't believe you even mentioned the problems with bringing mixed voice down too low! No one talks about that... I had this issue for a long time and I was like "why the hell are the upper middle notes for fatigue inducing than the high ones?" I figured it out on my own eventually that I had to let go of the mixed voice squeeze.
God bless youuuuuu
can you explain (or make a video :) on the difference of medial compression vs TA usage, and how to access/control them? your content is killer by the way, love your registration system!
Time to revisit this video once again
Hi, I have a question about the sound colour of mixed voice in the higher ranges. I'm a female and my mixed voice can go higher about and between G5, but when I achieving my high note, it sounds a little bit like a yelling like/sharp sounding high note and has slightly different in sound from the singer that I learn from, altough I try to achieving it with the same vocal mode of the singer.How can I make it slightly dull when I acheiving the high note in higher range? Do I need to concentrate on changing slightly of the sound colour in higher range or it will become more natural with time?In addition,your tutorial is very good 💯,and I'm a fan of you.Thankyou very much for constantly uploading great contents on RUclips for free.I love it ❤❤.And thankyou for your dedication to the singing community.Tutorial of singing with valid science research and evidence really help singers a lot!
It would be hard to say without hearing the mixed voice in question.
7:01 Mixed Voice Drills
Great videos
This was great
I have a technical question about the glottal stop (the restraint you talk about): what does it actually do? Does it just increase the medial compression so that the cords tend to lose a bit of TA engagement and stretch to balance the excess of compression? I'm having doubts because if I start in head voice and I do glottal stops I feel like there's a substantial increase in TA engagement and I end up in chest voice again. So I don't really understand what actually happens when a glottal stop is performed.
A glottal stop is not the same thing as the restraint I'm talking about. A glottal stop can be done in an unrestrained manner, featuring less subglottic pressure and more supraglottic narrowing than the unrestrained version, and conversely, it is possible to have restraint and use more of a vocal fry onset than a glottal stop.
The restrained quality seems to involve an increase in the medial compression. In addition, it seems to involve a decrease in the acoustic coupling between the glottis and the vocal tract, usually by reducing the supraglottic narrowing and throwing off the resonance tuning a little. This decoupling involves a divergence between the glottal resistance and the supraglottic impedance, so that the restrained quality could very well involve more thyroarytenoid activity than an unrestrained quality at the same pitch, but only if the restrained quality is either louder or *very* restrained.
I do not at present believe that there exists a simple relationship between the restrained quality and TA activity.
well that was kinda embarrassing, I guess I don't exactly know what a glottal stop is then... Anyway I'm referring exactly to the thing you do at 01:33.
Thanks for the answer, you're always very informative. Keep it up!
@@gleamingrake7689 I am doing a glottal stop there - that much is correct. But it's a restrained glottal stop with more subglottic pressure than you'd use for a clean glottal stop.
7:01 Mixed voice drills
How would mixed voice fit into the concepts of CVT? Curbing?
Curbing, Neutral in Reduced Density, and also Edge and Overdrive in Reduced Density, but only when their character is restrained rather than contained.
@@VoiceStudioEast Thanks!
Hey its jason ive also booked a cvt lesson with you on the 16th. is it really just a twang issue if I cant hit A4 on curbing? after seeing the video i recognized that I had too much of a strong hold, so i let it go, it became better, but now when i get pass g4 it turns into falsetto, and I just can’t hit A4 with a solid voice and it feels like i have to put soooo much effort into “something” to stable it, am i just not twanging hard enough? im also making sure mouth shape is fine and im smiling a bit etc.
Cracking into falsetto around A4 is usually either an issue with the hold or a lack of twang. I will be better able to tell when I hear you in the lesson :)
Can't wait! Thank you!@@VoiceStudioEast
when you do the slight restraint as you mentioned, does it also raise the soft palate in the process?
It doesn't have to.
so, the sensation I feel in my throat when I do that slight restraint as if I was going to make a point, is it more like my folds coming together?
It seems that this sound is curbing and like, is there any connection between them?
Curbing definitionally requires metal, whereas mixed voice doesn't. Also, while mixed voice includes some forms of RD Edge and RD Overdrive, certain other forms would fall under cry register in my system, but would be included as Curbing in CVT. So there is definitely a relation, but the lines are drawn in different places.
Here comes nerdy time:
1. When you said the goal was to add a little bit cry so we didn't need to rely solely on medial compression, did it mean by adding cry we introduced more tilting/stretching so that we could lower the resistance to airflow thus lowering the PTP, while maintaining the compression? Or is it that the cry actually introduces more TA engagement in tilting which thickens the folds and thus closing the glottis, so that we don't have to rely on IA muscles to squeeze harder?
2. About one of the two culprit of squeezing spiral, you mentioned trying to sing too quietly in high notes resulting in adding more medial compression. However, isn't that the case that we only need to add more squeeze if we want to stay in mixed voice while maintaining a loud volume?
My suspicion is that cry quality directly introduces more tilting while also narrowing the pharynx slightly. This is speculative, though. As for singing loudly in mixed voice in the high range, you can indeed do so by adding more compression, but I advice against making a habit of doing so, as that is the sort of thing that tends in the direction of squeezing spirals. Instead, you can just use a larger mouth opening, perhaps a slightly lower larynx, more twang, and more thyroarytenoid activity. Ie., instead of making your mixed voice more squeezed, you can just make it chestier when you want to be louder.
@@VoiceStudioEast That makes sense. That said, sometimes I think cry is not a very good verbal cue, since people do cry differently for various reasons.
As for the volume, I realize I didn't express clearly enough. I was actually trying to comprehend how singing too quitely at high range in mixed voice coud lead to more squeeze. But I think I actually come to understanding it now from your answers! When getting higher with the folds streching at their maximun, singing chestier in mixed in the upper range can actually avoid squeezing too much, while it's better to switch to another register if wishing to sing more quietly.
@@tphalange9030 Even if you do not increase the chestiness as you go up in pitch, the volume still has to rise, because any coordination tends to get louder when going up in pitch. To make mixed voice quieter, people often wind up stretching the folds even thinner, requiring even more medial compression to prevent a voice crack. While medial compression does increase the volume (hence why it can be used for louder singing in the low range of mixed voice), the stretching and thinning of the folds decreases the volume more than enough to make up for it, so that the net effect of more squeezing plus more stretching is an overall reduction in volume.
@@VoiceStudioEast Perfectly understood.
@@VoiceStudioEast I'm not sure if you know her but your advice reminds me of a female singer named Sohyang, she specializes in mixed voice
I just can't get my mixed voice stable. Thought that practicing creak at the bottom of my range would make my chest voice stronger, but it's making my vocal weight too light and there is a tendency to go to Neutral when trying to add distortion.
If creak uses pure TA action, will it eventually make the metallic modes possible, or will it just keep me light forever?
I have seen some studies suggesting a high level of thyroarytenoid activity in pulse register (aka. pure vocal fry), but ordinarily, fry distortion (what is known in CVT as creaking) seems to rely more on medial compression than TA-activity, so I don't think practising vocal fry a lot is particularly useful as a way of stabilising your mixed voice or even for that matter developing your chest voice. It may be helpful for the lower range, but that is because it helps you transition between chest voice and pulse register.
Also, thyroarytenoid activity is not the sole requirement for metallic singing. You also need proper resonance tuning and narrowing above the vocal folds.
I suggest learning to sing easily with a strong (ie. metallic) chest register in the third octave before proceeding to work on mixed voice. It is know without hearing a recording, but my first guess would be that you are singing at too low a volume.
@@VoiceStudioEastWell, I originally learned to sing by imitating Marilyn Manson, and didn't know anything about falsetto or chest voice. The type of fry I'm talking about is the very very bottom of the range. I have a tendency to sing too loud in the third and 4th octave, and being flat as opposed to sharp.
Analyzing the harmonics of this particular fry, most of them favor the 5th and 6th octaves. Also noticed that a lot of my favorite singers spoke in fry. I think I'm on to something. Will let you know if it makes a difference.
Nope, you're right. Fry only made my voice heavy and gritty. Exploring FD Neutral now.