This is the absolute winner of all fry screaming tutorials! Incredible explanations and examples, as well as being the only tutorial i can actually follow along with my own trials without getting lost in a step somewhere. Amazing work!
Oh my gosh you are explaining exactelt what I had in mind about registers (except I did not have words for M3 and the creaking I was confused.) I just looove your way of explaining it makes so much sense to me! Thank you so much for sharing your knowledge. Makes me wanna study more 🙏🙏
I love this! Like your collected monologues, this really elucidates why there are so many different sounds that people refer to as fry screaming, and why there is such a variety of techniques. My guess would be when you mention the pushed full voice scream, that that’s essentially what happens when people scream naturally in day-to-day life - pushing so much air into fully vibrating vocal folds that they can no longer maintain a a stable pitch?
Great video man!! Finally beginning to understand how some Fry vocalists get so many mid range colors & lows. It’s gotta do with Hyper compression & pushing. Still I personally find FC just easier to sustain. 😅
Thank you so much for this geeky approach to fry which was absolutely required! Question: the grudge sound that people refer to when introducing the concept of vocal fry is M0 and is therefore not the "creaking" that you refer to as the basis for fry screaming?
Really depends on who exactly demonstrates it, I'd say... Some people demo an M0 and I believe that's the original sound in the movie, but some people also demo irregular creaking (and I think I've done the latter too sometimes, but I prefer the "amplifier noise" description).
Hi, thanks for the video! The best fry scream video I've ever seen! I have a question, but how does this classification compare to CVT? Do I understand correctly that in this case M2 is falsetto, Mx2 is Curbing, Mx1 is reduced Overdrive/Edge, and M1 is Overdrive/Edge? Thank you in advance!
@@errayplay9016 I would say that Mx2 is Neutral too (probably reduced density rather than falsetto) and Mx1 can be reduced density Overdrive, Edge or Curbing! Theoretically, Mx1 and M1 could be (non-falsetto) Neutral too, but I recommend some metal for louder fry screams! :)
@@ToniLinke Thank you very much for the reply! That is, it turns out that the CVT density (registers) plays a decisive role here, and the point between Mx2 and Mx1 (and between Mx1 and M1) we can find in neutral mode between different density options, while metal plays more of an additional role of loudness amplification here?
@errayplay9016 I think that both metal and density make for good borders between stable coordinations, at which you can find creaking! But that's just my interpretation of my experiences, you're asking the right questions and might come to slightly different conclusions!
@@ToniLinke Thanks again for the answers and thanks for your videos! I'm really interested in the topic of rough effects and your videos really help me figure it out :)
Hi, Toni! Thanks for this wonderful explanation! It has been easier and easier to access my fry scream through creaking! I have a question though: what do you mean by over/under energizing? Do you mean adding more/less support? Or it's just about the closure of the vocal folds?
There's several ways to do that! I generally mean more/less support, but there's different ways of supporting, or two similar ways can feel very different depending on many aspects. For example, the same belly movement can feel flowy, pushy, or held-back depending on airflow, vowel, and pitch range. Increasing the vocal fold adduction can be one way of "underenergizing" - even though it sounds like the opposite. By adding more resistance like that, we would need more pressure in the first place to balance it out, but if we don't provide that extra support energy, we have an underenergized coordination which will likely result in either creaking, or instabilities like flips, wobbles etc.
Hey Toni, do you think the singer from Underoath is using hypercomrpression for the fry he does? Specifically on their song There Could Be Nothing After This. Dont really know this band much so not sure if he uses a different sound on other stuff. That has to be one of the sickest fry screams ever though imo
Sick indeed! I'd say it's either a pushed hyper-compressed scream or something in between of a medium and pushed fry. Would be interesting to know how loud exactly he is.
where does the hyper-compressed fry fit in the registers? I can kind of get a basic fry going by engaging with a head voice, but I also want to learn hypercompressed fry but I don't know what register to start with
@@mariechevalier73 yes, fry scream always has creaking (or similar kind of vocal fold chaos), the term Distortion refers to false folds phonating on top of the true folds, and the arytenoids phonating I call Rattle (based on CVTs terminology).
@@mariechevalier73 Death Growl/Grunt usually has false folds and arytenoids together with the true folds, all of them vibrating chaotically. You could get a decent Death Growl sound just from chaotic vocal fold vibration though (with much more airflow than Creaking), I sometimes call this true fold Grunt.
@@mariechevalier73 Distortion means true folds vibrating normally and false folds vibrating on top, the arytenoids have nothing to do with Distortion. :) I have a detailed list of what vibrates in which effect in episode 7 of my 2020 Rough Vocal Effects 101 series in case you're confused!
I genuinely lol'd at the "unscientific pile of..." XD Omg the M0 creaking thing got me trying weird things I didn't realise I could do :O Gotta be honest, I still don't entirely understand good chunks of this, but just hearing your examples is enough to get me experimenting and finding more sounds than I thought I could do :D
It is pretty nerdy, so if there's 10% that you can take out of it, I'm happy :) a lot of it really builds on the old videos (which, if I had to make them today, I'd approach slightly differently, apart from the obvious production value difference lol), so I don't expect masses of people to watch and fully understand the new videos either. Probably not the best marketing move, but I'm not really doing this for marketing purposes anyway (realistically, I'll maybe gain like 5 new students from this, and my calendar is already quite full). If you have any specific questions at some point, feel free to reach out to me on FB messenger!
I just listened to an example of flageolet he did and it sounds like a very high quiet M2. I actually differentiate several kinds of falsetto too, but that's not too relevant for screaming, so I didn't mention it here.
I had to listen to his one take scream-through version again because it's a bit hard to hear from the studio versions, but I hear both basic fry as well as false cords. What's more important than the underlying techniques itself are the shapings: tunnels, gutturals, highs, lows... I'm gonna go more into detail about those in episode 4 this Saturday!
I'm currently practising the fry scream based around Chris Liepe's definition. So it's all about finding that breaking point. Right now it still exhausts me pretty fast and it hurts (not initially but after a short while and then I stop practising). What could I be doing wrong? Is my voice not used to it yet? Am I pushing too hard? It feels like an uncomfortable tickle in my voice box. At least, I seem to be getting better at finding it and producing it more consistently.
How precise is your vocal fold closure? If it's complete on your chest voice note, do you lose some of it when you break to falsetto? For me it helps not to think of it as chest and falsetto, but as thicker and thinner mixes (both with perfect closure, none of them super loud or super quiet). If you find that closure is, indeed, a problem, you're probably not pushing too hard per se; you're just not resisting it enough in terms of closure and twang. So to say: using a normal amount of pressure on the wrong shape makes the whole thing pushy even if it's not super "sporty" yet.
@@ToniLinke hm, I have to think about that. I'm not entirely certain tbh. Resisting what exactly? Sorry, I cannot quite figure out the "it" in that sentence. But thanks for your input so far. I'll try that "not falsetto but thin and thick mix"-approach.
Fry scream is usually a combination of Creaking with other effects like Distortion (false folds) or Rattle (arytenoids). The way I teach fry scream is more focused on the vocal fold vibration and treats the false folds and arytenoids as "little cherries on top" that make the scream extra thick, so probably the people who scoped themselves on fry scream and saw the arytenoids move have particularly powerful fry screams!
This is so awesome man. Such forensic detail into the specifics of vocal distortion nuances. I've been confused how Lee DeWyze was accomplishing the vocal distortion he uses in his song Anabelle since forever. Really feel like your dissection of forms of fry illuminate it more. ruclips.net/video/am7Q79tBM_o/видео.html
@@mestayno read the comments, for some people it seems to have helped :) it's not supposed to be a tutorial though, but rather a video essay on the emergence of my fry categories. Actual teaching sessions (in one on one lessons or workshops) based on this theory are less nerdy!
well, speak for yourself i guess, i learned a ton from this video, the point of which is to explore alternative organizational schemas for pedagogues. this isn't really a video for students, rather for other teachers (or students who benefit from a professorial approach) who are trying to understand the underlying mechanics of phonation and develop good models. there are plenty of other videos teaching fry screaming from a variety of intuitive approaches, including on this channel, if that's what you're after
This is the absolute winner of all fry screaming tutorials! Incredible explanations and examples, as well as being the only tutorial i can actually follow along with my own trials without getting lost in a step somewhere. Amazing work!
Oh my gosh you are explaining exactelt what I had in mind about registers (except I did not have words for M3 and the creaking I was confused.) I just looove your way of explaining it makes so much sense to me! Thank you so much for sharing your knowledge. Makes me wanna study more 🙏🙏
I love this! Like your collected monologues, this really elucidates why there are so many different sounds that people refer to as fry screaming, and why there is such a variety of techniques. My guess would be when you mention the pushed full voice scream, that that’s essentially what happens when people scream naturally in day-to-day life - pushing so much air into fully vibrating vocal folds that they can no longer maintain a a stable pitch?
Yeah, you can definitely hear that one a lot in movie scream compilations :D
"Maybe even avoid the term vocal fry altogether" HURRAY
Great video man!! Finally beginning to understand how some Fry vocalists get so many mid range colors & lows. It’s gotta do with Hyper compression & pushing. Still I personally find FC just easier to sustain. 😅
Thank you so much for this geeky approach to fry which was absolutely required! Question: the grudge sound that people refer to when introducing the concept of vocal fry is M0 and is therefore not the "creaking" that you refer to as the basis for fry screaming?
Really depends on who exactly demonstrates it, I'd say... Some people demo an M0 and I believe that's the original sound in the movie, but some people also demo irregular creaking (and I think I've done the latter too sometimes, but I prefer the "amplifier noise" description).
Psyched for this!
congratulations on 2 thousand subscribers!! 🙌❤️❤️
Absolutely great! Thanks , Toni!
This video is truly a gem❤
This is what I needed!
Hi, thanks for the video! The best fry scream video I've ever seen! I have a question, but how does this classification compare to CVT? Do I understand correctly that in this case M2 is falsetto, Mx2 is Curbing, Mx1 is reduced Overdrive/Edge, and M1 is Overdrive/Edge? Thank you in advance!
@@errayplay9016 I would say that Mx2 is Neutral too (probably reduced density rather than falsetto) and Mx1 can be reduced density Overdrive, Edge or Curbing! Theoretically, Mx1 and M1 could be (non-falsetto) Neutral too, but I recommend some metal for louder fry screams! :)
@@ToniLinke Thank you very much for the reply! That is, it turns out that the CVT density (registers) plays a decisive role here, and the point between Mx2 and Mx1 (and between Mx1 and M1) we can find in neutral mode between different density options, while metal plays more of an additional role of loudness amplification here?
@errayplay9016 I think that both metal and density make for good borders between stable coordinations, at which you can find creaking! But that's just my interpretation of my experiences, you're asking the right questions and might come to slightly different conclusions!
@@ToniLinke Thanks again for the answers and thanks for your videos! I'm really interested in the topic of rough effects and your videos really help me figure it out :)
insanely precise ! Is your inphography available somewhere ?
I'm gonna upload the diagrams in my public library! More about that in episode 4, which will be out this Saturday.
@@ToniLinke excellent can't wait to meet you in France this Winter ;)
Hi, Toni! Thanks for this wonderful explanation! It has been easier and easier to access my fry scream through creaking! I have a question though: what do you mean by over/under energizing? Do you mean adding more/less support? Or it's just about the closure of the vocal folds?
There's several ways to do that! I generally mean more/less support, but there's different ways of supporting, or two similar ways can feel very different depending on many aspects. For example, the same belly movement can feel flowy, pushy, or held-back depending on airflow, vowel, and pitch range. Increasing the vocal fold adduction can be one way of "underenergizing" - even though it sounds like the opposite. By adding more resistance like that, we would need more pressure in the first place to balance it out, but if we don't provide that extra support energy, we have an underenergized coordination which will likely result in either creaking, or instabilities like flips, wobbles etc.
@@ToniLinke Wow! It actually makes sense hahaha Nice! I'm gonna try that! Thanks for replying!
Awesome video Toni.
Thanks!
YEEEEE
Hey Toni, do you think the singer from Underoath is using hypercomrpression for the fry he does? Specifically on their song There Could Be Nothing After This. Dont really know this band much so not sure if he uses a different sound on other stuff. That has to be one of the sickest fry screams ever though imo
Sick indeed! I'd say it's either a pushed hyper-compressed scream or something in between of a medium and pushed fry. Would be interesting to know how loud exactly he is.
where does the hyper-compressed fry fit in the registers? I can kind of get a basic fry going by engaging with a head voice, but I also want to learn hypercompressed fry but I don't know what register to start with
Chest voice I'd say. Nut very pressed and relatively quiet
So fry scream actually is chaos in the vocal folds (and other tissues) and distorsion is arythenoids vibration (and VF)?
@@mariechevalier73 yes, fry scream always has creaking (or similar kind of vocal fold chaos), the term Distortion refers to false folds phonating on top of the true folds, and the arytenoids phonating I call Rattle (based on CVTs terminology).
@ and so growl/grunt is false vocal folds and VF together then?
@ distorsion = ary+ False + vf
Fry = vf chaos (independent from register) so actually creaking +vf?
@@mariechevalier73 Death Growl/Grunt usually has false folds and arytenoids together with the true folds, all of them vibrating chaotically. You could get a decent Death Growl sound just from chaotic vocal fold vibration though (with much more airflow than Creaking), I sometimes call this true fold Grunt.
@@mariechevalier73 Distortion means true folds vibrating normally and false folds vibrating on top, the arytenoids have nothing to do with Distortion. :) I have a detailed list of what vibrates in which effect in episode 7 of my 2020 Rough Vocal Effects 101 series in case you're confused!
I genuinely lol'd at the "unscientific pile of..." XD
Omg the M0 creaking thing got me trying weird things I didn't realise I could do :O
Gotta be honest, I still don't entirely understand good chunks of this, but just hearing your examples is enough to get me experimenting and finding more sounds than I thought I could do :D
It is pretty nerdy, so if there's 10% that you can take out of it, I'm happy :) a lot of it really builds on the old videos (which, if I had to make them today, I'd approach slightly differently, apart from the obvious production value difference lol), so I don't expect masses of people to watch and fully understand the new videos either. Probably not the best marketing move, but I'm not really doing this for marketing purposes anyway (realistically, I'll maybe gain like 5 new students from this, and my calendar is already quite full). If you have any specific questions at some point, feel free to reach out to me on FB messenger!
@@ToniLinke Thanks so much!! I recommend you to a lot of friends, albeit with the nerdiness caveat haha :D
Regarding registration, what's your view on Justin Stoney's distinction between flageolet and whistle?
I just listened to an example of flageolet he did and it sounds like a very high quiet M2. I actually differentiate several kinds of falsetto too, but that's not too relevant for screaming, so I didn't mention it here.
You probably know him already but, what do you think will ramos does in to the hellfire
I had to listen to his one take scream-through version again because it's a bit hard to hear from the studio versions, but I hear both basic fry as well as false cords. What's more important than the underlying techniques itself are the shapings: tunnels, gutturals, highs, lows... I'm gonna go more into detail about those in episode 4 this Saturday!
I'm currently practising the fry scream based around Chris Liepe's definition. So it's all about finding that breaking point. Right now it still exhausts me pretty fast and it hurts (not initially but after a short while and then I stop practising). What could I be doing wrong? Is my voice not used to it yet? Am I pushing too hard? It feels like an uncomfortable tickle in my voice box. At least, I seem to be getting better at finding it and producing it more consistently.
How precise is your vocal fold closure? If it's complete on your chest voice note, do you lose some of it when you break to falsetto? For me it helps not to think of it as chest and falsetto, but as thicker and thinner mixes (both with perfect closure, none of them super loud or super quiet). If you find that closure is, indeed, a problem, you're probably not pushing too hard per se; you're just not resisting it enough in terms of closure and twang. So to say: using a normal amount of pressure on the wrong shape makes the whole thing pushy even if it's not super "sporty" yet.
@@ToniLinke hm, I have to think about that. I'm not entirely certain tbh.
Resisting what exactly? Sorry, I cannot quite figure out the "it" in that sentence.
But thanks for your input so far. I'll try that "not falsetto but thin and thick mix"-approach.
@@wtfdelicious resisting the subglottic pressure/"support energy" with the necessary narrowing in your vocal tract I meant.
So is fry screaming in CVT terms creaking? I have heard lots of people claim its arytenoid based
Fry scream is usually a combination of Creaking with other effects like Distortion (false folds) or Rattle (arytenoids). The way I teach fry scream is more focused on the vocal fold vibration and treats the false folds and arytenoids as "little cherries on top" that make the scream extra thick, so probably the people who scoped themselves on fry scream and saw the arytenoids move have particularly powerful fry screams!
This is so awesome man. Such forensic detail into the specifics of vocal distortion nuances.
I've been confused how Lee DeWyze was accomplishing the vocal distortion he uses in his song Anabelle since forever. Really feel like your dissection of forms of fry illuminate it more.
ruclips.net/video/am7Q79tBM_o/видео.html
Thanks so much! Sadly, the video is not available in Germany...
to me this is a horrible overkill of the topic. I don't know if anybody can learn fry scream by this
@@mestayno read the comments, for some people it seems to have helped :) it's not supposed to be a tutorial though, but rather a video essay on the emergence of my fry categories. Actual teaching sessions (in one on one lessons or workshops) based on this theory are less nerdy!
@@ToniLinke I see
well, speak for yourself i guess, i learned a ton from this video, the point of which is to explore alternative organizational schemas for pedagogues. this isn't really a video for students, rather for other teachers (or students who benefit from a professorial approach) who are trying to understand the underlying mechanics of phonation and develop good models. there are plenty of other videos teaching fry screaming from a variety of intuitive approaches, including on this channel, if that's what you're after
Everyone learns differently. I love in depth videos like this. Helps me a ton