The diaphragm - which you can easily find my using the hissed "Sss" like I describe around 2:25. The diaphragm controls the speed of release, and it's the hold down of the diaphragm that you actually feel. So when you breathe into the lower back (actually the intercostals, like you noted), and then lean through the solar plexus for volume, singing feels like a release or loud sigh, rather than a push. When singing "aggressively" it might feel like your whole core braces to help hold a phonation steady, but that's quite different than pushing or shouting. I think you'll notice your overall throttle is far too heavy, pushing, and shouty, putting a lot of risky tension in the throat, before you're ever at risk of pulling your intercostals. I often tell students that if they feel any tension in the neck, try to move it into the diaphragm instead. Even if you flex your upper abs, it's far safer than extra neck and throat tension. -Draven

@@RockSingingSuccess Thank you!

I'm so sorry to hear about your injury! I know how scary that was for me. I can only imagine what you're feeling right now. It took me 3 months to get an appointment with an ENT. Thankfully, it was the top ENT in Denver. He determined that whatever I did had healed already, so there was no permanent damage. After a long examination, scope, and other tests, his best guess was that I had pulled a muscle. At that point, it didn't matter which one. The pain being near the thyroid gland was a likely indication of one of the two main muscles there that help move the larynx, and can cause muscle tension dysphonia. However, I was starting to get my head voice back, and the pain was progressively getting better, so he didn't think we needed any major tests like an MRI. You might ask the laryngologist or ENT if they think an MRI is warranted. I was definitely on my way to recovery after 3 months, and it took another year before I didn't feel it at all anymore. Those muscles take a long time to heal, but if it's already gone on a long time for you, I definitely suggest getting professional medical advice with advocating for doing whatever it takes to find the core issue.

@@RockSingingSuccess Thank you so much! I believe I'm seeing some signs of improvement with my condition, but the condition of my voice fluctuates quite a bit so I'm going to get a second opinion from a top ENT in Philadelphia in July. She was trained by Dr. Robert Sataloff. In the mean time I'm following my coach's advice of using a nebulizer, using SOVT exercises with a straw to warm up, not straining when I sing and doing everything I can to minimize any potential acid reflux.

@@russellspear6188 That's great advice! I personally prefer a steam inhaler instead of a nebulizer for the warmth and bigger water droplets. For some reason, a nebulizer dries me out. SOVT of any sort, especially a straw, is a great way to keep your voice balanced. I'm sure you already know, but please keep it light and slowly build back up, staying under any amount that causes pain. I also suggest putting a large focus on staying lifted into a top-down whimper or cried voice. This helps you stay off the throat more and still get good compression. But again, try not to push the line of it hurting. Stay lighter than that. If it doesn't hurt, you're likely okay to do it - at least for a bit. -Draven

@@RockSingingSuccess That's very generous of you to share that advice with me. I truly appreciate it. I'll make a point of recommending your KZbin channel to other singers I come across who are looking for a new YT channel to follow. I find it interesting and quite sad, that for whatever reason, KZbin gives massive amounts of exposure to a few people (some of whom don't deserve it) and then there are some people who genuinely deserve and could benefit from being given some more exposure, but apparently, what they offer doesn't line up with what the YouTue algorithm is programmed to push! I've seen the effect it has on some people who are fortunate enough to have gotten huge amounts of exposure and they're people who seem to think: "The more subscribers I have, the more qualified I am to teach and the more I can justify charging for coaching sessions." There are vocal coaches on KZbin who have garnered in excess of 400K subscribers who seem to think that entitles them to make more money than the average surgeon makes!

@@russellspear6188 I'm glad I could help, and really appreciate the referrals! I don't think we're cheap by any means, but we do love helping whenever we can, and have courses, this channel, and even the brand new free community (in the video description) and podcast to help those who can't afford one-on-one lessons. -Draven

Is that Hindi? From the rough translation I could do, I think I know what you're asking about. Look up the videos on our channel, "how to belt without strain," "expand your range," and "build your vocal endurance fast." Those should help you begin to stabilize your upper range. Then, when you want to distort up high, you need to focus on a well-cried, thin, mixed voice, rather than pulling chest or pushing. You would benefit a lot more from one-on-one vocal lessons than trying to learn on KZbin, so that the exercises can be tailored specifically to your voice and what you're trying to do.

Thanks for letting me know, the links should work now.

We recently moved websites and everything broke despite having the right settings. Working on reconnecting our shopping cart now.

Done with the right placement and not pushed, it only really affects the false cords. It takes some conditioning for them to get used to the extra vibrations, not unlike a new trumpet player’s lips need conditioning for the same. In general, most grit feels like relaxing into a neutral larynx, and screams feels like light head voice. It feels FAR less harsh than it sounds.

Hey Ryan!

Thank you! Please share this video if you find it's helping!

Thanks That's the first time I've gotten that comment about how I look. Not bad, haha! I'm glad you liked the video. Feel free to ask questions anytime.

Awesome! I have a course that shows how to turn that one sound into about 30 others. Feel free to ask questions if you need help!

@@RockSingingSuccess for sure man, thank you very much! I'm definitely buying that course, just give me a bit of time to get some cash first 🙈 this is really interesting, especially the way you explained it!

I’m glad I could help! Feel free to ask questions!

wen

@@RockSingingSuccesswer

I completely understand! I think every artist plays and writes for themselves first and foremost. And I don’t think those that pursue a career are necessarily in it for popularity. It only takes 1000 True Fans to make for a great music career! I wouldn’t really call that popular, just focused. I would add that to make a career out of your music, you have to consider if your songs and ways of expressing yourself are connecting with others. The beauty of the “ideal fan” I mention in the video is that they are often an extension of you - those that you naturally attract to you and that you love to be around often share the same interests with us, and definitely share many of the same values. So you’re right. You will draw attention from people who resonate with you. I would add that turning that into a career means knowing who those people are, intentionally connecting with them where they’re at, and building your career with their help and support.

@@RockSingingSuccess Yes, turning music into a career is a whole different ball of wax and one must be much more conscious of who their audience is and making sure they are appealing to them. This is one of the reasons I am glad I am not pursuing it as a career :)

I agree, and would add that the gatekeepers control a game you don’t have to play anymore, and arguably never had to. It’s all about who you know and if you’re worth knowing. It always has been, even when I started coaching bands nearly 30 years ago. When young Taylor Swift told her manager that she wanted to go gold, he told her that in order to do that she needed to meet 500k people. So that’s what she did. She has an incredible connection with her fans because of it. Meeting and building a relationship with your ideal fan is far easier to do now than it was then. You can go to them, strike up conversations (not promotions) online in their comments, genuinely get curious about them, and they will get curious about you. Then you need to be worth knowing, adding even more value whenever they go to find it more about you. If you need a gatekeeper to reach your goals, then turn this mindset towards them. My band did that to become best friends with the top radio dj in town 30 years ago, and were sharing the stage with huge names in a very short time. One of my students and good friends did this recently with her dream goal producers, and was working with the top producers in rock music, the Churkos, by the time she released her second song! Covers can help, sure. But they’re not a necessity. Great songs aren’t even the most important. Connect with others in a meaningful way, nurture those relationships, and be consistent with the message and value you provide. Know your passion, what you’re naturally gifted at, and how those meld with what people are looking for. Know the emotions your music evokes, the actions it inspires, and the impression it leaves with people, and let that permeate how you present yourself to the world. Know who you naturally attract to you and who you love to be around, and where to find those people, then be there. Build relationships by connecting with those people and being worth their time. Promotion Is second to the above. And in today’s climate, micro music videos on social media are enough to grab eyeballs, if the songs are good and the visuals are entertaining. But that’s a distant second to intentionally finding your fans and building relationships in the comments.

It’s always been apples for me. -Draven

I definitely get that sometimes too. My first vocal teacher made me practice everything with and without vibrato, but my default is definitely a lot of vibrato!

Glad we could help!

I'm sorry. It appears your comment got lost in the mix. I'm glad I saw it. What keeps you from developing your singing skills further?

Haha. Thanks for the compliment. I don’t game much these days.

@@RockSingingSuccess I'm having as much fun singing as I do gaming. And you're helping me a lot with your advice :)

It’s my pleasure. -Draven

/ee/ is definitely a closed glottis (the opening of the vocal folds) vowel. When placed correctly, essentially towards the eyes, it sound and feels more like an /ih/. That said, even singing an /ih/ requires closing the jaw and more use of the smile/sneer you mentioned. However, most bowls open up more when Belting, depending on how shouty you want it to sound. For instance, /oo/ is usually more of an /ou/ or /ew/ when placed correctly, but more of an /oh/ when Belting. An /ee/ can sound much more of an /eh/ when Belting, depending on how open you like the sound. I hope that helps! -Draven

Thank you!

Absolutely. It's just a matter of intelligent and precise adjustments (vowel shape, muscle engagement, twang, breath pressure management etc.). With belting powerfully I realised you should not underestimate the psychological aspects. You have to be committed and not give a damn about people hearing you or messing up. If you do, you're gonna thin out unconsciously and not have as much muscle mass as he does here

@@-xlntc91x- thanks for your insights, it gives me hope :)

It takes time to build the muscle for stability, especially past A4, but yes, you definitely can train up that high. It maxes out around D5 before you have to back away. But for singing (not training), I start to back off at the A4 and focus on shaping and compression, balancing cry and twang, for the sound. It feels much more relaxed than it sounds once the muscles are thick enough to stabilize it. There are much more intense and surgical exercises to build through the 2nd bridge (around A4) too. -Draven

@@RockSingingSuccess so it doesn’t matter if I am a baritone and could easily build chest to A4?

@@Mistrzdan I’m a natural baritone with bass extension and can sing up to C6. Granted, it changes to a whistle mix around E5. The main thing bring a baritone will do is give you a filter, more chesty sounding tone up high than someone who is more a natural tenor, especially up below E5. The sky is the limit on range. The record, if I remember correctly, is a G8 for a man, 4 octaves above middle C! At that point, it’s practically a dog whistle. -Draven

Awesome! I’m excited to help! -Draven

That means a lot to me. Thank you! Now to get my other teachers on here too and start ramping up our video output! - Draven

@@RockSingingSuccess I Did not know you're still active - I was worried you're off the grid since the last video is from early 2021. I'd love to see and hear new stuff! Do you offer one on one lessons?

@@suicideowlmusic I’m not sure I’ve ever been very active on KZbin, haha! But that will change in the coming weeks, since we’ve launched our new marketplace. To be honest, I’m surprised my private lessons have done so well without much KZbin - to the point of having multiple teachers. Comments like yours are very encouraging to really, finally get this channel going. I have courses and give private lessons. I trained my other teachers in the same methodology as well. I’m happy to help however I can. Definitely reach out. -Draven. unleashedsinger.com/

me too

same.

Thanks! I'm doing a more in depth tutorial soon, like a highly summed up version of my full distortion course to add to the free Rock Singing 101 playlist. - D

Yeah. Not the best wording choice. Haha! I'm going to do a longer, more thorough tutorial soon to add to the Rock Singing 101 Playlist, maybe pulling a lot from my course. -Draven

It's not going to cause damage unless it hurts. There.

You need to focus on the fundamentals of Singing and shaping for distortion using the more sob and thinning side of cry vocal mode. If you’re not in my Rock Singing course, then think of it as not just a top down whimper lifting pressure up into the nasal cavities for a crying quality, but also sobbing and thinking through over-crying/sobbing using more pharynx (back of the mouth) focused /aw/ overtones. In the end, if you really want to get distortion under control, I highly suggest taking lessons.

Also, remember that compressed (forward/edging) to decompressed (back, /aw/) distortion is a spectrum, not black or white.

Thanks Alan! Please share! I’m happy to teach you how too. I’ve heard enough people mention how difficult this is that I think I’ll make a video in it soon. Going from clean into a scream is even more difficult. I figured it out after being inspired by the the guy from Black Peaks doing it in their live video of King: kzbin.info/www/bejne/Y5yrqqyleMSlr9E -Draven

@@RockSingingSuccess Thanks, Draven! I'm a current user of your Rock Singing Complete course and appreciate how you explain things in ways that can be put into practice immediately (like the "Eating the apple" tip). Having a video on the scream-to-clean transitions would be awesome. Will be looking forward to it.