Yes, that part was mostly addressed at CVT :)

By compression in this context, I am referring mostly to the action of the lateral cricoarytenoid muscles which close the vocal folds and are responsible for the vocal fry associated with the valley girl accent

no idea what you're on about m8

​@VoiceStudioEast he is talking abt the pronunciation of yours mate

​@@VoiceStudioEast but still ur good mate

@@nevinopeditz I gathered that much but it's still nonsense, coz "th" is a non-sibilant dental fricative, ie. he's accusing me of having a lisp; of lacking sibilance. But actually I have hypersibilance if anything, made all the more pronounced because I didn't use a de-esser. And you can clearly hear the plosive ending of "world". The claim that I'm using a fricative there is just flatly absurd. The spoken part was a bit slurred, but even there you can clearly hear a highly sibilant s, so even for that part his transcription is pretty much the exact opposite of what is happening.

@@VoiceStudioEast yeah I know I was just saying what Tyler was saying (I don't agree with him ur good)

D5 is the highest I can take it reliably, but I can sorta do D#5 too.

I quite agree :)

Probably not until my channel has grown considerably larger

Tension can result from the vowels being either too tight or too loose for the given coordination. Widening the mouth will generally loosen the vowels, whereas narrowing the mouth will generally tighten them. This concept of vowel tightness relates to a lot of complex resonance phenomena, but if you want a basic understanding, you can check out my video on vowels in singing: kzbin.info/www/bejne/rp_Kl56ve62mhLs And if you want a more comprehensive understanding, you can watch my hour long video on resonance: kzbin.info/www/bejne/oYC8lZycYspgitE

I might at some point, but I have other covers planned first.

Oops forgot to get back to this. He's not doing a mixed voice, though the roughness from the compression might make it sound similar, but it is in reduced density only on account of the cry quality. There is no restraint. It *is* quite soft, however; the larynx is quite high and there's not all that much TA activity happening. The reason mine sounds beltier is because I held on to a bit too much of the compression (valsalva; which consists essentially of TA activity) for the high part. With less compression, I'd have been a lot closer to his sound, though the saturation and brighter EQ would still leave it sounding beltier than him. The way you can tell he's not in mixed voice is from the warmth and the flowiness of his sound. The restraint that characterises mixed voice would interfere with the warmth and introduce a kind of harshness that would make it sound stiffer / less flowy.

I didn't hear how Cornelius would sound screaming. He sings quite comfortably and easily in this video. For me, some of his demonstrations are loud volume (metal) than Steve Perry, but sometimes he demonstrates sounds similar to what Steve does in terms of technique.

I overdid the compression slightly, despite warning against exactly that, but the biggest difference in tone is just that my audio is more saturated coz the levels were running a bit too hot and my setup allowed for less microphone technique (ie. moving away from the microphone for louder sounds) than his handheld microphone did. And no, he definitiely is not using nasality there, nor does your statement even make sense if you're confusing twang with nasal resonance, since twang is practically the defining characteristic of screaming, which you say is what I am doing.

@@VoiceStudioEast In the musical theater, one would describe what you're doing as "screlting", but vocabulary pedantism doesn't change the clear auditory discrepancy. For "analysing" Steve Perry, that's as far off the mark as you can get. It has nothing to do with twang, compression or the microphone setup. It is just the wrong way to sing. Perry's singing is relaxed and airy, with little mouth opening, while you're in a belting setup, as evidenced not only by the sound, but the completely different mouth shape. If you tried to do an actual cover, beginning to end, of a song like Dont Stop Believing, or something from Skid Row, or Angra, screaming like that, it would sound ridiculous, that supposing you'd have the stamina to get halfway through the song. It would also make it very hard to sing live with a band as you'd barely be able to survive 3 songs singing like that.

@@musikkamagga3770 Perry's singing features somewhat less valsalva than my demos, but also features more LCA activity, which makes it *less* airy, not more. His supraglottic impedance is lower, which does produce a mellower tone, but at the cost of efficiency. My mouth shape is slightly larger than his because he is slightly undershooting the F1/H2 resonance tuning, making his singing *less* acoutically efficient than if he used a slightly larger mouth opening. Also, Steve Perry's mouth opening is not *completely* different from mine. It's a bit smaller because his larynx is higher and (as mentioned earlier) he is undershooting the yell timbre slightly. But this was a casual analysis video, not a studied tutorial on how to precisely match Steve Perry's sound. Finally, even supposing that you are right to dismiss the *clearly audible* audio saturation in my audio as mere "vocabulary pedantism", then the higher amount of treble would be indicative of a stronger source-filter coupling which means: more efficient singing and less stamina required. The idea that my singing is so inefficient that I'd struggle with stamina is flatly absurd on its face and shows that you don't know the first thing about vocal technique.

​@@VoiceStudioEast Wtf dude, you won't convince people that you sing well by mumbling about engineering stuff. Anyone can hear (and see) the difference between your singing and Steve Perry's. You're just completely off. On stamina, I would be willing to bet that you can't sing live with a rock band. Your singing is adequate for musical theater, where "screlting" is commonplace, but you can't sing Journey, Bon Jovi, Guns n Roses or Queen with that kind of technique. That wouldn't last 2 demanding songs on a live setting. Also not only you're misleading students, but that's also disrespectful towards Steve Perry and R&B-inspired singers in general. Just admit you don't know how to sing like that.

Features significantly less valsalva, more epiglottic narrowing, and more precise resonance tuning. Sorry to any hardcore Steve Perry fans but Arnel Pineda has what I'd call "cleaner technique" and I kind of prefer it over Steve Perry's XD Edit: except Arnel's B4s which are actually pretty messy. Huh.

@@VoiceStudioEast How do you recognize the amount of epiglottic narrowing in a voice?

@@pelirodri ​The spectral slope gives you an indication, though of course this can be edited in post-production. But there are still some subtle signs. You can also tell from the relative prominence of the formants, and the interharmonic noise can give you clues about loudness, restraint, etc.

I might at some point :)

I'm currently working on one, actually :D It was meant to be released yesterday, but I thought it could use some more work so I released this video instead. I expect the twang video to be ready by Sunday, though :)

@VoiceStudioEast omg...you made my day ... :) thank you!!

There is an exercise in the full video :)

Here's a video I've made on this topic: kzbin.info/www/bejne/qWaTiWqLhbOGiKM Hope it helps :)

Have you seen my video on how to grow your voice, and my video on chest register?

@VoiceStudioEast yes, maybe it's something I'm doing wrong, when I speak it's also quite low, it's quite a case.

It is hard to know what is happening without hearing your voice. You could book a consultation, or join my discord server and send a voice clip. That way I will be able to help you more :)

In theory yes, in practice I don't think it is viable in my situation.

Oop just realized I mistitled the short. It's an excerpt from Treat You Better, haha