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Watch the remade version here: • Resonance: an in-depth...
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I would like to thank Dr. Ian Howell for persuading me of the importance of explaining resonance from a time-domain perspective, and thanks to Kenneth Bozeman for the trick of flicking the vocal tract to show the first resonance.
Those interested in taking lessons should go to my website at
www.voicestudio...
For more information on the topic of resonance, see my blogpost:
www.voicestudi...

[@rafalvarezsevilla]

You sir, are a genius teacher and will be very big one day! Make a course and get rich

[@jc6830]

4:10 4:35 shape, pitch, volume 5:15 F1/H2 tuning (yell timber) 6:00 the first resonance 7:29 F1/H1 tuning (whoop timber) 8:08 8:40 9:43 F2/H3 tuning (2nd formant 3rd harmonic) formant=resonance 2nd formant = 5th octave 3rd harmonic = 2nd overtone = 6th octave (not quite sure, if wrong please tell me)

[@VoiceStudioEast]

The second formant ranges roughly from the bottom of the fifth octave to the middle of the seventh octave. The third harmonic is always a perfect twelfth above the fundamental frequency. It is only in the 6th octave if you are singing a note in the range of F4 to E5.

[@abananainspace]

This is pure gold. This video combined with the one where you explained overdrive made me finally be able to take overdrive comfortably above G4, I used to need to yell my lungs out at volume 9 to take overdrive any higher before, but thanks to the yell timbre thing and your explanation on how to shape the vocal tract I now can magically take overdrive up to a B4 at around volume 5 to 6... It takes a lot less energy and sounds much more comfortable and less forced than before, thanks a lot!

[@VoiceStudioEast]

Awesome, glad to hear it worked for you :D

[@ouiok9058]

I am very picky about the term resonance and how loosely (and wrongly) it’s being used in the vocal community, but this video put my thoughts into words perfectly!

[@VoiceStudioEast]

That's a great pickiness to have. It was that kind of pickiness that drove me to study and make sense of the conflicting info I was getting everywhere when I first got into singing.

[@DebEternity]

Really cool! Helped me gain further clarification regarding what resonance tuning is in the context of singing.

[@VoiceStudioEast]

Glad it helped :D

[@VoiceStudioEast]

My website: www.voicestudioeast.com/ Blogpost on resonance in singing: www.voicestudioeast.com/post/demystifying-resonance-and-pushing/

[@rafalvarezsevilla]

so in mix, the first formant is between the first and second harmonic?

[@VoiceStudioEast]

Usually yes, though with open vowels it can sometimes be above the second harmonic.

[@rafalvarezsevilla]

@@VoiceStudioEast thanks cornelius! would love a video on how to track/feel/coordinate harmonics exactly, and how to get every vowel into every formant/harmonics combination. i find the formant/harmonics topic extremely interesting and useful, but kind of hard to put into actionable practice

[@ToniLinke]

Game idea: bingo/drink every time you say "that is"

[@VoiceStudioEast]

Heh is it really that often? That I'm saying "that is", that is.

[@tobias.mueller]

Excellent explanation! Just one question: Why are open front vowels not useful for yell timbre?

[@VoiceStudioEast]

The vowel /æ/ as in cat becomes useful for yell timbre in the very high range - approximately from A4 and up. Below that, though, it is too open, which means F1 is too high to match the octave overtone.

[@tobias.mueller]

@@VoiceStudioEast Thanks! I agree. I was confused, because in the video you treat front vowels separately (as opposed to open, closed and back vowels, like you say at 9:00). Basically you're saying, that they're not suitable for F2/H3 tuning, so in closed timbre you need to rely on twang instead, right?

[@VoiceStudioEast]

@@tobias.mueller both in closed timbre and if the vowel is too open for yell timbre at the given range. You can use the front vowel EH, and its rounded variant, and still achieve yell timbre in this range, and you can use EE and achieve whoop timbre, but other front vowels will be more dependent on F3 and F4 as reinforced by twang.

[@florentflote]