Hi guys I'm gonna talk about some vocal stuff today one particular technique that I use there are so many techniques now that I don't know what they're called anymore growl fried medium rare I don't know you just have to find the one that fits you and go from there as all vocal teachers will tell you it all comes from the stomach when you're singing or screaming you have to tighten those muscles and let it flow from there and not use your throat because then you're gonna burn it out in like two minutes I'm not formally trained in any way and these are just my views and stuff and hopefully it'll help you guys out and remember every voice is different so you have to find a place where you think it sounds cool and it doesn't hurt your throat and just go from there one of my inspirations is Phil Anselmo from Pantera he does this kind of scream where he has note on it which I really like us it's kind of melodic so what you can try is like am doing it clean and then making it more and more distorted but there we have many new answers to it where we can push it more and more but I find this technique is really doing a lot of stuff to your throat so you have to be careful doing this and just remember your vocal is a muscle and you have to train it like every other thing you train to get it to sound like you want it to so just have to push it took me many years to make it do what it does now so don't give up if you don't get it like the first couple of hours I like to use layering a lot when I record meaning like I do vocal lines on top of each other maybe like four or five times just to fatten it up like you would with a guitar track you job will track it and make it massive maybe four takes to make it even more I know James Hetfield did the on the black album he did like one main vocals and at the end like maybe four or five doing the same thing just to make it fat as hell when I record and do like melody lines on these metal covers especially I do like a clean vocals and then I back it up with more distorted ones to not make it so pop if you may and just fatten it up some of the plugins I use when I record this isotope nectar which is a really good vocal plug-in where you can choose your style and do a lot of thing like compression and everything delay and reverb so check that out and also ec mix has some good vocal presets which you can use with everything from death metal to yeah clean vocals this is the SMP 7 from Shore which I use mainly for metal vocals it's really good and tight in the sound and I know a lot of known metal vocalists use it when recording so you should check that out I would also recommend checking out melissa cross which is a lady who does metal warm-up techniques and everything i'm not talking about like going more in depth i use her warm-up cds when I'm playing geeks and stuff it looks really good but for clean and metal vocals so check that out I think it's really hard to talk about how to do metal vocalist or vocals in general I'm not a teacher but I hope I have some points there which you can take with you and and do good stuff with so thanks for following me and I'll see you later.
hi friends this is a pretty pretty often requested thing I have and that is a please make a video on how to do power metal screams so here I am going to teach you my approach to them I'm going to try to cover everything for people who aren't super trained in singing so if there are some things that you already know in this I'm very sorry and if you have no idea what you're doing well this is for you I'm going to try my best to help you here ok so first things first you have your diaphragm which you find that by finding the upside-down V and your ribcage so I'll show you here that is the V and the diaphragm sits right in there there's also a second one further down but the camera is too high and I can't show you so you find that and you want to work on the strength there and so the way you do that is like like harsh breathing exercises and blowing very hard as if you're blowing out like a line of candles so that's really important to work on so the diaphragm gives you your power and then your jaw and all of this this is where the notes are going to resonate so you need to make sure that there's enough space for the sound to be as big as you want it to be because that's what we're here for right we want to sing powerfully so first things first you got to stretch out your tongue and your jaw and just kind of make sure everything's nice and loose what I like to do is the that would be making everything as big as possible making everything as small as possible chewing really big invisible fake caramels in your mouth to kind of you want to like when you open your jaw this wants to come down like this instead of opening out like this or rather like this so you want like imagine your snake trying to eat like a big mouse or something so you want to like okay secondly to actually start the more like sound warm-ups I have this thing that I always do and my drummer always laughs at me but you want to take this cackling which sound like ah it's very very bright nasally it resonates in your sinus chambers the mask in your face so it's another resonant space in your face and it's a very focused sound and so you over and over again until your entire range is like stretched and basically you're doing the same thing what you're doing with your face but to your voice so that kind of helps wake up your upper ranges if you don't have that normally I am a mezzo-soprano probably so I don't always have G above the staff and above ready to go when I first wake up from there you can kind of take that ah kind of crying baby sound the thing to remember here is that babies can actually scream all day and they don't lose their voice because they haven't developed any weird like breathing techniques any weird like mouth facial shapes so babies basically don't give a shit about what they look or sound like they just want attention and food and whatever else they want their diaper change so you take your baby sound and and then in order to get that grit that we like that Rob Halford likes that Sebastian Bach likes the way I approach this is I use a speech level singing set of warm-ups that I learned from the brett mannings singing success technique a lot of this is super hard strong mix what we call is like when you blend your chest voice and your head voice I know that a lot of operand vocalists will rely more on their head voice but I have never liked using my head – so I came up with my own damn technique so we take this speech level singing thing and you go yeah yeah yeah yeah yeah so what you want to think about is like when you see hardcore frontman walking around like what the fuck is not blend me fucking you you know like that really aggressive blah blah like drum sound and like every they're like um the tone of their voice is super dark and it's not bright like this but it's very dark so you want to like kind of bear that in mind go yeah yeah yeah yeah yeah yeah yeah and take it higher yeah yeah yeah yeah yeah yeah yeah so you hit the hide don't know me so dodo dodo you do three clean ones and then you do three gritty ones and you alternate so that you know exactly what it feels like to do it perfectly clean and perfectly gritty so like yah yah yah yah yah yah yah yah yah yah yah yah yah yah yah yah yah yah etc and if you're having trouble getting that grit mine resonates like right in this sort of hollow of my throat at the base in order to get that power you like lean you take your note and you lean more into it almost as if like you feel like you're about to be attacked and so your entire like core core muscles kind of tense up that is how you support that grid and so in order to get that to work on your diaphragm strength as I said before the breathing thing is really good but I also do like very strong haze like hey hey hi as if somebody has just walked by and taken my wallet and I have to yell at them down the street like hey come back and so um that's basically that's how you build build that power and so with that you can do things like Oh etc that doesn't hurt by the way so if it hurts stop have some tea I made a video for how to take care of your voice on my other channel which I'll post a link to but I hope this has been helpful if it has or you know someone who would like to see this don't forget to share it with your friends hit subscribe thank you so much for watching and I will see.
— I got into working with metal bands because a friend of mine was recording… not punk, it was called “hardcore,” and it was metal. He couldn’t get them through a recording session without them coughing blood. — Let’s fucking do this shit! — When the band first started and when I first started singing, I just didn’t know what I was doing and I was screaming and blowing out my voice every single show.
And I mean every single show. And I did a tour in Australia, fucked myself up, couldn’t talk for, like, two weeks after the tour, it was really bad. So I went and got a lesson— that has changed everything. — There is a risk to using your voice on a daily basis in an unhealthy way. The vocal folds— they used to be called chords, now they’re called folds— they get scarred.
And that’s why you get this kind, because the fold isn’t closing. It isn’t phonating. So start with the big one. — Okay. So, just…? — Then you start. Go. All the way down. So I use air support to get there, okay? — You’re blowing my fucking mind right now. It’s a whole new world. Melissa Cross is just legend in this music scene, I mean, she’s the only vocal coach that actually cared about metal and did something about it, and wanted to make sure people aren’t fucking themselves up for life. — What metal singers do wrong is use an emotional response that feels like anger, or anxiety, in order to make the sound. And that involves too much tension. I use my acting training to imitate it, and my know-how vocally to do it in a way that could be healthy. — When we were recording our last record, it was our first full-length record and I got about halfway through and my voice was just giving out, and I couldn’t record. We tried waiting for a couple days, you know, just giving my voice time to rest and coming back to it.
And it was the same thing, you know? Like, I was just straining really, really hard. I didn’t sound like myself. So we did a Skype session, and it was love at first session. It was awesome. — Good. Okay, do that with the monkeys. — Okay. — Good, now do it without the jaw. — She’s so good at explaining things, and all of her whacky little exercises and stuff that… they seem so strange, but at the same time, once you do them enough, you’re like, “Woah,” like, “That actually really is helping,” and like, “I get it,” you know? “It makes sense.” — Okay. You see that big burst of bubbles? — Yeah. — You don’t want that. Instead of, like, that “brrr,” you want… keep it really smooth.
I love the sincerity of the music. It’s so unadulterated it’s so non-tainted by media, and crap, and money, and it’s just so real. It’s just straight from the heart. I mean, I was a hippie, and we lost the way. And these kids, they know the way. They got it for real. — Alright, San Antonio! How are you feeling?
Hey guys ken Tamplin again from ken Tamplin vocal Academy I am back here again a ghost Amazo studios with my buddy Nick Fame Berg and I want to do another one of my 80s metal pieces this one's called when secrets cry out loud and again it's about how to negotiate the mid voice it's sort of an Aerosmith rhythm section with Brian made guitars in it so let's just do it Nick first we'll talk about after and we'll go from here himself goes like this it's called nice big instrumental guitar breaks by the way we cello let's go okay so you know we have again like I said a lot of stuff where if you really take a listen um Kyle read your conscience there's like a lot of powerful mid voice stuff but what I do is once I'm done with that I release in the mid voice section and I don't scream through the mid voice icon I'm really ginger with it sometimes I do if I pull chest through it I can but then I got to be really careful if I'm gonna pull chest through the mid voice up into the passaggio I got to be careful on how I released his own oh I've got to really watch that because if I don't then I actually pull tension and too much weight up top so you're going to see me thin thin thin thin sound down as I go up top and it's really important because if you don't you're going to drag so much weight up with you you're not going to be able to release to get through the passaggio and up into that section so again this is a you know it's an Aerosmith vibe with a little bit of Brian May guitar in it and just I love this stuff when I was growing up and was you know my favorite sound so hope you enjoyed it too we have more to come this is a volume two or number two of many more of the 80s metal stuff because I get a lot of requests for that so thank you for joining us and we got more to come all right rock.
I want to talk about vocal techniques right now basically I love low vocals like stuff that's very powerful and strong and at the same time it goes well with the music that we do so basically what I tried to do was develop a deep voice and have some gruffness in it so that I could have power so to do that I really have to learn breathing techniques and so I I studied with a couple of instructors that were really good they taught me some opera techniques and all kinds of different methods to get your breathing and get it to where you can sing from your diaphragm and just really bring it up out of you and so what I do a lot of times is I'll hold the sides of my waist and I'll just try to hold it there and breathe out as hard as I can and so when I'm doing this also sometimes what I'll do is I'll put a candle in front of me and I'll just try to hold out my breath as long as I can as steadily as I can and I watch the candle make sure that the stream is really steady this helps when I'm holding a note for a long time and a lot of times you have to do that so there's a part in the song called tangled where I hold a note for like 30 seconds so you have to develop that and the breathing techniques are very important for that and also when you learn to sing from your diaphragm it really brings up your power so you're able to belt out a vocal and sound really strong like on God on the mic you know that starts out kind of strong and it elevates as we go also the song bleed it just starts out very powerful so I try to sing from the diaphragm bring out the depth in my voice and add power at the same time one thing one tip that I would like to suggest is to try to find your own voice it's good to have people that you you know listen to the music that you love influences but don't try to sound exactly like anyone try to have your own voice try to find your own voice and just try to sing deep down from within and that's one of the best tips I can give I'm Ralph and I'm with the band soap and underground and you're watching. Thanks for reading and be sure to find other related singing lessons on the how to sing page.