After watching so many bad videos about false fold distortion, this popped up. Dude, this is by far the best tutorial/explanation of false fold distortion I've ever seen. Please neve ever delete this video :D
@@melkon1an yes, he does. Twang a lot and hit a certain volume/energy threshold as the first viable strategy. And hyper compressed distortion is explained in detail here. Compress by imitating to poop or lift something heavy, then phonate on an oo-vowel. Finally, switch to one of the belty vowels and you get distortion. Alternatively stay on the oo-vowel and increase volume/energy and you will also get the distortion.
This is the clearest demonstration of how the anatomy and sound work together that I've seen in a lot of false fold videos. Everyone talks about clearing the throat or similar exercises but no matter what I end up just getting a scratchy throat immediately (and then stop 'cause I know to be safe and not push it). But I think the simple mention about using too much air might be the trick to figuring it out for me, it seems like I might be able to do it better without scratchiness so I can move on to getting the techniques down!
In a sea full of people confusing vocal fry with false fold's, on top of many other very confusing things, you're a breathe of fresh air man! Thank you for sharing this, I'm happy I stumbled across this video on Reddit!
Finally!! I've been through 100 videos of american singer coaches talking about their courses you can take and then the video is over. You teach, keep it up! Thank you!
I am Japanese and not an English speaker, but thanks to the subtitles and the order in which they explained everything one by one, it was very easy to understand! I've always wondered, "After all, how can I vocalize in the upper register while still retaining my edge?" I will watch this video over and over again to study it. PS: I used a translator, so sorry if there are some strange sentences.
Bruh ... you are the best ... the funny thing is that I found out how to use almost all techniques you presented here just by experimenting, but I did not know what exactly they were ...
This was absolutely brilliant! Thank you. Adding distortion to my voice is on my immediate list of techniques to work on. Your complete control of these various techniques is impressive…as well as the humor you used to showcase them.
I've often wondered if some groups of people have a physiological ability to do this that other groups of people don't. Kind of like how some groups of folks are naturally physiologically primed to be faster runners than others. It's not a coincidence that those who can achieve these vocal variations come from similar backgrounds. The only outliers I've heard have been Tina Turner who crossed over and occasionally Bill Withers and James Brown. So then I used to think Gospel singers accessed some elements of distortion and vocal rasp/ fry, but it's different. Placement and manner sound different. So I've returned to my original thought that some groups of folks are just physiologically primed to have the ability to achieve these distortions.
Hey man! Thank you so much for this tutorial. I think I can say this was the best video about this subject I’ve ever seen. Really finally I’m starting to find my distortion in a healthy way now 🤘🏻
Buddy, this is fantastic content! Some of the best explanations I've heard, and the fact that real-time demos are always given proves you really know and can do it. I'm a singer (duh, as I'm sure is everyone here)...but also working on my master's in comm sciences and disorders. Your descriptions of the anat and physiology are spot on, but your translations to plain language are so great as well. I've dabbled into teaching as well, but am often grasping for words to describe what I have learned mostly intuitively. Honestly, I'm mostly a clean singer, but I do like to indulge in some grit from time to time, and always love experimenting and growing. You've given me some cool things to think about. Also, anyone who even knows what Kargyraa is gets automatic cool points in my book!
For years I've been trying to get that inner Joe Cocker out, and I finally did after watching this video! Thank you so much, complete stranger on TH-cam 🙂
Hey thanks for your videos, I wasn't expecting that the most clear and structured vocal coach would be sitting in a car! I'm gonna study your videos mate
It sounds good, but I might be overdoing it or flat out doing it wrong, is it normal to feel like it’s harder to sustain vibrato afterwards. Should I be able to do all this quite relaxed? I’m trying the hyper compression technique.
@@karu6111 Hyper-compression indeed feels quite different from normal singing, and it doesn't really work well with the usual laryngeal vibrato. When I want a vibrato effect in hyper-compressed singing, I use my torso muscles to create a pitch wobbling. Whenever your normal voice is affected, that means you slightly overdid your practice. That's no catastrophe, but it means you haven't found the perfect sweet spot yet and should probably stick to shorter practice sessions in the beginning. The key for me with hyper-compression is staying as quiet as comfortably possible. Good luck! :)
Thank you so much those example actually helped me a lot! I thought I was hurting my voice doing certain exercises but I just had to find the sweetspot!
After months of research and getting deep into CVT and obsessed with distortion, I found the hyper-compression starting from a OH vowel (as in "so") in Overdrive, lowering the volume a lot to a mid level, changing the vowel to "O" (as in "order") until you hear the creaking happening before landing in curbing. Then, when you turn on the distortion there it is. Almost feels like your throat sits in a new position. In CVT, feels like it is considered just distortion + creaking. As creaking in CVT requires shifting the mode a bit, that explains why it is a new "configuration" Key also is volume being low/mid. I think it can be just as loud as curbing, can't cross it. I did hurt myself trying to creak in overdrive without lowering the volume. But now, anyway, I am pretty happy with it! Thanks a lot! I might want a few lessons to make sure I am working safely on my technique - as soon as I feel I can at least navigate and sing on all vocal modes! Anyway, thanks again! Awesome series
Hey, me again, haha, sorry Just wondering: given the way the vowels work in hyper compression, and talking again in CVT terms, is it fair to say that hyper-compression is a neutral mode that is slightly travelling through all the other modes - kinda in the edge of that graphic where the modes are circles - just depending on the vowel you emit? I ask cause I can recall the similarities on how the false fold sounds on curbing and on edge depending on the vowel, it matches accordingly to the mode vowels, but without metal. Going from curbing vowels to edge vowels gives a super cool creaky distortion, just like going from curbing to edge gives a fry in between. That also explains why the vowels that are exclusive for neutral gets into irregular creaking and that awesome sound. Does that sound correct? But most important question is: do you think transitions between a mode (reduced) to the respective vowel for that mode in hyper compression are doable or should I sing melodies in neutral to connect it? Still can't find a bridge to connect it.
Man, i already commented on another video of yours..... but i need to do it again. I really watched like hours and hours of Vocal-Content on TH-cam, but yours is just killing it. The amount of information covered is so goddamn helpful, i just nailed that grandpa-hypercompression on first try after your explanation (i already have some experience gathered in general, but i used to do the twangy one) Much much love from Germany you beast
That was an awesome Video! And you sound very good. You even had a nice Vibrato with the distorted Sound.. I learned it months Ago, but i still have Problems with placement. I can do a few words like the fred durst from limp bizkit, but when i try to sing with it, i over do it and hurt myself.
I know that problem! Often, consonants get in the way, or we try to pronounce vowels in a way that we're used to from speech or clean singing, but that doesn't work with distortion. I recommend practicing melodies slowly without lyrics first (so just on one vowel that works well with distortion, for example "EH"), then slowly introducing the different vowels, then (only if everything so far has worked) introducing the consonants (but still very mumbly and slow) and then approaching the right tempo. Very likely you don't even have to enunciate the consonants very precisely to be understood, but if you have to, that would be the very last step. :)
Aw man, this is so different to what I understand of false cord growling haha XD seems like the newer generation of vocal teachers are embracing this one now tho. I'm guessing it's more accurate in terms of what's going on anatomically, but it just confuses me about what my existing style is like tbh! I wish vocals had more consistent terminology so much lol. The way my growls are developing seems so different to this, especially my newer lows, but maybe I just don't understand yet hey. Sometimes it just takes a while to click.
I'm gonna make a video on the stuff that you do soon too! I know many people call this false cord screaming, but I didn't include it here as it actually also involves the arytenoid cartilage in addition to the false folds. And many people would call that last hyper-compressed thing a "fry scream" too, but I can't help to call stuff that is based on the false folds false fold distortion :D Terminology is confusing lol. I guess "Death growl" is a pretty clear name for what you do though :)
Ohh arytenoid cartilage haha I'm gonna lose myself down another Google rabbit hole hey XD okay I'll keep an eye out for it! These days I've also started throwing some gritty thing over the top of my growls too, seems to help use a little less air for long passages, but I have no idea what to call that either. And yeah that last hyper-compressed one does sound a bit like fry, I guess that doesn't help when so many people are trying to explain what they're meaning lol. Maybe that's part of why my fry almost never sounds like what people say they're trying to teach me!
Actually hyper compressed distortion is way easier for me to get. The twangy one would be more desirable for me, but i don't really get what does it mean to "lean on" the twangy sound. I am also interested in getting distortion in high mix, which is even harder (i do have the clean sound though, sometimes i get the feeling it's too stable to distort). Maybe you can help me out?
03:41 is the "pushing" technique bad because it uses way too much tension on the "throat", and mostly the epiglottis ? I think i intuitively use this technique quite a lot, and the tricky thing is that it sounds somewhat close to the other techniques (the safe ones) you showed in this video. So one (like me) might be satisfied with the sound he gets, but using an unsustainable technique to do it, while the sustainable technique would produce an almost identical sounding result, and this person would never know because he would manage to use the unsustainable technique sparingly or not pushed too extremes (where it would wreck his voice quickly). This is so tricky :)
The pushing technique would be the absence of a sustainable resistance strategy, so the problem is that too much airflow and air pressure are happening at the same time. In a way, it's too LITTLE tension on the throat because controlled narrowing above the vocal folds would make it less pushed.
If i keep accidentally doing aryepiglottic fold cough sounding vibrations when trying to engage false cords, what am i doing wrong? I have been trying and trying for so long but it just aint working man
@@huseynmammadov1290 if you're getting the blues growl sound, it means your tongue root is retracted (it should be an audible kermit-like sound even in clean phonation in that case), and you'd have to find a more twang-based clean foundation in order to get false fold distortion :)
Yes, it's possible to get a similar shouty quality with a non-hyper-compressed fry scream, I gave a little demonstration of variations of pitched fry scream at the end of episode #2. I haven't gone into detail on how to do them there, but it's roughly the same thing that Chris Liepe teaches (and I've heard people do it in an even more refined way than him in case you find his demos too random)!
Is there any posibilities to you to make an excersice/s video on Twangy False Fold Distortion to improve it? I would really do it every day of my life haha. Really this video series are the best!
Here's a PDF with tricks for twangy false fold distortion: www.dropbox.com/s/y2y7ykb0dh9mi2e/didactical%20approaches%20to%20accessing%20false%20fold%20distortion.pdf?dl=0
I think he uses some kind of Creaking for the more gentle raspy bits and False Fold Distortion for the higher, grittier stuff. But with most good singers it's hard telling what exactly they do because they manage to have different things sound alike. :)
Hi! I’m a professional singer who wants to learn to do this.. do you teach lessons and think you could do it effectively online? My genres demand a clean sound and I’ve never needed to explore otherwise.. but I want to! I’m worried to try this alone as it often feels like throat irritation when trying alone 🙏🏼
Isn't finding distortion through twang creating the distortion with the aryepiglottic folds? I may be wrong and just associating aryepiglottic sphincter with aryepiglottic fold but, idk man
The aryepiglottic folds cannot vibrate against each other, they can only constrict the airway and indirectly force the false folds to approximate, or (together with hypopharyngeal narrowing) help the arytenoid cartilages vibrate against each other, leading to the effect of rattle. I know that some vocal teachers call some kinds of grit that rely on twang as a strategy "aryepiglottic distortion" for the reason that constricting the AES is the concrete action they didactically operationalize (like when you call football "football" because you play it with your foot, not because it's an ball actually made out of foot), but in my classification I categorize based on 1) the sound result you get, in this case commonly called "distortion"; 2) the tissues responsible for the additional phonation, in this case the false folds; and optionally 3) the action, in this case twang(ing). So we have 1) distortion from the 2) false folds achieved by 3) twanging, or "Twangy False Fold Distortion", or if the context is clear just "Distortion".
@@ToniLinke That's some top head knowledge right there. Practically keking at the thought. Nice to see someone who has at least some knowledge of what does what
I first discovered push distortion and have now successfully learned compression distortion thanks to your teachings, but I remain quite confused about twangy distortion. For the life of me, I absolutely cannot produce a distorted sound by simply adding twang. What exactly do you mean at 6:58 by "leaning in" on the twangy sound? Are you referring to adding compression/increased air flow? That is causing me to wonder if twangy distortion constitutes a category of its own or if twang is just a means of bolstering the distortion created by the other two methods. Also, I have heard other instructors mention "pharyngeal" or "soft palate" distortion as a means of achieving a distorted effect in the upper mixed voice. It seems to me that this is also created by exaggerating certain vowel sounds, so I am wondering if they are describing the same technique.
@@BilboBaggins-s7u by "leaning in", I mean increasing the air pressure, while not increasing or decreasing the air flow. Pushed distortion increases both pressure and flow, and hypercompressed distortion increases the pressure and DEcreases the flow by stiffening the belly. Combinations of these three strategies are possible and common, feel free to watch my 2023 update on this topic where I go more into detail! The video is called "Rough Vocal Effects Revisited | #2 False Fold Distortion". Some teachers use the term "pharyngeal voice" to describe more twangy phonation, so yes, the misnomer "soft palate distortion" could be related to what I call "twangy distortion", I can't be sure though because it's not my terminology :)
Yes, this is a variation of fry scream. I'm gonna upload a more detailed video on the different kinds of fry screams soon! Until then, I can recommend Chris Liepe's videos on this kind of screaming.
I love the way you explain and demonstrate these types of distortion. I've a question though if you can help, how do M Shadows and David Draiman do their distortion, and are their, I'm asssuming different, ways damaging?
With both M. Shadows and David Draiman I often hear twangy false fold distortion, but also creaking and sometimes a combination of both. If done right, those techniques are not damaging. As always: if it feels bad, it is bad. If it feels fine, it is fine!
Very interesting approach! How do you compare pressed phonation and healthy sound? Where do you define the limit of compression on the vocal cords themselves when train Hyper-Compression? Does it mean kinda control constriction of vocal cords? Like Stevie Wonder sings for example? Don't you lose some thin cord coordination during Hyper-Compression?
I think that pressed phonation can be healthy as long as it's done efficiently. The more you push, the riskier it gets, but in order to get a good controllable sound from hyper-compression you actually have to keep the levels quite low. So while it's more muscular action than normal singing, it's relatively quiet and lasts very long - like air slowly escaping from a balloon. I think I sometimes hear a bit of hyper-compression with Stevie Wonder, I'm not completely sure though. He's certainly a great vocalist who's in charge of exactly how much constriction he needs :) Actually hyper-compression excludes the very thick fold coordinations as well as the very thin ones, so while you can pull a chesty sound very high with it, it's never really full belting as it always has that strong feeling of holding back to it. So it's not a useful technique for unamplified live singing, but with a dynamic microphone or for studio recordings it works really well.
@@ivanradkov They share characteristics, but CVTs Curbing has a more subtle, dynamic kind of hold to it and can have a more metallic sound. In CVT terminology, I think that hyper-compression stays in Neutral mode, and its clean version uses Curbing vowels. It kind of seems like an alternative strategy to going metallic when it comes to dragging chest voice higher :)
I've been rewatching this a lot lately to work more on hypercompression and i noticed something: On 11:43 with the 70% engagement, you really sound a lot like Sam Carter. Any idea if this is actually the technique he is using on his pitched screams? He's by far my favorite vocalist :D Now i wanna work on it even more
Man! Love your content! I love how Bruno mars sings and the kind of grit he uses (for example in when i was your man). Is it false cord distorsion or something else?
Mostly, twangy distortion! Think the "Yeah! You know he ain't gonna die" part in "Rooster", that's a clear example. He also plays with creaking sometimes, for example I hear a distortion/creaking combination on some of the high notes in "Love, Hate, Love".
I didn't understand that about the vowels in hyper-compression, basically the type of distortion that I generate from my throat depends on what I mentally think about doing, I mean I have tried to do mongolian singing bass to atonal independent of the vowel, what influence do the vowels have according to the video?
You can get distortion independently from vowels, as you've already found out! However, it's not always the most efficient way in terms of effort. When distortion or creaking come in, the pressure balance changes. That means that if we can influence the pressure balance with any other parameter, we can make it easier to provoke distortion or creaking! Every vowel (and vocal tract shape in general) has a different resistance, and thus back-influences the pressure balance in the larynx (this is called non-linear source-filter interaction). At least for shouty vowels like "EH" and "OH" (which are very common in rock music), you could rely more on finding distortion the way I presented in the video (instead of increasing your muscle effort), or for "AH" vowels (which produce mid to high screams in metal), you could rely on the mere vowel shape provoking the atonality, instead of working harder. Of course, with other vowels (for example if you want to distort or scream on an OO vowel) it's not as easy, and as you've found out before, it's totally possible to change the pressure balance of any of these vowels just by pushing more, or adjusting the posture etc., but I think the exercise I presented can at least show a beginner what the easiest possible access (not necessarily in terms of simplicity, but effort!) to hyper-compressed distortion and screaming can be :)
Toni, what type of distortion do Dino Jelusic and Garish use? I’m thinking hyper compression like you did at around 11:39 here? I’m pretty sure I am doing it right in the 2nd & 3rd octave, but I sort of lose it and get smooth in the 4th and 5th… is this something I could get focused training with you on via you personal lessons?
@@ToniLinke SWEET! Sent you a message through your teaching site! If I could finally lock this down, I’d be so much closer to my “mind’s ear” of where I want my voice to be 🤘🏻
Hey m8, great video. What exercises do you recommend for 40% distortion? Also, is this the same vocal sound MJ does in his songs, for example the song 'black or white'
I recommend just the normal hyper-compressed distortion exercises, and then getting so good at it that you can control the percentage :) with Michael Jackson I hear twangy distortion, so a slightly different technique.
Yeah, this is tricky :) I would go to a range where it still works, try to get it as efficient as possible there (so, find the minimum necessary effort to access it consistency and reliably) and then work your way upward semitone by semitone. In general, if you want to extend the range within one register (so for example take a distorted chest voice higher), it will require gradually more support energy (so the minimum necessary effort increases), and allowing the larynx to rise as well as twanging more often makes things easier too. Good luck!
If done correctly, yes :) it gets risky when you try to overproject it or use too much air, because that would contradict the technique itself, but if it's used in a context where it's suitable and for sounds that are actually possible with it, you're good :) an easy question to ask yourself is: does it feel good? If yes, do it! If no, there's room to improve on efficiency!
Your "hyper compression" is nothing like anything I've seen anybody else demonstrate. In some moments it sounds a little bit like flamenco singing. Do you think they coordinate something like that?
They might! Probably it differs a lot, individually. I know that lots of flamenco people do some pretty powerful singing, definitely more than qualified for busking! So from a certain volume level on, I don't think it's hyper-compressed, but for quieter stuff it's totally possible!
Rattle often happens when you loosen up distortion, or in this case: when your attempts are too loose. You could experiment with more narrow vowels and slightly more compression, but make sure that everything feels comfortable! If you notice you're just making your rattle less efficient instead of actually getting a distortion, I'd stop :)
I found it yesterday (the false cord thing) with some pain i admit. I try today too and now i can do it with no pain, but its not clear like you or others, it sounds a bit like Louis Armonstrong and its really low. But its not a thin, clean thing. And because of that i cant really "add it" to a note with Twang. It change drasticly the note. As you said its probably cause i use too much air. Do you have more tips to "clear the tone"? I think i'm using my false cord. i'm absolutely sure but its possible that i use other thing with it (without wanting it). Sorry about my english Thanks for all, ive learned here more in 2 days than in 6 months about distortion or extreme singing
If it sounds like Louis Armstrong, it might be closer to a blues growl (that I talk about in episode #4). If you want you can hit me up on Facebook (facebook.com/toni.david.linke) so I can hear an actual sound example :)
When I try using my false vocal chords it tends to strain sometimes, not sure if it’s because I’m doing wrong but I want to avoid doing this, for example some voices like Gilbert Gottfried or yoda, or Mr krabs from spongebob all have this feature, not sure how some people do it without any problems
Thanks for the tutorial. Question: When you talk about the 'metallic' sound, do you refer to the CVT/CVI term? How different is that to 'necessary' twang?
In this specific case, I wasn't using the word primarily in the CVT sense (as most of it would probably still be labeled Neutral mode), but starting from an actually metallic point will help finding twangy distortion too. It seems that anatomically, metallic modes have a lot of epilaryngeal narrowing (with the epiglottis tilting towards the arytenoids) as well as more fold closure (specifically a quicker and longer closing) allowing for M1 at high ranges, whereas twang is just a narrowed lower pharyngeal space which is also possible in M2. I like to think of necessary twang not as an absolute amount of that narrowing (as I'm sure it's possible to do quiet low notes healthily without any narrowing), but as the mininum narrowing you need in higher or louder phonation. Metal and twang are related and very metallic coordinations probably have distinct twang too, but it's possible to be twangy without any metal and to be metallic with only little twang.
@@ToniLinke thanks for your answer. I still really don't understand what does CVI mean by metal (last year I had a few lessons with a certified teacher and had a look at CVI resource website)...
@@ilBaccello when you yell angrily or talk very confindently, your sound will have a piercing, or "ringy" quality. I also feel it as "getting a grip" of the sound, or "having core" in my sound. CVT aren't the first to use the term "metallic" for that, but they are the first who actually researched and defined it. Pavarotti's high Cs are a bit more metallic than some other classical tenors' high Cs, and Ronnie James Dio's belting is a bit more metallic than James LaBrie's approach. Aretha Franklin's early belting was very metallic, in her later years she did the notes in falsetto, so still in a twangy, but non-metallic way.
Have you done, or can you do, a video on a vocal effect like paul dianno does in early iron maiden? For example, the song killers, with that gurgly sound, and how he leans in to the effect to make it more prominent, or like how he does the same thing in his higher range with either innocent exile or running free? Ive been trying to figure out how to do that stuff for a while but can only find videos for old blues style singing in mid range only, where you sound like kermit the frog gargling water ehile you sing. Thanks in advance for responding, I hope you can direct me to a helpful video!
Can it be that some people just can't learn distortion? Something fysical , maybe? I am asking because I have really tried! For months and months! I had online lessons with a certified CVT teacher and she said I hit distortion now and then but I just can't seem to produce it on my own. It's a really hard struggle. I then found a CVT teacher nearby to try lessons with someone in person - but I felt he sort of gave up and told me that maybe I shouldn't focus so much on distortion 😑 He did help me get my support right as he found a few things I did wrong. With this in place, I thought that now I could finally get it. But still, I just can't. I tend to produce something like a growl or rattle sound instead and it's driving me nuts. I really want to learn distortion. What to do? Or should I just leave it?
I think that everyone can potentially get it, but for some people it seems so counterintuitive that it's not very realistic - even if they find it at some time, it doesn't mean they can convincingly incorporate it into their music. While for most people the exercises work very quickly (from a couple of minutes to a couple of days), I have met people who seem to have an exceptionally hard time with it too. With two students so far, I failed to get them to a reliable distortion sound, so after about 5 lessons, I gave up and sent them to other teachers. That's not because I believe they can't learn it, but because I don't want to keep taking people's money if they don't get results from me. If you really want to find distortion, we can make a lesson though - miracles happen :)
@@ToniLinke Thank you for you quick reply. I am glad to hear I am not the only one having trouble with distortion :-) Maybe I should take a lesson from you to give it one last try before I give up completely. Do you have a website where I can book or is there another way?
hey Toni great video!thx for doing this! i am curious about this grandpa voice G.West already done a video about it but he refers to you so as master . So can you give an exercise for taking grandpa to higher range? i heard you can go up to d5 with it in the demostration. and it sounds like pure chest. As you said it can be an alternative to mixing. How can grandpa sing high :D it would be great if you make a specific video for it.
@@hangroover No, it means that your vocal folds vibrate with less mass because you allow them to stretch and thin - you basically "go headier" or "approach falsetto". Many people also call this "mixing", but I think that in the context of hyper-compression this is especially misleading. The larynx always tends to go up when we rise in pitch - even in classical singing. That doesn't mean that you can't control larynx height, but it means that you'll have a much easier time maintaining a low larynx in your low range than in your high range :)
Awesome content!! I was wondering how actually "loud" you are when your going for the 70% plus hyper compressed distortion...and do you feel you have to crank you support up when you transition from clean to distorted?
Yes, the support becomes a bit more, but it's more a consequence of the higher glottal compression that I have to compensate for than an intentional "clenching". The very shouty hyper-compressed distortion or screaming can get quite loud, if my loudest belting is 10/10 it might reach 8/10. But generally, hyper-compressed stuff is more restrained than outright singing, and you could get a decent hyper-compressed screaming sound at 3/10 volume (the 100% distortion demos at the end are not very loud at all, for example).
@@ToniLinke I understand. Well....I don't actually, not yet ahah. How to activate hyper compression, remaining with low volume..actually pretty low..the concept is deceiving and a little counterintuitive...it's like the Hyper Compression itself triggers the distortion and allows you to maintain "low to sufficient" volume, unless you want to crank it up goin into some more shouty and voice driven scream. So, lots of support, hyper compression so the air flow is cut back and the true folds stay safe, thus "less volume".....that's how I understand it....would it be possible to elaborate with you?
The answer is yes :D if you're very twangy already, just a bit of extra support might do; if you're supporting quite a bit already but could still get twangier, that would be possible too. In the end, it depends which point you're starting from - twangy distortion needs both twang and support.
Hey, a very useful video! I think that whenever I try to do a distortion (by CVT terms) I end up doing actually creaking. I was even told so by a CVT teacher once, she made me realize it. They sound similar, feel extremely similar and I can't differentiate between the two in my throat. Any advices as to how to find this Chris Cornell rasp? It's very easy for me to do the rattle/growl, but whenever I try to find the distortion a little bit lower in the throat or by twanging a lot, I do manage to obtain a rasp, but it sounds different than what I hear with people presenting false chord distortion. Also, is Chris Liepe doing a distortion by CVT terms? Thanks!
Yep, especially projected creaking can sound and feel similar to distortion sometimes! With Chris Cornell I hear several things: distortion and/or rattle (hard to tell as it's a very smooth sound) as a baseline and additional creaking the higher and grittier he goes. In his later stuff (for example Audioslave's Conchise) you can hear the extra creaking very clearly, it's almost a fry scream at times there. Chris Liepe is relying on exactly that kind of projected creaking, but he finds the necessary pressure mismatch from more of a yodelly point and often combines it with distortion and/or rattle the grittier he goes (he even said in one of his videos that the false folds are wiggling). It's good to remember that, while both CVT and I are isolating distinct effects in our categorizations, actual rock singers often find a way to combine various effects to one "gritty continuum" that sounds like consistently one thing over the whole range, when actually they might towards rattle in the low parts and creaking in the high parts. Chester Bennington is another example for someone who uses a complex mixture of techniques (even though to him it probably felt very intuitive).
@@ToniLinke Thanks a lot! It's true that it's natural to blur vocal effects, which isn't making it easier for people wanting to disassemble singing into parts to learn hehe.
Different vowels tend to have different grades of throat narrowing, so I could imagine that opening up the vowel has the false folds touch (after already being approximated very much right before that).
Hi, could you please help me with a question? Do you know what type of distortion Nirvana uses? I've been trying hard to emulate their sound. I noticed that their high-pitched distorted vocals seem to come from a very small area with minimal throat strain, achieving an effortless distortion. When I try to sing, my throat feels blocked, the airflow gets stuck, and my sound doesn't come out as light and easy as Nirvana's. Their sound is sharp like metal friction, but mine feels like I'm running out of breath. Do you have any good tips for this?
I think Kurt Cobain has used various kinds of false fold distortion and even fry screams throughout his career. I usually hear a bit of twang and compression mixed together, but there's also pushy moments especially on Bleach! If you feel stuck with your distortion and regularly get discomfort from it, I recommend taking a lesson with me or any other vocal coach specialized on distortion! :)
@@ToniLinke Thank you for your response. I truly appreciate how quickly you replied! I am just very curious about how to achieve a very small vocal point for high notes, as if the sound is coming from deep within the throat, causing the posterior vocal folds to vibrate. I once saw a demonstration in a laryngoscopy video from a teacher, where the back of the vocal folds tightly closed when hitting high notes, and the epiglottis moved back to cover the glottis, making the phonation area smaller. At this point, the soft palate lifts to increase resonance, but the posterior pharyngeal wall moves up and forward, tightening the phonation area into a tube-like shape. I am curious if your high-note distortion uses a similar technique.
I have problems with going up to hyper-compression high. I feel that my vocal cords can only vibrate in the middle part and if I go up, then I get distorted automatically, by the way I have been having discomfort lately with the full atonal distortion in hyper-compression, when I do it my throat burns. I understand that sometimes due to a lack of warm-up, I can have some discomfort, but I am still worried... 😢
This can happen because of a couple of reasons: 1) you might be a bit too loud. Often people overestimate the volume of hyper-compression as it can sound quite powerful with a microphone, but doesn't have to be much louder than your small talk voice. 2) You might use too much air flow (which isn't the same as air pressure!) - especially if there's a bit of audible air in the sound, that can limit your hyper-compressed range and dry you out quickly. 3) You might not have the right vocal tract shape for hyper-compression. A lot of people start adding twang too early, in the beginning I recommend going for a very dopey sound so that the body doesn't get confused as to whether it's supposed to set up for hyper-compressed or twangy distortion. I guess I'd have to hear you to be sure which of these problems apply to your case (or whether it's something completely else).
@@ToniLinke thank you, I was surprised at how quickly you responded. It turns out that today when I was in a bad mood I thought of spending my time playing metal and stuff like that, BAD IDEA! Being in this state I didn't pay attention to the technique I was using when singing and I felt my throat hurt. here's a sample from today th-cam.com/video/GLMQu3wWLOE/w-d-xo.htmlsi=KIpNPOEImCwNer7Y I think at 2:40 it was an atonal scream, it hurt me. I want to show a more concrete example of what happens in my case, for now I am frustrated, so I will wait for a good day to do it and send it to you. Thank you very much for answering, greetings from chile ✋🇨🇱
@@ToniLinkewait 1 second!😅 in this other moment I remember wanting to go higher with the hyper-compression but I couldn't beyond that distortion that you can see at minute 1:23, I will record something better for another occasion th-cam.com/video/-wdKowFXGhQ/w-d-xo.htmlsi=f5CqbgoyX9eINbJ5
@@vichoapaleado2116 oh I see! That's not hyper-compression yet! There's some compression there, but not enough for it work like hyper-compression in that range. You can find the feeling of hyper-compression if you actually try to lift a very heavy weight (even something immovable) - don't focus too much on the sound yet as long as the feeling isn't clear. Other cues are: stiffen your abdomen as if you want to prepare for a punch in your belly, pretend you're constipated, and similar images.
I pretty much mastered fry screaming, but false fold distortion is like a magic to me. I've tried so many methods to activate the false folds in a proper way, but every time I try to get the distortion it starts to hurts really badly. I feel it's super low in my larynx and I have no idea how to move it up. I tried to imagine I'm making the sound trough the nose or eyes, but doesn't work ;-; I'm sure I'm not using too much air or pressure. It's really annoying cause I can't move on with this, while I can't even "clear my throat" or do an X sound without pain and scratchiness. Any tips?
It's hard to solve this problem via text, but maybe you have a problem with twang. Often, people are trying to get the same brightness with nasality or other sound colour parameters, and what you're describing with the "eye/nose placement" thing kind of sounds like that.
@@ToniLinke Hm but the problem starts at the very basics, when I just try to clear my throat and sustain this sounds, I tried to to it both hard and delicate ("polite" cough) and it still hurts and idk what to do with it
I can't for the love of God feel the difference between "projected loud fry creek" and "false fold twang rasp" any advice? how do you engage both of these?
Projected Creaking connects with a more quiet Regular Creaking, False Fold Distortion connects with Arytenoid Rattle. So if you can do Regular Creaking (as in the static noise) or Arytenoid Rattle (as in a crow noise), you can determine whether the thing you're unsure about feels more like one or the other.
@@spx730 yes, I do lessons on Skype, or preferably Zoom (because of the better audio). You can find my conditions and my reservation calendar on my website toni-linke.com :)
Is what you call hyper compression not the same as curbing in c.v.t.? And then the twangy high being edge? Meaning you could also do full distortion in overdrive and neutral.
Nope, while Curbing and hyper-compression share some aspects, I don't use them synonymously. If you think of Curbing as "whining" and of hyper-compression as "weight-lifting", they're actually quite different. It's true that hyper-compression has a strong hold and a restrained character, but I would actually call it non-metallic or pseudo-metallic, so technically a variant of Neutral mode. In CVT, all modes require a necessary amount of twang, so you could do twangy distortion in Curbing, Overdrive and Neutral too, but Edge would certainly be the recommended starting point for twangy distortion. In the end, distortion is distortion and many people wouldn't differentiate three different techniques as I do, but I've noticed that whenever my (or someone else's) distortion works very consistently and efficiently, it's one of those ways of stabilization as the dominant strategy.
@@ToniLinke Hmm, I can't find the difference between curbing and hyper compression in myself, but maybe that just means I can only do one of the two. I have a teacher who has explained curbing to me and she tells me I do it correctly though but it feels the same as when I do hyper compression where hyper compression is just an extreme form of curbing. But I've only been singing for a year now so there is lots of stuff I don't know or can not do yet. I was wondering if you could record an example of the difference between the two?
@@NuotoMusic you could argue that hyper-compression is extreme Curbing soundwise, but if you compare the laryngeal settings there's a clear difference: hyper-compression has much more false fold constriction and shortened vocal folds, whereas Curbing usually has a little constriction and more vocal fold stretching. Can you sing in Overdrive? If so, you should automatically land in Curbing once you close your mouth from OH to O or EH to I. If that's close to the thing you usually do, I think it's more likely you haven't found hyper-compression yet, because that one feels inherently different from the usual CVT sounds. It would be easier to determine though if I could hear your voice - maybe you can send me a PM on my private Facebook account? There I can also send you audio clips where I compare Curbing and hyper-compression.
Hey Toni! I love your videos and am so sad your dropbox link above doesn't work anymore, it says the file was deleted. Is there a way to still get this please? Happy to make a contribution to you for this content even though it says it is free. :)
Thanks for letting me know! Here's my new Dropbox link to all the free material I made: www.dropbox.com/sh/ubpcj1lmx7atb8f/AADKskGA5N78KnyXzlXK6d76a?dl=0
Fabulous, thanks Toni! The work you are doing with these videos is great. I love your down to Earth and demystifying approach - anyone should be able to try these sounds, have fun and not be afraid.
I'm having a really hard time "leaning into twang to create distortion. " everytime i do this it just ends up creating a more nasal tone, or makes my throat feel dry and scratchy. Do you know what I might be doing wrong? Thank you.
I'd check if there's actual nasality, so air coming out of the nose. If the tone changes when you pinch the nose, it's nasal, if it doesn't change, it's not nasal. If it's not nasal but still not distorting, you can try incorporating a bit of movement, for example pretending to stretch a rubber band in front of your chest or imitating a racing car (including the arm "swoosh"). Here's a document with other cues for finding distortion that you could try: www.dropbox.com/s/gsj8e5vmrdb26xd/Didactical%20approaches%20to%20accessing%20False%20Fold%20Distortion%20%28Linke%202023%29.pdf?dl=0
@@ToniLinke wow this is incredible! I really appreciate how thorough this is. My main youtuber for singing is chris liepe, but distortion is something I've really wanted to learn to do but I could never really figure out where to start because i was afraid of hurting myself. This is super beneficial and i really appreciate it.
It sounds like a combination of twang and a bit of push to get the false folds vibrating (if you haven't already, feel free to check out my newer video on False Fold Distortion where I go deeper into strategy combinations). The long scream seems to have a bit of additional Creaking in it, so that would make it a pitched Fry Scream! :)
@@ToniLinke Awesome! Thanks! I'd love to work with you and learn more but I don't know if my college budget would allow it. Do you do student discounts perhaps?
@@ToniLinke You're extremely helpful. I love them too! I actually play their stuff on guitar very well but now it's just a matter of learning to sing. The advice is much appreciated! Do you have discord or somewhere I can reach you better?
This technique doesn't work for me. Female tenor. A need to add in variations. Do you teach many females? Wondering if you've noticed differences between male/female false fold manipulation?
Yes! I've noticed that many cis women tend to have an easier time using arytenoid rattle or blues growl than false fold distortion. Of course there's also people who have trouble finding any of these effects, but that seems to be independent of sex/gender (in my experience, it's about 10% of people in general). I also believe that those tendencies are mostly due to socialization, not that much anatomy. For example, language and social environment play a big role too: Americans tend to have an easier time accessing twang-based effects (or belting/mixing in general) than German or French speakers, and more rural people seem to have the same advantage over more urban people. Btw, I've just updated my pedagogy of distortion (Rough Vocal Effects Revisited episode #2), feel free to watch that video! I've also added a link to some more practical cues for finding distortion to the description of that video, in case you find my TH-cam content too theoretical :)
@ToniLinke thanks for replying. That's interesting. Thanks for the run down. I've been singing for 40 years. Distortion never came easy in the early days. I was probably over trained in more popular and classical style which I believe doesn't help. I also believe there's a hormonal factor judging from my own experience. People with more estrogen have more tender throat, cords/folds and even skin in general. I'm finding as I've aged my voice has really got a natural rasp I'm enjoying and it's easier to use distortion. I'll check out your other videos. All the best 👌 PS, I quite like the technical aspects
After watching so many bad videos about false fold distortion, this popped up. Dude, this is by far the best tutorial/explanation of false fold distortion I've ever seen. Please neve ever delete this video :D
Except he doesn’t show you HOW to make it happen
@@melkon1an yes, he does. Twang a lot and hit a certain volume/energy threshold as the first viable strategy. And hyper compressed distortion is explained in detail here. Compress by imitating to poop or lift something heavy, then phonate on an oo-vowel. Finally, switch to one of the belty vowels and you get distortion. Alternatively stay on the oo-vowel and increase volume/energy and you will also get the distortion.
This is the clearest demonstration of how the anatomy and sound work together that I've seen in a lot of false fold videos. Everyone talks about clearing the throat or similar exercises but no matter what I end up just getting a scratchy throat immediately (and then stop 'cause I know to be safe and not push it). But I think the simple mention about using too much air might be the trick to figuring it out for me, it seems like I might be able to do it better without scratchiness so I can move on to getting the techniques down!
great explanations! well done on such control!
Thanks man!
In a sea full of people confusing vocal fry with false fold's, on top of many other very confusing things, you're a breathe of fresh air man! Thank you for sharing this, I'm happy I stumbled across this video on Reddit!
I have been searching wide for a video like this, this might be one of the best videos on youtube for gritty vocals!
Finally!! I've been through 100 videos of american singer coaches talking about their courses you can take and then the video is over. You teach, keep it up! Thank you!
7:27 love this little demo, so badass
I am Japanese and not an English speaker, but thanks to the subtitles and the order in which they explained everything one by one, it was very easy to understand!
I've always wondered, "After all, how can I vocalize in the upper register while still retaining my edge?" I will watch this video over and over again to study it.
PS: I used a translator, so sorry if there are some strange sentences.
This is no joke the most useful and well explained vocal tutorial I've seen on YT. Well done man! Thanks! :D
That's nice to hear! :)
This will save so many lives!
you, Sir, are a genius; thank you so much from the bottom of my heart
Ive had such a hard time finding videos coming from the technical side of things, this is useful. Thanks!
This is bye far the best video on distortion I have come across, just awesome!
Most helpful video on distortion ever! I’m already making progress following along the first time:)
Bruh ... you are the best ... the funny thing is that I found out how to use almost all techniques you presented here just by experimenting, but I did not know what exactly they were ...
It was the same for me with many of them too!
This was absolutely brilliant! Thank you. Adding distortion to my voice is on my immediate list of techniques to work on. Your complete control of these various techniques is impressive…as well as the humor you used to showcase them.
Man I wish I had your number. I’ve been trying to learn this for years. Great tutorial. I need you as a vocal coach
You can hit me up on Facebook!
@@ToniLinke you will definitely be hearing from me
I've often wondered if some groups of people have a physiological ability to do this that other groups of people don't. Kind of like how some groups of folks are naturally physiologically primed to be faster runners than others. It's not a coincidence that those who can achieve these vocal variations come from similar backgrounds. The only outliers I've heard have been Tina Turner who crossed over and occasionally Bill Withers and James Brown. So then I used to think Gospel singers accessed some elements of distortion and vocal rasp/ fry, but it's different. Placement and manner sound different. So I've returned to my original thought that some groups of folks are just physiologically primed to have the ability to achieve these distortions.
Great man! Best explanation in scientifc way
So glad I Found you on the suggestions video. You teach things that i've never heard before. Thanks a lot buddy!
this is great stuff, would love to watch more vocal lessons from you. You have an incredible voice.
Thank you man this is awesome! You're explanation is simple and complete \m/ keep rocking! greetings from Brazil
Distortion sounds very beautiful for your voice
The hearing the 2 pitches at the same time is very helpful, never heard that tip before.
Amazing explanation. This is the best class on this topic I have seen so far. Thanks 🇧🇷 👊😁
Hey man! Thank you so much for this tutorial. I think I can say this was the best video about this subject I’ve ever seen.
Really finally I’m starting to find my distortion in a healthy way now 🤘🏻
Oh, how cool is that!
@@ToniLinke Do you give any skype lesson also?
@@1MoreSinner yep, you can write me on facebook or via mail "toni.david.linke@t-online.de" if you're interested :)
Buddy, this is fantastic content! Some of the best explanations I've heard, and the fact that real-time demos are always given proves you really know and can do it.
I'm a singer (duh, as I'm sure is everyone here)...but also working on my master's in comm sciences and disorders. Your descriptions of the anat and physiology are spot on, but your translations to plain language are so great as well. I've dabbled into teaching as well, but am often grasping for words to describe what I have learned mostly intuitively.
Honestly, I'm mostly a clean singer, but I do like to indulge in some grit from time to time, and always love experimenting and growing. You've given me some cool things to think about.
Also, anyone who even knows what Kargyraa is gets automatic cool points in my book!
Haha, thanks for the nice words!
For years I've been trying to get that inner Joe Cocker out, and I finally did after watching this video! Thank you so much, complete stranger on TH-cam 🙂
But I must have done something wrong because I lost my voice for the next 2-3 days 😢
Hey thanks for your videos, I wasn't expecting that the most clear and structured vocal coach would be sitting in a car! I'm gonna study your videos mate
Haha, thanks! That's the best place in these quarantine times :D epidodes on other effects like death growl and polyphonic splitting coming soon!
Wow it’s actually quite simple and easy to do... the hard thing is actually controlling the pitch and incorporating it with my normal singing.
It sounds good, but I might be overdoing it or flat out doing it wrong, is it normal to feel like it’s harder to sustain vibrato afterwards. Should I be able to do all this quite relaxed? I’m trying the hyper compression technique.
@@karu6111 Hyper-compression indeed feels quite different from normal singing, and it doesn't really work well with the usual laryngeal vibrato. When I want a vibrato effect in hyper-compressed singing, I use my torso muscles to create a pitch wobbling. Whenever your normal voice is affected, that means you slightly overdid your practice. That's no catastrophe, but it means you haven't found the perfect sweet spot yet and should probably stick to shorter practice sessions in the beginning. The key for me with hyper-compression is staying as quiet as comfortably possible. Good luck! :)
hyper-compression is my favorite vocal effect too!
Nice!
Thank you so much those example actually helped me a lot! I thought I was hurting my voice doing certain exercises but I just had to find the sweetspot!
After months of research and getting deep into CVT and obsessed with distortion, I found the hyper-compression starting from a OH vowel (as in "so") in Overdrive, lowering the volume a lot to a mid level, changing the vowel to "O" (as in "order") until you hear the creaking happening before landing in curbing. Then, when you turn on the distortion there it is. Almost feels like your throat sits in a new position.
In CVT, feels like it is considered just distortion + creaking. As creaking in CVT requires shifting the mode a bit, that explains why it is a new "configuration"
Key also is volume being low/mid. I think it can be just as loud as curbing, can't cross it. I did hurt myself trying to creak in overdrive without lowering the volume. But now, anyway, I am pretty happy with it! Thanks a lot!
I might want a few lessons to make sure I am working safely on my technique - as soon as I feel I can at least navigate and sing on all vocal modes! Anyway, thanks again! Awesome series
Hey, me again, haha, sorry
Just wondering: given the way the vowels work in hyper compression, and talking again in CVT terms, is it fair to say that hyper-compression is a neutral mode that is slightly travelling through all the other modes - kinda in the edge of that graphic where the modes are circles - just depending on the vowel you emit?
I ask cause I can recall the similarities on how the false fold sounds on curbing and on edge depending on the vowel, it matches accordingly to the mode vowels, but without metal. Going from curbing vowels to edge vowels gives a super cool creaky distortion, just like going from curbing to edge gives a fry in between. That also explains why the vowels that are exclusive for neutral gets into irregular creaking and that awesome sound. Does that sound correct?
But most important question is: do you think transitions between a mode (reduced) to the respective vowel for that mode in hyper compression are doable or should I sing melodies in neutral to connect it? Still can't find a bridge to connect it.
Watching this I was just really impressed, you're so good at this!!!!
Thanks! Have you seen my update video on that topic?
@@ToniLinke ohh no I did not, thank you for letting me know about it!!
This is great! Thank you! I've been waiting for this one.
Best explanation ever. More!
Man, i already commented on another video of yours.....
but i need to do it again.
I really watched like hours and hours of Vocal-Content on TH-cam, but yours is just killing it. The amount of information covered is so goddamn helpful, i just nailed that grandpa-hypercompression on first try after your explanation (i already have some experience gathered in general, but i used to do the twangy one)
Much much love from Germany you beast
Haha, nice!
Thanks for uploading man
7:28 PURE JAMES HETFIELD
It was actually really good🤣
Great video man!!!
Brilliant
That was an awesome Video!
And you sound very good. You even had a nice Vibrato with the distorted Sound..
I learned it months Ago, but i still have Problems with placement. I can do a few words like the fred durst from limp bizkit, but when i try to sing with it, i over do it and hurt myself.
I know that problem! Often, consonants get in the way, or we try to pronounce vowels in a way that we're used to from speech or clean singing, but that doesn't work with distortion. I recommend practicing melodies slowly without lyrics first (so just on one vowel that works well with distortion, for example "EH"), then slowly introducing the different vowels, then (only if everything so far has worked) introducing the consonants (but still very mumbly and slow) and then approaching the right tempo. Very likely you don't even have to enunciate the consonants very precisely to be understood, but if you have to, that would be the very last step. :)
@@ToniLinke wow thank you ! i will try it!
Very much appreciated for the video
I will be very thankful if you make a video on mixed voice too
❤️
I have made one already! Check out episode 1 of my Collected Monologues series! :)
Great video!
7:29 God! I wish I could sound like that!!
I'm sure you could! :)
Thank you sir!! Please post more videos!
Aw man, this is so different to what I understand of false cord growling haha XD seems like the newer generation of vocal teachers are embracing this one now tho. I'm guessing it's more accurate in terms of what's going on anatomically, but it just confuses me about what my existing style is like tbh! I wish vocals had more consistent terminology so much lol. The way my growls are developing seems so different to this, especially my newer lows, but maybe I just don't understand yet hey. Sometimes it just takes a while to click.
I'm gonna make a video on the stuff that you do soon too! I know many people call this false cord screaming, but I didn't include it here as it actually also involves the arytenoid cartilage in addition to the false folds. And many people would call that last hyper-compressed thing a "fry scream" too, but I can't help to call stuff that is based on the false folds false fold distortion :D Terminology is confusing lol. I guess "Death growl" is a pretty clear name for what you do though :)
Ohh arytenoid cartilage haha I'm gonna lose myself down another Google rabbit hole hey XD okay I'll keep an eye out for it! These days I've also started throwing some gritty thing over the top of my growls too, seems to help use a little less air for long passages, but I have no idea what to call that either. And yeah that last hyper-compressed one does sound a bit like fry, I guess that doesn't help when so many people are trying to explain what they're meaning lol. Maybe that's part of why my fry almost never sounds like what people say they're trying to teach me!
Actually hyper compressed distortion is way easier for me to get. The twangy one would be more desirable for me, but i don't really get what does it mean to "lean on" the twangy sound. I am also interested in getting distortion in high mix, which is even harder (i do have the clean sound though, sometimes i get the feeling it's too stable to distort). Maybe you can help me out?
I guess I'd have to hear it :) do you have Facebook?
03:41 is the "pushing" technique bad because it uses way too much tension on the "throat", and mostly the epiglottis ?
I think i intuitively use this technique quite a lot, and the tricky thing is that it sounds somewhat close to the other techniques (the safe ones) you showed in this video. So one (like me) might be satisfied with the sound he gets, but using an unsustainable technique to do it, while the sustainable technique would produce an almost identical sounding result, and this person would never know because he would manage to use the unsustainable technique sparingly or not pushed too extremes (where it would wreck his voice quickly).
This is so tricky :)
The pushing technique would be the absence of a sustainable resistance strategy, so the problem is that too much airflow and air pressure are happening at the same time. In a way, it's too LITTLE tension on the throat because controlled narrowing above the vocal folds would make it less pushed.
@@ToniLinke Danke schön !
If i keep accidentally doing aryepiglottic fold cough sounding vibrations when trying to engage false cords, what am i doing wrong? I have been trying and trying for so long but it just aint working man
@@huseynmammadov1290 if you're getting the blues growl sound, it means your tongue root is retracted (it should be an audible kermit-like sound even in clean phonation in that case), and you'd have to find a more twang-based clean foundation in order to get false fold distortion :)
@@ToniLinke nah not like louis armstrong type stuff, i meant like this type of vibration: th-cam.com/video/gKAbj1zNxDk/w-d-xo.htmlsi=R09_2hprnzNZjewd
I have practiced in my car cause I drive my family nuts...but practice is worth it for the love of music
Hey man! Great content, has really clarified a lot of things!
Yes, it's possible to get a similar shouty quality with a non-hyper-compressed fry scream, I gave a little demonstration of variations of pitched fry scream at the end of episode #2. I haven't gone into detail on how to do them there, but it's roughly the same thing that Chris Liepe teaches (and I've heard people do it in an even more refined way than him in case you find his demos too random)!
@@ToniLinke Gotcha ! Thank you so much mate !
Is there any posibilities to you to make an excersice/s video on Twangy False Fold Distortion to improve it? I would really do it every day of my life haha. Really this video series are the best!
Here's a PDF with tricks for twangy false fold distortion: www.dropbox.com/s/y2y7ykb0dh9mi2e/didactical%20approaches%20to%20accessing%20false%20fold%20distortion.pdf?dl=0
@@ToniLinke OMG THANK YOU!♥
can you please reupload this file?
@@itlurkswhenyousleep6033 it’s on his website, if you haven’t found it already :D
I love this stuff Toni, keep on doing videos man!!
I have a question: which distortion do you think Lewis Capaldi use?
Thanks for this videos 💖
I think he uses some kind of Creaking for the more gentle raspy bits and False Fold Distortion for the higher, grittier stuff. But with most good singers it's hard telling what exactly they do because they manage to have different things sound alike. :)
thank you so much!!!!!
Hi! I’m a professional singer who wants to learn to do this.. do you teach lessons and think you could do it effectively online? My genres demand a clean sound and I’ve never needed to explore otherwise.. but I want to! I’m worried to try this alone as it often feels like throat irritation when trying alone 🙏🏼
Yes! I teach online for a living! You can reserve a slot in my public calendar, the link and all the info is on toni-linke.com/lessons :)
Great
Isn't finding distortion through twang creating the distortion with the aryepiglottic folds? I may be wrong and just associating aryepiglottic sphincter with aryepiglottic fold but, idk man
The aryepiglottic folds cannot vibrate against each other, they can only constrict the airway and indirectly force the false folds to approximate, or (together with hypopharyngeal narrowing) help the arytenoid cartilages vibrate against each other, leading to the effect of rattle. I know that some vocal teachers call some kinds of grit that rely on twang as a strategy "aryepiglottic distortion" for the reason that constricting the AES is the concrete action they didactically operationalize (like when you call football "football" because you play it with your foot, not because it's an ball actually made out of foot), but in my classification I categorize based on 1) the sound result you get, in this case commonly called "distortion"; 2) the tissues responsible for the additional phonation, in this case the false folds; and optionally 3) the action, in this case twang(ing). So we have 1) distortion from the 2) false folds achieved by 3) twanging, or "Twangy False Fold Distortion", or if the context is clear just "Distortion".
@@ToniLinke That's some top head knowledge right there. Practically keking at the thought. Nice to see someone who has at least some knowledge of what does what
12:43 sounds like Serj Tankian's speaking voice here :)
I first discovered push distortion and have now successfully learned compression distortion thanks to your teachings, but I remain quite confused about twangy distortion. For the life of me, I absolutely cannot produce a distorted sound by simply adding twang. What exactly do you mean at 6:58 by "leaning in" on the twangy sound? Are you referring to adding compression/increased air flow? That is causing me to wonder if twangy distortion constitutes a category of its own or if twang is just a means of bolstering the distortion created by the other two methods.
Also, I have heard other instructors mention "pharyngeal" or "soft palate" distortion as a means of achieving a distorted effect in the upper mixed voice. It seems to me that this is also created by exaggerating certain vowel sounds, so I am wondering if they are describing the same technique.
@@BilboBaggins-s7u by "leaning in", I mean increasing the air pressure, while not increasing or decreasing the air flow. Pushed distortion increases both pressure and flow, and hypercompressed distortion increases the pressure and DEcreases the flow by stiffening the belly. Combinations of these three strategies are possible and common, feel free to watch my 2023 update on this topic where I go more into detail! The video is called "Rough Vocal Effects Revisited | #2 False Fold Distortion".
Some teachers use the term "pharyngeal voice" to describe more twangy phonation, so yes, the misnomer "soft palate distortion" could be related to what I call "twangy distortion", I can't be sure though because it's not my terminology :)
I'd really like to learn more about a distortion utilizing vocal break.
Yes, this is a variation of fry scream. I'm gonna upload a more detailed video on the different kinds of fry screams soon! Until then, I can recommend Chris Liepe's videos on this kind of screaming.
@@ToniLinke Yes, i've watched most of Chris's videos. Such a great guy! :)
I love the way you explain and demonstrate these types of distortion. I've a question though if you can help, how do M Shadows and David Draiman do their distortion, and are their, I'm asssuming different, ways damaging?
With both M. Shadows and David Draiman I often hear twangy false fold distortion, but also creaking and sometimes a combination of both. If done right, those techniques are not damaging. As always: if it feels bad, it is bad. If it feels fine, it is fine!
@@ToniLinke I see. Thanks a lot!
Very interesting approach!
How do you compare pressed phonation and healthy sound?
Where do you define the limit of compression on the vocal cords themselves when train Hyper-Compression?
Does it mean kinda control constriction of vocal cords? Like Stevie Wonder sings for example?
Don't you lose some thin cord coordination during Hyper-Compression?
I think that pressed phonation can be healthy as long as it's done efficiently. The more you push, the riskier it gets, but in order to get a good controllable sound from hyper-compression you actually have to keep the levels quite low. So while it's more muscular action than normal singing, it's relatively quiet and lasts very long - like air slowly escaping from a balloon.
I think I sometimes hear a bit of hyper-compression with Stevie Wonder, I'm not completely sure though. He's certainly a great vocalist who's in charge of exactly how much constriction he needs :)
Actually hyper-compression excludes the very thick fold coordinations as well as the very thin ones, so while you can pull a chesty sound very high with it, it's never really full belting as it always has that strong feeling of holding back to it. So it's not a useful technique for unamplified live singing, but with a dynamic microphone or for studio recordings it works really well.
@@ToniLinke thanks for answering! It's seems to me like hyper-comp is kinda interpretation of cvt's curbing, but in very unique and strait way.
@@ivanradkov They share characteristics, but CVTs Curbing has a more subtle, dynamic kind of hold to it and can have a more metallic sound. In CVT terminology, I think that hyper-compression stays in Neutral mode, and its clean version uses Curbing vowels. It kind of seems like an alternative strategy to going metallic when it comes to dragging chest voice higher :)
At 8:35 you sound like Serj Tankian
I've been rewatching this a lot lately to work more on hypercompression and i noticed something:
On 11:43 with the 70% engagement, you really sound a lot like Sam Carter. Any idea if this is actually the technique he is using on his pitched screams? He's by far my favorite vocalist :D
Now i wanna work on it even more
I think Sam Carter uses what I call medium fry scream. I talk more about it in my Collected Monologues series episode 2. :)
@@ToniLinke Thank you very much, again
Man! Love your content! I love how Bruno mars sings and the kind of grit he uses (for example in when i was your man). Is it false cord distorsion or something else?
Yes, mostly twangy false fold distortion, even though the twang is not always obvious!
Would you say that layne staley uses a twangy false chord distortion? Or do you think he is using more of a creaking technique?
Mostly, twangy distortion! Think the "Yeah! You know he ain't gonna die" part in "Rooster", that's a clear example. He also plays with creaking sometimes, for example I hear a distortion/creaking combination on some of the high notes in "Love, Hate, Love".
I didn't understand that about the vowels in hyper-compression, basically the type of distortion that I generate from my throat depends on what I mentally think about doing, I mean I have tried to do mongolian singing bass to atonal independent of the vowel, what influence do the vowels have according to the video?
You can get distortion independently from vowels, as you've already found out! However, it's not always the most efficient way in terms of effort. When distortion or creaking come in, the pressure balance changes. That means that if we can influence the pressure balance with any other parameter, we can make it easier to provoke distortion or creaking! Every vowel (and vocal tract shape in general) has a different resistance, and thus back-influences the pressure balance in the larynx (this is called non-linear source-filter interaction). At least for shouty vowels like "EH" and "OH" (which are very common in rock music), you could rely more on finding distortion the way I presented in the video (instead of increasing your muscle effort), or for "AH" vowels (which produce mid to high screams in metal), you could rely on the mere vowel shape provoking the atonality, instead of working harder. Of course, with other vowels (for example if you want to distort or scream on an OO vowel) it's not as easy, and as you've found out before, it's totally possible to change the pressure balance of any of these vowels just by pushing more, or adjusting the posture etc., but I think the exercise I presented can at least show a beginner what the easiest possible access (not necessarily in terms of simplicity, but effort!) to hyper-compressed distortion and screaming can be :)
Toni, what type of distortion do Dino Jelusic and Garish use? I’m thinking hyper compression like you did at around 11:39 here?
I’m pretty sure I am doing it right in the 2nd & 3rd octave, but I sort of lose it and get smooth in the 4th and 5th… is this something I could get focused training with you on via you personal lessons?
I hear a twang-based distortion with him, but with some extra compression so he needs a less obvious amount of twang. We can work on that!
@@ToniLinke SWEET!
Sent you a message through your teaching site! If I could finally lock this down, I’d be so much closer to my “mind’s ear” of where I want my voice to be 🤘🏻
Hey m8, great video. What exercises do you recommend for 40% distortion? Also, is this the same vocal sound MJ does in his songs, for example the song 'black or white'
I recommend just the normal hyper-compressed distortion exercises, and then getting so good at it that you can control the percentage :) with Michael Jackson I hear twangy distortion, so a slightly different technique.
i lose my distrition bro when i want go to high notes or head voice this is big problem for me how i can fix it
Yeah, this is tricky :) I would go to a range where it still works, try to get it as efficient as possible there (so, find the minimum necessary effort to access it consistency and reliably) and then work your way upward semitone by semitone. In general, if you want to extend the range within one register (so for example take a distorted chest voice higher), it will require gradually more support energy (so the minimum necessary effort increases), and allowing the larynx to rise as well as twanging more often makes things easier too. Good luck!
@@ToniLinke thankyou so much 🤘🏻🤘🏻🙏🙏🍻🍻
Wow, what an amazing control! Where did you learn?
Anywhere I could :) I'm mostly self-trained, but getting into Complete Vocal Technique helped a lot with categorizing the sounds.
Is pressed phonation (hyper compression) a healthy/sustainable technique though?
I've come across _so much_ conflicting information on the web 😅
If done correctly, yes :) it gets risky when you try to overproject it or use too much air, because that would contradict the technique itself, but if it's used in a context where it's suitable and for sounds that are actually possible with it, you're good :) an easy question to ask yourself is: does it feel good? If yes, do it! If no, there's room to improve on efficiency!
@@ToniLinke
Sounds convincing - thanks for the reply :D
Your "hyper compression" is nothing like anything I've seen anybody else demonstrate.
In some moments it sounds a little bit like flamenco singing. Do you think they coordinate something like that?
They might! Probably it differs a lot, individually. I know that lots of flamenco people do some pretty powerful singing, definitely more than qualified for busking! So from a certain volume level on, I don't think it's hyper-compressed, but for quieter stuff it's totally possible!
I tried this but somehow I engaged the primary muscles that are used for rattles. May I know how to isolate the false fold better?
Rattle often happens when you loosen up distortion, or in this case: when your attempts are too loose. You could experiment with more narrow vowels and slightly more compression, but make sure that everything feels comfortable! If you notice you're just making your rattle less efficient instead of actually getting a distortion, I'd stop :)
@@ToniLinke Alright, thank you for the tips. I’ll keep working on that 🫶🏼🫶🏼
I found it yesterday (the false cord thing) with some pain i admit. I try today too and now i can do it with no pain, but its not clear like you or others, it sounds a bit like Louis Armonstrong and its really low. But its not a thin, clean thing. And because of that i cant really "add it" to a note with Twang. It change drasticly the note. As you said its probably cause i use too much air. Do you have more tips to "clear the tone"? I think i'm using my false cord. i'm absolutely sure but its possible that i use other thing with it (without wanting it).
Sorry about my english
Thanks for all, ive learned here more in 2 days than in 6 months about distortion or extreme singing
If it sounds like Louis Armstrong, it might be closer to a blues growl (that I talk about in episode #4). If you want you can hit me up on Facebook (facebook.com/toni.david.linke) so I can hear an actual sound example :)
@@ToniLinke Oh you're right it sound exactly like the arytenoid phonation + true fold phonation '_' My bad! Thanks a lot!
Helpful! But why are you in a car? Portable recording studio?
I'm currently being quarantined with people that don't want to hear me scream all day, so the car is the best option :)
When I try using my false vocal chords it tends to strain sometimes, not sure if it’s because I’m doing wrong but I want to avoid doing this, for example some voices like Gilbert Gottfried or yoda, or Mr krabs from spongebob all have this feature, not sure how some people do it without any problems
I'd have to hear you to be able to say what's wrong. You can hit me up on Facebook Messenger and send a recording there!
Thanks for the tutorial. Question: When you talk about the 'metallic' sound, do you refer to the CVT/CVI term? How different is that to 'necessary' twang?
In this specific case, I wasn't using the word primarily in the CVT sense (as most of it would probably still be labeled Neutral mode), but starting from an actually metallic point will help finding twangy distortion too. It seems that anatomically, metallic modes have a lot of epilaryngeal narrowing (with the epiglottis tilting towards the arytenoids) as well as more fold closure (specifically a quicker and longer closing) allowing for M1 at high ranges, whereas twang is just a narrowed lower pharyngeal space which is also possible in M2. I like to think of necessary twang not as an absolute amount of that narrowing (as I'm sure it's possible to do quiet low notes healthily without any narrowing), but as the mininum narrowing you need in higher or louder phonation. Metal and twang are related and very metallic coordinations probably have distinct twang too, but it's possible to be twangy without any metal and to be metallic with only little twang.
@@ToniLinke thanks for your answer. I still really don't understand what does CVI mean by metal (last year I had a few lessons with a certified teacher and had a look at CVI resource website)...
@@ilBaccello when you yell angrily or talk very confindently, your sound will have a piercing, or "ringy" quality. I also feel it as "getting a grip" of the sound, or "having core" in my sound. CVT aren't the first to use the term "metallic" for that, but they are the first who actually researched and defined it. Pavarotti's high Cs are a bit more metallic than some other classical tenors' high Cs, and Ronnie James Dio's belting is a bit more metallic than James LaBrie's approach. Aretha Franklin's early belting was very metallic, in her later years she did the notes in falsetto, so still in a twangy, but non-metallic way.
Have you done, or can you do, a video on a vocal effect like paul dianno does in early iron maiden? For example, the song killers, with that gurgly sound, and how he leans in to the effect to make it more prominent, or like how he does the same thing in his higher range with either innocent exile or running free? Ive been trying to figure out how to do that stuff for a while but can only find videos for old blues style singing in mid range only, where you sound like kermit the frog gargling water ehile you sing. Thanks in advance for responding, I hope you can direct me to a helpful video!
I hear mostly rattle with him, sometimes combined with distortion or creaking! I've covered that effect in episode #4.
@@ToniLinke awesome! Thanks man I'll check it out
Can it be that some people just can't learn distortion? Something fysical , maybe? I am asking because I have really tried! For months and months! I had online lessons with a certified CVT teacher and she said I hit distortion now and then but I just can't seem to produce it on my own. It's a really hard struggle. I then found a CVT teacher nearby to try lessons with someone in person - but I felt he sort of gave up and told me that maybe I shouldn't focus so much on distortion 😑 He did help me get my support right as he found a few things I did wrong. With this in place, I thought that now I could finally get it. But still, I just can't. I tend to produce something like a growl or rattle sound instead and it's driving me nuts. I really want to learn distortion. What to do? Or should I just leave it?
I think that everyone can potentially get it, but for some people it seems so counterintuitive that it's not very realistic - even if they find it at some time, it doesn't mean they can convincingly incorporate it into their music. While for most people the exercises work very quickly (from a couple of minutes to a couple of days), I have met people who seem to have an exceptionally hard time with it too. With two students so far, I failed to get them to a reliable distortion sound, so after about 5 lessons, I gave up and sent them to other teachers. That's not because I believe they can't learn it, but because I don't want to keep taking people's money if they don't get results from me. If you really want to find distortion, we can make a lesson though - miracles happen :)
@@ToniLinke Thank you for you quick reply. I am glad to hear I am not the only one having trouble with distortion :-) Maybe I should take a lesson from you to give it one last try before I give up completely. Do you have a website where I can book or is there another way?
@@anna-ripley you can write me on Facebook or via mail (toni.david.linke@t-online.de)
hey Toni great video!thx for doing this! i am curious about this grandpa voice G.West already done a video about it but he refers to you so as master . So can you give an exercise for taking grandpa to higher range? i heard you can go up to d5 with it in the demostration. and it sounds like pure chest. As you said it can be an alternative to mixing. How can grandpa sing high :D it would be great if you make a specific video for it.
Grandpa can go up to G5 on good days for me, I think the trick is to stay very quiet and allow yourself to thin out within the hyper-compressed voice.
@@ToniLinke I hear thining out to voice term quite a lot these days but I am confused. is that means, larynx goes up as you go high in pitch?
@@hangroover No, it means that your vocal folds vibrate with less mass because you allow them to stretch and thin - you basically "go headier" or "approach falsetto". Many people also call this "mixing", but I think that in the context of hyper-compression this is especially misleading. The larynx always tends to go up when we rise in pitch - even in classical singing. That doesn't mean that you can't control larynx height, but it means that you'll have a much easier time maintaining a low larynx in your low range than in your high range :)
@@ToniLinke thank you very much 🙏
Can you give me vocal training ? You’re the best here in yt
You can contact me via my website toni-linke.com :)
Awesome content!! I was wondering how actually "loud" you are when your going for the 70% plus hyper compressed distortion...and do you feel you have to crank you support up when you transition from clean to distorted?
Yes, the support becomes a bit more, but it's more a consequence of the higher glottal compression that I have to compensate for than an intentional "clenching". The very shouty hyper-compressed distortion or screaming can get quite loud, if my loudest belting is 10/10 it might reach 8/10. But generally, hyper-compressed stuff is more restrained than outright singing, and you could get a decent hyper-compressed screaming sound at 3/10 volume (the 100% distortion demos at the end are not very loud at all, for example).
@@ToniLinke I understand. Well....I don't actually, not yet ahah.
How to activate hyper compression, remaining with low volume..actually pretty low..the concept is deceiving and a little counterintuitive...it's like the Hyper Compression itself triggers the distortion and allows you to maintain "low to sufficient" volume, unless you want to crank it up goin into some more shouty and voice driven scream. So, lots of support, hyper compression so the air flow is cut back and the true folds stay safe, thus "less volume".....that's how I understand it....would it be possible to elaborate with you?
@@gabryvk that's pretty much it! But if you want to talk about it, you can hit me up on Facebook!
@@ToniLinke Will do soon enough!! Thank you!!
Gabe
How i go into twangy distorstion?, I add more twangy, or i uses more support muscles?, What i do?
The answer is yes :D if you're very twangy already, just a bit of extra support might do; if you're supporting quite a bit already but could still get twangier, that would be possible too. In the end, it depends which point you're starting from - twangy distortion needs both twang and support.
10% for me is enough. Any tips of exercises to achieve fast?
In addition to the ones I mentioned in this video, you might find some more ideas in episode 2 of my new series, Rough Vocal Effects Revisited!
Hey, a very useful video! I think that whenever I try to do a distortion (by CVT terms) I end up doing actually creaking. I was even told so by a CVT teacher once, she made me realize it. They sound similar, feel extremely similar and I can't differentiate between the two in my throat. Any advices as to how to find this Chris Cornell rasp? It's very easy for me to do the rattle/growl, but whenever I try to find the distortion a little bit lower in the throat or by twanging a lot, I do manage to obtain a rasp, but it sounds different than what I hear with people presenting false chord distortion. Also, is Chris Liepe doing a distortion by CVT terms? Thanks!
Yep, especially projected creaking can sound and feel similar to distortion sometimes! With Chris Cornell I hear several things: distortion and/or rattle (hard to tell as it's a very smooth sound) as a baseline and additional creaking the higher and grittier he goes. In his later stuff (for example Audioslave's Conchise) you can hear the extra creaking very clearly, it's almost a fry scream at times there. Chris Liepe is relying on exactly that kind of projected creaking, but he finds the necessary pressure mismatch from more of a yodelly point and often combines it with distortion and/or rattle the grittier he goes (he even said in one of his videos that the false folds are wiggling). It's good to remember that, while both CVT and I are isolating distinct effects in our categorizations, actual rock singers often find a way to combine various effects to one "gritty continuum" that sounds like consistently one thing over the whole range, when actually they might towards rattle in the low parts and creaking in the high parts. Chester Bennington is another example for someone who uses a complex mixture of techniques (even though to him it probably felt very intuitive).
@@ToniLinke Thanks a lot! It's true that it's natural to blur vocal effects, which isn't making it easier for people wanting to disassemble singing into parts to learn hehe.
Just wondering what movement is happenning when you say you open up for belty sounds around 9:37
Different vowels tend to have different grades of throat narrowing, so I could imagine that opening up the vowel has the false folds touch (after already being approximated very much right before that).
Hi, could you please help me with a question? Do you know what type of distortion Nirvana uses? I've been trying hard to emulate their sound. I noticed that their high-pitched distorted vocals seem to come from a very small area with minimal throat strain, achieving an effortless distortion. When I try to sing, my throat feels blocked, the airflow gets stuck, and my sound doesn't come out as light and easy as Nirvana's. Their sound is sharp like metal friction, but mine feels like I'm running out of breath. Do you have any good tips for this?
I think Kurt Cobain has used various kinds of false fold distortion and even fry screams throughout his career. I usually hear a bit of twang and compression mixed together, but there's also pushy moments especially on Bleach! If you feel stuck with your distortion and regularly get discomfort from it, I recommend taking a lesson with me or any other vocal coach specialized on distortion! :)
@@ToniLinke Thank you for your response. I truly appreciate how quickly you replied! I am just very curious about how to achieve a very small vocal point for high notes, as if the sound is coming from deep within the throat, causing the posterior vocal folds to vibrate. I once saw a demonstration in a laryngoscopy video from a teacher, where the back of the vocal folds tightly closed when hitting high notes, and the epiglottis moved back to cover the glottis, making the phonation area smaller. At this point, the soft palate lifts to increase resonance, but the posterior pharyngeal wall moves up and forward, tightening the phonation area into a tube-like shape. I am curious if your high-note distortion uses a similar technique.
@@tyc3369 I'd have to see that video to be sure I'm doing the same thing
@@ToniLinkeSure. I'd like email the link.
I have problems with going up to hyper-compression high. I feel that my vocal cords can only vibrate in the middle part and if I go up, then I get distorted automatically, by the way I have been having discomfort lately with the full atonal distortion in hyper-compression, when I do it my throat burns. I understand that sometimes due to a lack of warm-up, I can have some discomfort, but I am still worried...
😢
This can happen because of a couple of reasons: 1) you might be a bit too loud. Often people overestimate the volume of hyper-compression as it can sound quite powerful with a microphone, but doesn't have to be much louder than your small talk voice. 2) You might use too much air flow (which isn't the same as air pressure!) - especially if there's a bit of audible air in the sound, that can limit your hyper-compressed range and dry you out quickly. 3) You might not have the right vocal tract shape for hyper-compression. A lot of people start adding twang too early, in the beginning I recommend going for a very dopey sound so that the body doesn't get confused as to whether it's supposed to set up for hyper-compressed or twangy distortion. I guess I'd have to hear you to be sure which of these problems apply to your case (or whether it's something completely else).
@@ToniLinke thank you, I was surprised at how quickly you responded. It turns out that today when I was in a bad mood I thought of spending my time playing metal and stuff like that, BAD IDEA! Being in this state I didn't pay attention to the technique I was using when singing and I felt my throat hurt. here's a sample from today
th-cam.com/video/GLMQu3wWLOE/w-d-xo.htmlsi=KIpNPOEImCwNer7Y
I think at 2:40 it was an atonal scream, it hurt me.
I want to show a more concrete example of what happens in my case, for now I am frustrated, so I will wait for a good day to do it and send it to you. Thank you very much for answering, greetings from chile ✋🇨🇱
@@ToniLinkewait 1 second!😅 in this other moment I remember wanting to go higher with the hyper-compression but I couldn't beyond that distortion that you can see at minute 1:23, I will record something better for another occasion th-cam.com/video/-wdKowFXGhQ/w-d-xo.htmlsi=f5CqbgoyX9eINbJ5
@@vichoapaleado2116 oh I see! That's not hyper-compression yet! There's some compression there, but not enough for it work like hyper-compression in that range. You can find the feeling of hyper-compression if you actually try to lift a very heavy weight (even something immovable) - don't focus too much on the sound yet as long as the feeling isn't clear. Other cues are: stiffen your abdomen as if you want to prepare for a punch in your belly, pretend you're constipated, and similar images.
I pretty much mastered fry screaming, but false fold distortion is like a magic to me. I've tried so many methods to activate the false folds in a proper way, but every time I try to get the distortion it starts to hurts really badly. I feel it's super low in my larynx and I have no idea how to move it up. I tried to imagine I'm making the sound trough the nose or eyes, but doesn't work ;-; I'm sure I'm not using too much air or pressure. It's really annoying cause I can't move on with this, while I can't even "clear my throat" or do an X sound without pain and scratchiness. Any tips?
It's hard to solve this problem via text, but maybe you have a problem with twang. Often, people are trying to get the same brightness with nasality or other sound colour parameters, and what you're describing with the "eye/nose placement" thing kind of sounds like that.
@@ToniLinke Hm but the problem starts at the very basics, when I just try to clear my throat and sustain this sounds, I tried to to it both hard and delicate ("polite" cough) and it still hurts and idk what to do with it
@@MishiaEatingUnicorn that would be something to work on in a lesson, I think. Usually the problem starts even earlier, with a twangy clean sound.
I can't for the love of God feel the difference between "projected loud fry creek" and "false fold twang rasp"
any advice? how do you engage both of these?
Projected Creaking connects with a more quiet Regular Creaking, False Fold Distortion connects with Arytenoid Rattle. So if you can do Regular Creaking (as in the static noise) or Arytenoid Rattle (as in a crow noise), you can determine whether the thing you're unsure about feels more like one or the other.
@@ToniLinke Thanks, I'll think about it... but I think it'll get me nowhere XD do you do Skype lessons? just in case
@@spx730 yes, I do lessons on Skype, or preferably Zoom (because of the better audio). You can find my conditions and my reservation calendar on my website toni-linke.com :)
Is what you call hyper compression not the same as curbing in c.v.t.? And then the twangy high being edge? Meaning you could also do full distortion in overdrive and neutral.
Nope, while Curbing and hyper-compression share some aspects, I don't use them synonymously. If you think of Curbing as "whining" and of hyper-compression as "weight-lifting", they're actually quite different. It's true that hyper-compression has a strong hold and a restrained character, but I would actually call it non-metallic or pseudo-metallic, so technically a variant of Neutral mode. In CVT, all modes require a necessary amount of twang, so you could do twangy distortion in Curbing, Overdrive and Neutral too, but Edge would certainly be the recommended starting point for twangy distortion. In the end, distortion is distortion and many people wouldn't differentiate three different techniques as I do, but I've noticed that whenever my (or someone else's) distortion works very consistently and efficiently, it's one of those ways of stabilization as the dominant strategy.
@@ToniLinke Hmm, I can't find the difference between curbing and hyper compression in myself, but maybe that just means I can only do one of the two. I have a teacher who has explained curbing to me and she tells me I do it correctly though but it feels the same as when I do hyper compression where hyper compression is just an extreme form of curbing. But I've only been singing for a year now so there is lots of stuff I don't know or can not do yet. I was wondering if you could record an example of the difference between the two?
@@NuotoMusic you could argue that hyper-compression is extreme Curbing soundwise, but if you compare the laryngeal settings there's a clear difference: hyper-compression has much more false fold constriction and shortened vocal folds, whereas Curbing usually has a little constriction and more vocal fold stretching. Can you sing in Overdrive? If so, you should automatically land in Curbing once you close your mouth from OH to O or EH to I. If that's close to the thing you usually do, I think it's more likely you haven't found hyper-compression yet, because that one feels inherently different from the usual CVT sounds. It would be easier to determine though if I could hear your voice - maybe you can send me a PM on my private Facebook account? There I can also send you audio clips where I compare Curbing and hyper-compression.
Hey Toni! I love your videos and am so sad your dropbox link above doesn't work anymore, it says the file was deleted. Is there a way to still get this please? Happy to make a contribution to you for this content even though it says it is free. :)
Thanks for letting me know! Here's my new Dropbox link to all the free material I made:
www.dropbox.com/sh/ubpcj1lmx7atb8f/AADKskGA5N78KnyXzlXK6d76a?dl=0
Fabulous, thanks Toni! The work you are doing with these videos is great. I love your down to Earth and demystifying approach - anyone should be able to try these sounds, have fun and not be afraid.
Man you sounded like Layne staley in the twang part!
I'm having a really hard time "leaning into twang to create distortion. " everytime i do this it just ends up creating a more nasal tone, or makes my throat feel dry and scratchy. Do you know what I might be doing wrong? Thank you.
I'd check if there's actual nasality, so air coming out of the nose. If the tone changes when you pinch the nose, it's nasal, if it doesn't change, it's not nasal. If it's not nasal but still not distorting, you can try incorporating a bit of movement, for example pretending to stretch a rubber band in front of your chest or imitating a racing car (including the arm "swoosh"). Here's a document with other cues for finding distortion that you could try: www.dropbox.com/s/gsj8e5vmrdb26xd/Didactical%20approaches%20to%20accessing%20False%20Fold%20Distortion%20%28Linke%202023%29.pdf?dl=0
@@ToniLinke wow this is incredible! I really appreciate how thorough this is. My main youtuber for singing is chris liepe, but distortion is something I've really wanted to learn to do but I could never really figure out where to start because i was afraid of hurting myself. This is super beneficial and i really appreciate it.
this 10% distortion on grand pa voice sounds like Ken Taplin :D he uses this al the time i guess lol
Hey Toni, what type of distortion is used in TOOL - The Grudge? I love his thick rough sound
It sounds like a combination of twang and a bit of push to get the false folds vibrating (if you haven't already, feel free to check out my newer video on False Fold Distortion where I go deeper into strategy combinations). The long scream seems to have a bit of additional Creaking in it, so that would make it a pitched Fry Scream! :)
@@ToniLinke awesome !! Thank you so much your videos and tips have been a great help. Also would say that he's using his mixed voice there?
@@acbeats3994 Depends on your definition of mixed voice! The highest notes are definitely not completely full :)
@@ToniLinke Awesome! Thanks! I'd love to work with you and learn more but I don't know if my college budget would allow it. Do you do student discounts perhaps?
@@acbeats3994 feel free to write me a mail to mail@toni-linke.com to talk about that! :)
finally
❤️
What distortion technique do the Gipsy Kings use?
I love them! Twangy Distortion I'd say. Sometimes a bit of an extra push, but always with a lot of underlying twang, even in the clean singing.
@@ToniLinke You're extremely helpful. I love them too! I actually play their stuff on guitar very well but now it's just a matter of learning to sing. The advice is much appreciated! Do you have discord or somewhere I can reach you better?
@@General_Lee439 You can find me on Facebook (Toni Linke) or Instagram (toni_linke_music) :)
OMG, I need your help with achieving that hyper-compression! :/
You can hit me up on Facebook!
@@ToniLinke Done!
This technique doesn't work for me. Female tenor. A need to add in variations. Do you teach many females? Wondering if you've noticed differences between male/female false fold manipulation?
Yes! I've noticed that many cis women tend to have an easier time using arytenoid rattle or blues growl than false fold distortion. Of course there's also people who have trouble finding any of these effects, but that seems to be independent of sex/gender (in my experience, it's about 10% of people in general). I also believe that those tendencies are mostly due to socialization, not that much anatomy. For example, language and social environment play a big role too: Americans tend to have an easier time accessing twang-based effects (or belting/mixing in general) than German or French speakers, and more rural people seem to have the same advantage over more urban people. Btw, I've just updated my pedagogy of distortion (Rough Vocal Effects Revisited episode #2), feel free to watch that video! I've also added a link to some more practical cues for finding distortion to the description of that video, in case you find my TH-cam content too theoretical :)
@ToniLinke thanks for replying.
That's interesting. Thanks for the run down. I've been singing for 40 years. Distortion never came easy in the early days. I was probably over trained in more popular and classical style which I believe doesn't help. I also believe there's a hormonal factor judging from my own experience. People with more estrogen have more tender throat, cords/folds and even skin in general. I'm finding as I've aged my voice has really got a natural rasp I'm enjoying and it's easier to use distortion.
I'll check out your other videos. All the best 👌
PS, I quite like the technical aspects