Steingrim
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Post by Steingrim on Apr 19, 2022 7:17:26 GMT
Does that designation mean that your passagi are at B3 and E4, or do you judge that by other criteria ? Yeah definitely. When I was younger I thought I was a low tenor cause I could vocalize F when I was 15. The more I learned about the primo/and secondo the more I definitely started to agree with that lyric Baritone classification That's funny because my passagi are at C#4 and F4 to F#4 which would make me a low tenor. But my timbre and main comfort zone is that of a mid baritone. G2-A4 is super easy, D2-D5 is okay, but my bass notes are stronger than my tenor notes. And I'd rather sing in octave 3 for a long time than in octave 4. -- Hello hello :) My tessitura is that of a Lyric Baritone, but I have expanded it quite a bit. Starting with lower notes I have the potential to sing to F#1 one without turning into ridiculous fry noises. Regarding vocal fry. What is and what isn't technically fry can be a bit tricky to assess. It doesn't necessarily sound that fryish towards the top of the M0 register. I can usually get a soft B1 or Bb1 but I'm still in the process of developing well projected low notes. Projecting C2 is typically a challenge. What might happen is that there is what feels like a shift inside the voice box or its muscles and the note goes into the M0 register instead of being projected properly. Now it's louder and a bit harsher, than if projected properly. I know this is the M0 register, not just a poor form of projection, because I can readily go down beyond A1 which is my absolute max in the M1 register. Down there the sound becomes more fryish, not just harsh. The properly projected C2 doesn't sound as good as my D2, but that is a different matter. I have to reach a bit for a C2, to begin with. |
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acnyte
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Post by acnyte on Apr 21, 2022 2:14:16 GMT
Hello hello :) My tessitura is that of a Lyric Baritone, but I have expanded it quite a bit. Starting with lower notes I have the potential to sing to F#1 one without turning into ridiculous fry noises. Regarding vocal fry. What is and what isn't technically fry can be a bit tricky to assess. It doesn't necessarily sound that fryish towards the top of the M0 register. I can usually get a soft B1 or Bb1 but I'm still in the process of developing well projected low notes. Projecting C2 is typically a challenge. What might happen is that there is what feels like a shift inside the voice box or its muscles and the note goes into the M0 register instead of being projected properly. Now it's louder and a bit harsher, than if projected properly. I know this is the M0 register, not just a poor form of projection, because I can readily go down beyond A1 which is my absolute max in the M1 register. Down there the sound becomes more fryish, not just harsh. The properly projected C2 doesn't sound as good as my D2, but that is a different matter. I have to reach a bit for a C2, to begin with. I think the bottom of my range is too inconsistent to really accurately estimate. I hit F1 when I was sick so idk if that's even fair (plus it wasn't recorded.) I think accurately I'd have to say B1 is probably where consistency fails, and projecting under C#2 is a task for sure |
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Steingrim
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Post by Steingrim on Apr 21, 2022 7:36:56 GMT
Regarding vocal fry. What is and what isn't technically fry can be a bit tricky to assess. It doesn't necessarily sound that fryish towards the top of the M0 register. I can usually get a soft B1 or Bb1 but I'm still in the process of developing well projected low notes. Projecting C2 is typically a challenge. What might happen is that there is what feels like a shift inside the voice box or its muscles and the note goes into the M0 register instead of being projected properly. Now it's louder and a bit harsher, than if projected properly. I know this is the M0 register, not just a poor form of projection, because I can readily go down beyond A1 which is my absolute max in the M1 register. Down there the sound becomes more fryish, not just harsh. The properly projected C2 doesn't sound as good as my D2, but that is a different matter. I have to reach a bit for a C2, to begin with. I think the bottom of my range is too inconsistent to really accurately estimate. I hit F1 when I was sick so idk if that's even fair (plus it wasn't recorded.) I think accurately I'd have to say B1 is probably where consistency fails, and projecting under C#2 is a task for sure Some singers can make the M0 and M2 registers approach M1 quality to some extent. Mixed voice in the M2 register can sound M1 like. Cab Calloway's B1 which he held for 40 seconds live is a good example of mastery of the M0 register. Paul McCartney's A1 in studio in "The girl is mine". Both are tenors. But singers with a naturally good range don't really need to do that sort of thing much. It's better to sing well across 2.5 octaves than to be a range wanker. Elvis Presley was probably a high baritone with an extensive bass range. Music critics thought that he sang really well between G2-Bb4, but he was capable of going quite a bit lower, with less consistency towards the bottom. Maybe that's similar to your range, and that's a really good placement for popular music. |
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acnyte
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Post by acnyte on Apr 22, 2022 16:53:37 GMT
youtu.be/WWOiTPM2t2cThat's me singing, and you can judge if that has that high baritone quality. This song has me going as low as Bb2 and the lead extends up to Eb4 with really high backing vocals up to Eb5's. You might be right, because I feel a distinct lack of projection around E2 and while I can sing a bit lower it's very muddy. I think F2 is my last consistent low
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Steingrim
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Post by Steingrim on Apr 22, 2022 19:08:44 GMT
youtu.be/WWOiTPM2t2cThat's me singing, and you can judge if that has that high baritone quality. This song has me going as low as Bb2 and the lead extends up to Eb4 with really high backing vocals up to Eb5's. You might be right, because I feel a distinct lack of projection around E2 and while I can sing a bit lower it's very muddy. I think F2 is my last consistent low Not sure what to make of it and I'm not sure where the Eb5's are. Cool drums! Most baritones including myself start to lose power somewhere below G2. Even Castellucci claims in one of his videos that he loses power below about C#2 or D2. A natural low bass like John Ames is able to keep it up. But projection is largely a matter of practice. A lot of singers can project their very lowest note, or 1-2 semitones above it, consistently. If you're able to project E2 consistently with good tone then that's a very useful asset. Especially if you're also able to sing C5 without any problems. Booming low notes and operatic high notes are hard on a baritone but you could see if you're able to handle "Going to California" by Led Zeppelin. It's from A2-C5 but the high notes aren't particularly demanding if one is able to reach C5 consistently to begin with. (For whoever else who would be reading this post : Don't strain your voice by throwing yourself at a C5, try singing along with a keyboard, one semitone at a time up from where you know you are comfortable) -- Here's D2-E5, all in one go : youtu.be/gdBgcPU6_rE-- Regarding what acnyte said somewhere about a useful range when singing live. Low note ability tends to vary somewhat from day to day and also according to the time of day. The vocal chords are more relaxed in the morning which is more optimal for very low notes. Getting tired from singing matters also. One's ability to hit both low and high notes depends on the song in question too, and on what octave one has been singing a lot in during the last minutes. I'm a fairly new singer and this type of endurance may take some time to develop. Phrasing high notes may also be a problem, I'm currently uncomfortable with phrasing above C#5. I haven't sung live for more than three people so far. That was an improvization over the jazz song Tenderly, which I sang from D#2 and up to C#5. That worked ok, I hit the notes and they were happy. When I was practicing singing "Going to California" a month ago, hitting the C5 ("I think I *might* be sinking") was never a problem, the general quality of the upper octave 4 segments was more of an issue. I wouldn't want to try to sing a decent D2 straight after singing all of that, though. Maybe E2-C5 would work for me under all circumstances right now, unless the song itself is difficult. I might be able to improve that a little bit in time. Of course being ultra safe and just singing Love me Tender from A2-G3 is also an option.  -- G2 - B2 - E3 - G3
on a good day i can fry down to F2. That's awesome. I can take falsetto down to A2, which hurts for some reason. I can of course belt up into the fourth octave somewhere. Not sure how high I would be able to fry. But developing some kind of negative range with falsetto at the bottom, then head voice then belting at the top ought to be possible. A2 - F3 - F4 - ??
The sound of that will be a true novelty. I will have to work on some proper transitions between the various registers, then pretend that everything is completely normal.Negative range expansion. I can full belt an A4, so it's A2-A4 That's minus 2 octaves of range, with falsetto at the bottom. I just need to work on seemless transitions, then I'll release my first album called "The mad Scandinavian". 😁 |
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obinna
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Post by obinna on May 3, 2022 10:32:32 GMT
I can sing down to a C#2 on chest. I'm not so developped at beling but I'm working on it. My highest belt would take me up to a G4. I can mix up to the C5/D5 zone. Can't exactly tell the limit. I'm very good at falsetto and can hit a B5 at most. Whistle notes up to an F#6. That'll leave me with a C#2 - F#6 countable range. I've had a couple of notes down to A1 but it's so quiet and whispery, I don't consider it countable. I'm currently working on correcting some bad techniques and I'm really hoping for a bold C2 and a good unstrained A4 belt, not sure if it'll work out.
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obinna
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Post by obinna on May 4, 2022 13:31:58 GMT
I can sing down to a C#2 on chest. I'm not so developped at beling but I'm working on it. My highest belt would take me up to a G4. I can mix up to the C5/D5 zone. Can't exactly tell the limit. I'm very good at falsetto and can hit a B5 at most. Whistle notes up to an F#6. That'll leave me with a C#2 - F#6 countable range. I've had a couple of notes down to A1 but it's so quiet and whispery, I don't consider it countable. I'm currently working on correcting some bad techniques and I'm really hoping for a bold C2 and a good unstrained A4 belt, not sure if it'll work out. For a candidate for "rangiest modal singer", check out the thread on Beyonce. She has G#2-E6. Not necessarily all from the same time period, and certainly not in one go. But singing 3 octaves and more on any given day shouldn't be a problem for her. She's of course a far more developed singer than you or me, by the sound of it. Sure will do. And yes, she certainly is. 😆 |
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brutalism
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Post by brutalism on May 17, 2022 5:49:03 GMT
(E1) A1 - F#5 (Bb5) I'm some kind of bass baritone. I can sing C5 with ease but D5 is difficult to phrase. Singing F5s drains energy quickly. I'm the most comfortable between about G2-C4. My primo passagio is just above there. The E1 is strohbass, meaning the vocal fry is still producing a reasonably musical note. I've also managed an F1 in subharmonics, with no consistency at all. For me falsetto is mainly useful for softening high notes. John Farnham makes good use of it to soften some A4s in "You're the voice", even though the refrain goes up to C5. The youtuber Colm McGuinness has a similar range. His voice is a bit darker than mine. Chest voice: D2 - C4 (sometimes I can hit a very weak E4 or a barely audible C2 or B1 if I’m lucky) (C4’s are also difficult for me, but they’re countable IMO) Falsetto: G#3 - G5 (I can hit a very harsh A5 or Bb5, but I can’t surpass that) I’ve hit a G#6 before with an aimless shriek, but that really hurt my throat and it’s not countable. I can also inhale whistle notes aimlessly in the sixth or lower seventh octave. But overall, my countable range is D2 - C4 - G5. My unrequested analysis - but which I still find potentially beneficial to both: I believe both of you to very probably be full-on basses. Not oktavists or profondos - but basses of different kinds. Maybe, actually, Steingrim might be a bass-baritone with a lower range - it is rare for basses to go into the 5th octave with ease. But if by ease you meant 'ease to surpass G4-B4 barrier - but with lots of training', then more probably a very fitting bass instead of bass-baritone. If our A1s are solid and your 5th-onwards notes came with constant training, you are probably a bass of some kind. And @ianvector : since I read in another thread that you are in your teens still - unless I'm mistaken about this - , your range being short on highs and containing good resonant lows down do D2 ( I heard your voice), put in context with your tender age, would mean you are 'young bass' - meaning, you will still reach your maximum range later. * as a side note: @ianvector 's range at this age reminds me of myself. At my early twenties, my range was also exactly D2-C4. I got some study and practice at home, my voice matured more thanks to age and cigarettes (I'm not advising anyone to smoke at all), and 1 decade later my range grew to (comfortably) G#1 to E4-F4 (this upper range increase was mostly due to my opera bass teacher, but the lower 6-semitone downards increase I tend to think it was more due to me aging 10 years, and somewhat less due to the cigs). If mine had grown naturally, without the many opera lessons and heavy smoking (by the way, he's a great opera basso cantante who can scale his voice down to F1 despite obviously not using the 1st octave in Western Opera, and a great teacher who told me I had nothing of baritone in me and that I was as lower than a lyrical bass with certainty), then I speculate that my comfort range would be smaller without these factors - maybe around Bb1-D4. This is just my speculative analysis. I hope at least one of you finds it somewhat useful. |
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Steingrim
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Post by Steingrim on May 17, 2022 17:03:04 GMT
(E1) A1 - F#5 (Bb5) I'm some kind of bass baritone. I can sing C5 with ease but D5 is difficult to phrase. Singing F5s drains energy quickly. I'm the most comfortable between about G2-C4. My primo passagio is just above there. The E1 is strohbass, meaning the vocal fry is still producing a reasonably musical note. I've also managed an F1 in subharmonics, with no consistency at all. For me falsetto is mainly useful for softening high notes. John Farnham makes good use of it to soften some A4s in "You're the voice", even though the refrain goes up to C5. The youtuber Colm McGuinness has a similar range. His voice is a bit darker than mine. Chest voice: D2 - C4 (sometimes I can hit a very weak E4 or a barely audible C2 or B1 if I’m lucky) (C4’s are also difficult for me, but they’re countable IMO) Falsetto: G#3 - G5 (I can hit a very harsh A5 or Bb5, but I can’t surpass that) I’ve hit a G#6 before with an aimless shriek, but that really hurt my throat and it’s not countable. I can also inhale whistle notes aimlessly in the sixth or lower seventh octave. But overall, my countable range is D2 - C4 - G5. My unrequested analysis - but which I still find potentially beneficial to both: I believe both of you to very probably be full-on basses. Not oktavists or profondos - but basses of different kinds. Maybe, actually, Steingrim might be a bass-baritone with a lower range - it is rare for basses to go into the 5th octave with ease. But if by ease you meant 'ease to surpass G4-B4 barrier - but with lots of training', then more probably a very fitting bass instead of bass-baritone. If our A1s are solid and your 5th-onwards notes came with constant training, you are probably a bass of some kind. This is just my speculative analysis. I hope at least one of you finds it somewhat useful. Solid modal A1 ? Hardly. My lowest projected note is a C2. I'm always able to project a D#2. I can sing F2 with power, at least louder than I normally speak. I can full belt an A4, sing C5 with decent tone and my D5 is useful. I'm simply a very rangey Baritone. My timbre is perhaps a little bit fluid, which is what they said about Elvis Presley, but it's definitely not that of a bass or a tenor. I posted a video where I sing from D2-E5 above in this thread. The E5 isn't that great but at least it's a sustained note. -- my opera bass teacher, (by the way, he's a great opera basso cantante who can scale his voice down to F1 despite obviously not using the 1st octave in Western Opera) That's interesting because we had a discussion about lowest modal notes in the J D Sumner thread and kaji claimed that it's impossible to sing lower than G1. I posted a video where Sumner sings a F#1 that he sustains for about 10 seconds, which I'm pretty sure is modal. The Russian octavist Vladimir Miller who trained with the world famous operatic bass Kurt Moll claims that Kurt Moll was able to sing down to F1 - he never sang below Bb1 on stage. Glenn Miller has a video where he sings gradually down to F1 or even E1, and rather loudly. He refers to that as "really scraping the barrell". In an other video he sings down to B0, this time quite obviously in fry mode. Which doesn't actually sound that bad. |
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brutalism
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Post by brutalism on May 17, 2022 22:13:00 GMT
my opera bass teacher, (by the way, he's a great opera basso cantante who can scale his voice down to F1 despite obviously not using the 1st octave in Western Opera) That's interesting because we had a discussion about lowest modal notes in the J D Sumner thread and kaji claimed that it's impossible to sing lower than G1. I posted a video where Sumner sings a F#1 that he sustains for about 10 seconds, which I'm pretty sure is modal. The Russian octavist Vladimir Miller who trained with the world famous operatic bass Kurt Moll claims that Kurt Moll was able to sing down to F1 - he never sang below Bb1 on stage. Glenn Miller has a video where he sings gradually down to F1 or even E1, and rather loudly. He refers to that as "really scraping the barrell". In an other video he sings down to B0, this time quite obviously in fry mode. Which doesn't actually sound that bad. I think it's not that rare for some people to have modal notes in the F1-G1 range. Maybe it's difficult to do melismas including these notes... jump octaves and so on. But singing it and sustaining it, it's not such a big deal. The best example that comes to mind in popular music is Leonard Cohen's G1 in 'You want it darker'. It's 'trembly' because his voice is always like that, but fully modal and insanely powerful. In my opinion, if any bass has strong (even if not opera-strong) modal G1-B1s, he's has a very solid range. Lower range, of course. -- Solid modal A1 ? Hardly. My lowest projected note is a C2. I'm always able to project a D#2. I can sing F2 with power, at least louder than I normally speak. I can full belt an A4, sing C5 with decent tone and my D5 is useful. I'm simply a very rangey Baritone. My timbre is perhaps a little bit fluid, which is what they said about Elvis Presley, but it's definitely not that of a bass or a tenor. I posted a video where I sing from D2-E5 above in this thread. The E5 isn't that great but at least it's a sustained note. By projected, do you mean hearable in a room with some people? Or audible in the mic with consistency? I mean, if it's a consistency issue, I'd say I can project down to G#1/A1 in the mic with no issues and have it sound solid, with no aid of audio manipulation of course. But if you mean reasonable volume in a room, then C2-D2 would be my last 'good-volume' notes before it enters into 'not-so-audible' territory. |
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Steingrim
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Post by Steingrim on May 18, 2022 7:23:55 GMT
Solid modal A1 ? Hardly. My lowest projected note is a C2. I'm always able to project a D#2. I can sing F2 with power, at least louder than I normally speak. I can full belt an A4, sing C5 with decent tone and my D5 is useful. I'm simply a very rangey Baritone. My timbre is perhaps a little bit fluid, which is what they said about Elvis Presley, but it's definitely not that of a bass or a tenor. I posted a video where I sing from D2-E5 above in this thread. The E5 isn't that great but at least it's a sustained note. By projected, do you mean hearable in a room with some people? Or audible in the mic with consistency? I mean, if it's a consistency issue, I'd say I can project down to G#1/A1 in the mic with no issues and have it sound solid, with no aid of audio manipulation of course. But if you mean reasonable volume in a room, then C2-D2 would be my last 'good-volume' notes before it enters into 'not-so-audible' territory. Not sure. Since I'm a fairly new singer the notes within my range are likely to develop further. My F2 is powerful enough that it fries the microphone on my mobile phone if I'm holding it in my hand. On a good day my D2 isn't that far behind and the projected C2 is audible in a small room. I suppose that I could make something below C2 sound on a microphone but it would be fairly muddy. Singing bass in a choir down to E2 would probably work. -- That's interesting because we had a discussion about lowest modal notes in the J D Sumner thread and kaji claimed that it's impossible to sing lower than G1. I posted a video where Sumner sings a F#1 that he sustains for about 10 seconds, which I'm pretty sure is modal. The Russian octavist Vladimir Miller who trained with the world famous operatic bass Kurt Moll claims that Kurt Moll was able to sing down to F1 - he never sang below Bb1 on stage. Glenn Miller has a video where he sings gradually down to F1 or even E1, and rather loudly. He refers to that as "really scraping the barrell". In an other video he sings down to B0, this time quite obviously in fry mode. Which doesn't actually sound that bad. I think it's not that rare for some people to have modal notes in the F1-G1 range. Maybe it's difficult to do melismas including these notes... jump octaves and so on. But singing it and sustaining it, it's not such a big deal. The best example that comes to mind in popular music is Leonard Cohen's G1 in 'You want it darker'. It's 'trembly' because his voice is always like that, but fully modal and insanely powerful. In my opinion, if any bass has strong (even if not opera-strong) modal G1-B1s, he's has a very solid range. Lower range, of course. Here's Glenn Miller singing down to F1 with a very brief dip down to E1. youtu.be/TfBCb0xQkdg?t=638Here he gets down to B0 : youtu.be/TfBCb0xQkdg?t=668It's possible that he switches between the M1 and the M0 registers somewhere along the way down to F1/E1 in the first clip, but I can't hear that. And it would defy the purpose of declaring that "that is scraping the barrell", if he ends in M0 and is capable of going much further down. In the last clip he stops at F1, then starts again at F1 which seems much easier this time and then he just continues down to B0. So it seems to me that he switches registers at F1. -- Here's Glenn Miller singing down to G1 without a microphone, before 100+ people in a large church. This is where I'm blown away by about one octave.  youtu.be/mPULXZqbU90I have a much more likely future as a counter tenor, I just need to learn how to sing F5 or G5 or something. Maybe F5 would work, with a huge amount of training.  |
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Brenda
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Post by Brenda on May 20, 2022 1:41:23 GMT
morning vois: E2-F2lowest note that sounds somewhat good: A2highest chest without belting: F4highest chest with vibrato: A4highest chest like ever: B4 (don't have recording lol, it was like twice in my entire life) highest note with vibrato: G5 probably, maybe G#5 highest note like ever: C6 |
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aritrp
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Post by aritrp on Jun 18, 2022 1:53:05 GMT
I've actually improved a lot recently and I stopped caring about hitting those notes. It was very hard to run away from but I think I'm finally in a place where I'm not really bothered: I just... sing.
It heleped me to "unleash" my voice, I don't think "in registers", I spend 90% of my time singing in a balanced mix and I'm really confident in a range from B1 to A5 now, and not-so-confident, but still consistent in a range from B♭1 to C♯6.
The range I give when people ask me is B♭1-B♭5/B5-C♯6.
I had some great moments singing all the way down to F1, though, but I don't include it since it's not consistent - but at least I have a clip of that, huh
Other than that - I can screech up to C6 in hv and D6 in falsetto, went up to F♯7 in whistle (I had amazing C7s back then but it was just my vocal damage lol) and my lowest somewhat-countable fry ever was a C1.
Tl;dr: usable B♭1-B♭5/B5-C♯6 with some funky extremes that I don't include in my range as I can't control them well enough.
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patriciobr
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Post by patriciobr on Jul 15, 2022 21:22:16 GMT
Primo/secondo passaggio: E4/A4
Modal range: E2-Bb5-B5 (consistently G2-G5-G#5)
Confortable range: A2/B2-C#5/Eb5-F5
Vocal type: tenor (youngful, small size)
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ellamaistan
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Post by ellamaistan on Jul 19, 2022 16:52:39 GMT
I just belted an A5
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haeksk（ハクサク）
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Post by haeksk（ハクサク） on Jul 20, 2022 5:11:44 GMT
I'm going to spare you guys an explanation on all that "well, I did hit this, but it doesn't count, blah blah blah" and just say my range is about B1 - F4 - B5. That's what I've used in my recorded songs in the past month or two and was happy with how it sounded. I did belt a little higher, but it sounded yell-y and I wasn't too confident with it, so yeah.
If you want like, an easier range that's not too difficult and always sounds great, I'd say D2 - D4 - G5. I think I could nail and project those notes at any time with nice tone and not needing five million takes.
I'm not a super great or range-y singer, especially compared to my singing friends who are basically all tenor extraordinaires (lol), but oh well! I've been able to carry out my singing activities modestly on the Internet for a few years now and there's only going up from here. :)
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Steingrim
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Post by Steingrim on Jul 24, 2022 6:14:08 GMT
I'm going to spare you guys an explanation on all that "well, I did hit this, but it doesn't count, blah blah blah" and just say my range is about B1 - F4 - B5. That's what I've used in my recorded songs in the past month or two and was happy with how it sounded. I did belt a little higher, but it sounded yell-y and I wasn't too confident with it, so yeah. If you want like, an easier range that's not too difficult and always sounds great, I'd say D2 - D4 - G5. I think I could nail and project those notes at any time with nice tone and not needing five million takes. I'm not a super great or range-y singer, especially compared to my singing friends who are basically all tenor extraordinaires (lol), but oh well! I've been able to carry out my singing activities modestly on the Internet for a few years now and there's only going up from here. :) What do you consider to be your voice type ? |
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haeksk（ハクサク）
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Post by haeksk（ハクサク） on Aug 18, 2022 22:07:11 GMT
I'm going to spare you guys an explanation on all that "well, I did hit this, but it doesn't count, blah blah blah" and just say my range is about B1 - F4 - B5. That's what I've used in my recorded songs in the past month or two and was happy with how it sounded. I did belt a little higher, but it sounded yell-y and I wasn't too confident with it, so yeah. If you want like, an easier range that's not too difficult and always sounds great, I'd say D2 - D4 - G5. I think I could nail and project those notes at any time with nice tone and not needing five million takes. I'm not a super great or range-y singer, especially compared to my singing friends who are basically all tenor extraordinaires (lol), but oh well! I've been able to carry out my singing activities modestly on the Internet for a few years now and there's only going up from here. :) What do you consider to be your voice type ? My voice type is "bad at high notes". LOL. My mixed voice is just... not there. A lot of my singing friends are tenors and I wouldn't have known that my low range is stronger than the average singer until they told me so, though. It's not a stretch to call me a bass, it's usually what other singers think I am, and sometimes I go with that label as shorthand, but who knows. Maybe I'm just bad at singing right now... LOL When I was younger, I could hit even higher falsetto. Sad that it went away... maybe it just needs to be re-unlocked somehow |
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Steingrim
Vocal Master
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Steve Perry, 1983
Posts: 736
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Join Date: February 2022
Favourite singer: Sinatra Elvis Bono Sting, George Michael LedZep1+4
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Post by Steingrim on Aug 19, 2022 18:19:44 GMT
What do you consider to be your voice type ? My voice type is "bad at high notes". LOL. My mixed voice is just... not there. A lot of my singing friends are tenors and I wouldn't have known that my low range is stronger than the average singer until they told me so, though. It's not a stretch to call me a bass, it's usually what other singers think I am, and sometimes I go with that label as shorthand, but who knows. Maybe I'm just bad at singing right now... LOL When I was younger, I could hit even higher falsetto. Sad that it went away... maybe it just needs to be re-unlocked somehow When you say that your "mixed voice is just not there", does that mean that your passagi are higher than you would expect from your actual range ? |
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yex00
Vocal Beginner
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Join Date: December 2019
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Post by yex00 on Aug 29, 2022 0:31:44 GMT
While these threads are almost always cringe I do enjoy the self indulgence. I sound like a pretty standard classic rock tenor, rapsy high range and everything. My range is F2-G#5. I can sing in full voice up to G#5 and it's all usable. I can hit F1 sometimes but it's not really usable, my lowest usable note is G#2. But I don't spend much time there, nearly all my singing is spent in fourth and fifth octave belting. I'm starting to use more of my lower range as it's gained a richer texture as I've gotten older but the most interesting part of my voice is still the raspy high range.
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