Round 2: BiDS vs Gilad (364 views)

[Steve]

This is Breakfast in D-sharp v Gilad in Round One of the Clip-Off. You have five days exactly to submit your clips, and until midnight EST Thursday, December 1 to vote. December 2 is the Results Day.

The categories for Round One are:
1. Best Usage of Head Voice/Falsetto: Any clip that makes prominent use of the singer's falsetto or head voice (M2 for the vocal nerds out there). The clip doesn't need to be entirely in head voice, it just needs to use it predominantly.
2. Best Usage of Chest Voice: Any clip that makes prominent use of the singer's chest voice. Any reasonably connected-sounding singing, including belts and heavy mix, is elegible.

The teams are free to post their clips, voting commences as soon as they have.

Vote here.

Current Vote Count: 4

[Breakfast in D-sharp]

SPOILER: Click to show

{Best Usage of Head Voice/Falsetto}Buzz Clifford with some beautifully blended head voice and some falsetto in Driftwood (7" version, not the album version which for some unfathomable reason ruined it with a fadeout.)
1:15-end

SPOILER: Click to show

{Best Usage of Chest Voice}
Chestiness (decorated with occasional head voice notes for a bit of contrast) from Lorraine Ellison in You Don't Know Nothing About Love, including some mighty belts.
1:20-2:58

[Gilad]

SPOILER: Click to show

{Best Usage of Head Voice/Falsetto - Matt Bellamy}
1:35 - 3:04, In "Micro Cuts", Bellamy sings entirely in his falsetto register. The verse mostly in the 4th octave and softer, followed by urgent and powerful falsetto up to G5 in the massive chorus. After the chorus there are two sustained A4s followed by a trail down from an almost operatic G♯5. I've decided to use the newly remixed version of the song because Matt's voice is clearer in it.

SPOILER: Click to show

{Best Usage of Chest Voice - Chester Bennington}
1:00 - 2:18, in "Into You", CHESTer utilizes a few different qualities of his chest voice, which is why I thought it'd be good for this category. He starts with his not often used mid-lower register down to pretty resinent B2s. The first chorus shows Bennington's soft and pleasant midrange, the bridge shows more aggressive and wordy mid-4th octave belting, followed by the next chorus which showcases his signature soaring upper 4th octave belts. Chester also provides great harmonies for himself in this song up to mixed D5.