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.

Thanks man!

That's nice to hear! :)

It was the same for me with many of them too!

Thanks! Have you seen my update video on that topic?

@@ToniLinke ohh no I did not, thank you for letting me know about it!!

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.

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 :)

Haha, thanks! That's the best place in these quarantine times :D epidodes on other effects like death growl and polyphonic splitting coming soon!

But I must have done something wrong because I lost my voice for the next 2-3 days 😢

Nice!

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! :)

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.

Haha, nice!

I have made one already! Check out episode 1 of my Collected Monologues series! :)

Haha, thanks for the nice words!

It was actually really good🤣

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!

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 :)

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!!!!!

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!

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 !

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'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!

Anywhere I could :) I'm mostly self-trained, but getting into Complete Vocal Technique helped a lot with categorizing the sounds.

Yes, mostly twangy false fold distortion, even though the twang is not always obvious!

I'm sure you could! :)

Thank you sir!! Please post more videos!

I guess I'd have to hear it :) do you have Facebook?

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.

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 🤘🏻

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.

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

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 :)

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

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

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

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! :)

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 🙏

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.

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".

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 !

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 :)

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!

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).

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.

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'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!

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.

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

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! :)

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'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.

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!

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 :)

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)

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.

You can hit me up on Facebook!

@@ToniLinke Done!

I'm currently being quarantined with people that don't want to hear me scream all day, so the car is the best option :)

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.

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 🤘🏻🤘🏻🙏🙏🍻🍻

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 kzfaq.info/get/bejne/fbJ9hNhk3L2wf3k.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 kzfaq.info/get/bejne/Y92UftKoq76rmIU.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 would try to start from a clean sound at that pitch first and then just try to add the distortion without anything else coming in. If creaking happens, that's a sign you either aren't giving it enough energy or resisting a bit too much at the vocal fold level. Maybe you can think more of a "forward, aggressive" affect while attempting the high notes? Good luck!

@@ToniLinke well when i do that, the rasp that i always do comes out. But thats a different technique of rasp, the fry technique. Like fry scream, but with a normal singing voice instead. I cant bypass it to unlock my false cords in high notes

@@Queretonix interesting! I guess I'd have to hear it in person then.

@@ToniLinke ill link you with my fb

@@ToniLinke m.facebook.com/profile.php please message me

Yes, I think so! Can you try it 1) very softly and 2) very twangy and see if one of the two works better?

@@ToniLinke can i give u an example of how i sound?

@@marselabusalman9927 sure, you can hit me up on Facebook (facebook.com/toni.david.linke) if you have it!

@@ToniLinke hey its says page not found or something like this

@@marselabusalman9927 what's your facebook?

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) :)

I think the first one is false fold distortion (super cool second subharmonic by the way!) and the one at the end of the video could be rattle. I think I can get both of these sounds too (although not as well as you), with the second one feeling more like arytenoid rattle, but I haven't managed to scope them yet so it's only speculation.

@@ToniLinke By the way, for those of us who don't know about subharmonics, is it how the harmonic scale works, only inverted? How is this possible!

@@dudemake7766 yes

Good question! I hear distortion in that case, but often I also hear combinations with creaking and rattle with Chris Cornell.

@@ToniLinke Thanks, when you say distortion, do you mean hypercompression as you refer to it in your videos?

@@lyndonbailey3965 nope, I hear twang-based distortion with him

@@ToniLinke Thanks for responding and taking the time out, I know you must be very busy :)

Literally why I looked this subject up lol

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!