Thanks! Yeah it's kind of counterintuitive, but once you've found the small "track" where it works it's easy to stay in it

Thank you! :)

Haha, have you heard Phil Minton? He does that all the time :D

Yes! Air Splitting!

I might make a video on whistle in general where I can include whistle screaming later on :)

Yes, there is a chance! I don't think I felt much distortion there (it's usually hard for me to get it in falsetto) but the false folds are definitely constricted so maybe there's a bit of it in there!

I would say that on closed vowels, you'd need a bit more pressure (but still a similar flow) because the smaller mouth opening makes for a greater resistance. I actually sometimes struggle to get splitting on closed vowels too, so I think it makes most sense to practice this stuff on a day where splitting in general is very easy (instead of trying to force it on a day where even the open vowels aren't easy to achieve).

@@ToniLinke Thank You very much! Your reply are very helpful for me

They can, if you produce them inefficiently (by pushing too hard or constricting too much) or if you just overdo them, but that's true for all singing techniques. I wouldn't teach these sounds if I didn't think they can be produced in a healthy way :) I can do all of these effects without irritating my voice, but while I am sure that techniques like false fold distortion and creaking are very sustainable, I haven't sung a whole concert on a splitting sound yet :D so I guess, with most sounds it's more about different amounts of riskiness than it being inherently damaging. Your body will tell you immediately if you're doing something wrong (coughing, getting tired, feeling tense...), and as long as you are honest to yourself and don't ignore these signs, there's no reason to be afraid of experimenting :)

@@ToniLinke Alright man thanks! I'll definitely try them out tomorrow when I practice

For Air Splitting, I feel like I'm just blowing more air through the same "tunnel" that I've had on the clean sound before (the exact placement sensation of which largely depends on the sound colour), and the tension that I feel emerge is just the effort to don't give in to that extra airflow but instead maintain the setting that you had before. Also, keep in mind that placement sensations are highly individual and don't always reflect what is actually happening, often they are just a side effect of how high or bright we sing and might lead to misleading conclusions.

@9:58 was a doggy

Hey, it seems to me that this is a very strong overtone from her vowel. Microphones often boost the 1-2kHz range and the strong audible octave above the pitch she's singing is about 1390Hz, so your ear could be fooled by that. So I hear no splitting technique, but you could think of it as a form of overtone singing, even though I doubt that it sounds exactly like that without amplification :)

@@ToniLinke I was thinking the same, the only other example I could find was a specific Celine Dion's "Quand on a que l'amour".

@@ToniLinke Can hear it here as well even though it is less perceptible: kzfaq.info/get/bejne/eZanrcR1p7i7pqs.html

@@ToniLinke Here you can compare various versions of it, the phenomenon was more present earlier in her career when the register coordination was still intact: kzfaq.info/get/bejne/ftCPnLV41KnDhok.html In the version at 2:48 you can actually hear the microphone amplification going crazy and you can hear the overtone dominate almost immediately.

Hehe, yeah these splitting effects are a bit out of this world and as they're not related to anything we already can do intuitively, they're also quite hard to teach. By the way, would you say the effect I call death growl is what you do when false cord screaming? :)

Mmmmm it's probably in that family? Hard to know for sure lol, I think I struggle to translate what things should sound like in my anatomy since I'm smaller and more high pitch etc, I don't know if I'm actually doing the same techniques the same way coz I always seem to sound different. Not sure how close I should be able to get, if that makes sense? Some of the sounds you made also sound more like my newer false cord style than the one I used in my cover. One way someone explained to me is my older style is more like "breath distortion" and my newer style is actually using more of my actual false folds. It's all very confusing tbh! Especially with not many small females making similar sounds so I can compare. I think that's my biggest worry about fry too, like am I doing it wrong, or am I stuck with this thin sound because my vocal folds are smaller or whatever it is that causes the higher pitch?? Like even if I can get more consistency, is it all in vain? XD

@@DestroyerMariko Just watched your false cord tutorial, I think it's the same thing as my death growl :) would you say it's the same foundation as what you've used for your Killswitch Engage cover? That one to me sounds like a high falsetto death growl, something that works much better in your voice than mine. Concerning fry I hear many people struggle with projection, and that was also something that took me a lot of time to get, so I guess you can learn to do louder fry screams too. The problem is, there's not really a magical trick to get there, to me it seems like now I'm just succeeding to do the coordinations I tried from very early on, and that just being a tad more efficient and probably having a lucky day made it click once, so from that point on ir was only about getting it consistent and reliable. False cords/death growls are much easier to learn it seems, I guess because they're just building on what we already have (sighing, clearing the throat,...)

Ahahaha yeah I made that for some friends who needed some quick tips, they're better at fry but struggling with FC, it's pretty lazy but thanks for watching! XD The woof style one is what I used for Killswitch, but I don't feel like falsetto doing it, so that's something that always confuses me to hear. Tbh I'm not sure what falsetto really feels like, maybe like the top of my range where there's a subtle not-quite-airy change? But I don't feel like I use it that often, my high vocals seem too "strong" or I dunno how to describe it. I get confused enough whether I should call my highs head voice or some type of mix, I really do find all the conflicting terminology so confusing in the vocal world! I should film something that uses more of that range one day... But yeah, I don't perceive it as having anything to do with my growls tbh, I think I got the tone from just using a LOT of air mostly. What else is happening, I don't know. Now I use more of the "throat singing" tone, seems to help me manage airflow better, so I can do longer passages, and it's also easier to change into high and low sounds. It also changes the sound to be a lot grittier and grumblier though, so it doesn't have that more "pure" sound the woof one gives. Omg I hope I'm not explaining terribly, if it wasn't midnight here I'd be better off just making a quick video probably lol! I definitely think for fry, projection is an issue for me, but sometimes I realise I'm being louder than I thought. Even when that happens though, I mostly hate the tone, and it's very easy to lose it, especially right after I've done lots of singing and FC. I have some public clips on my personal Facebook page (facebook.com/DestroyerMarikoGray) where I just sound like a pterodactyl lol, and there's like the tiniest moment it turns into something nice and then gets shit again the next second. It's very frustrating! But yeah the people I made the microtutorial for actually find fry easier and sound pretty good with very little effort, while I'm still all screechy and scrapey no matter how I play with it, so it just makes me wonder the role of our individual anatomy, particularly for our relatively fragile true folds which I imagine create more variation between us compared to the chunkier false folds where I can get so much lower than I ever thought I should (not knowing much about vocal anatomy tho, I could be way off in this thinking lol). I hope I can work out fry though, there's some things that false cord isn't as good for, I enjoy trying to expand the vocal toolkit. Just maybe not this splitting stuff hahaha, I sometimes play with regular overtones, but this is a whole new area my family probably doesn't need to hear me mucking with during lockdown hahahahahahaha (I probably will at some point tho, can't help myself!) XD

@@DestroyerMariko Yeah, you probably don't start in falsetto for those effects, I just heard some high true fold frequencies in your screaming, so maybe they are doing something fry-ish while you are keeping everything above the true folds vibrating just as for the normal death growl. I've seen your facebook videos, the "pure false cord vs. false cord with grit" thing seems to be about the actual false fold involvement. So while the more "open" approach can be kind of breathy, constricting a bit more and maybe also letting the true folds do fry stuff additionally might make the sound stronger and more sustainable. I guess in my terminology the first one would be an arytenoid-dominant death growl, and the second one would be a false-fold-dominant death growl, maybe in combination with creaking. Complicated, I know :D

Yes, I do teach via Skype and Zoom. Polyphonic Splitting techniques are advanced and there's no common way of teaching them other than the ideas I've gathered here, but if you're up to it we can try :) my e-mail is toni.david.linke@t-online.de

I do, that's my job! You can find all infos on toni-linke.com/lessons :)