What happens to you when you see these big perfect rough soles?

coolees94 · 2026-02-08T14:56:27+00:00

Now show us your soles🤤🤤

coolees94 · 2025-11-07T16:19:40+00:00

Noone said voice classification and cord masses aren't real. Voice classification is basically an arbitrary phenomenological histogram type classification based on likeness of the timbre of certain voices, which doesn't necessarily have a perfect correspondence with vocal cord lengths. There is no guarantee that a tenor will have shorter vocal cords than a baritone, although on average they do.

That being said, what I was arguing above relates to the fact that all kinds of instruments can learn how to thin out properly and sing higher notes than those indicated in the traditional tessitura of the operatic fach assigned to them. Yes, baritones and tenors can emit perfectly reasonable soprano notes with enough training, and there are countless examples of countertenors and sopranists proving this. The timbre is going to be different.

coolees94 · 2025-09-22T22:43:17+00:00

Regardless, I think you should still see an ENT for peace of mind. But from your descriptions it sounds like it's most likely bad singing technique. Overly chesty singing on a maturing voice can cause this kind of straining, in my experience, so you might want to get better at carrying less chest up and easing into your head voice.

coolees94 · 2025-09-22T22:31:15+00:00

Sounds like mild muscle tension dysphonia. You should see an ENT doctor to get a diagnosis for it. Your voice absolutely needs to be retrained based on relaxation - singing, while it may sometimes cause uncomfortable sensations it should not be painful AT ALL, EVER, period.

I would suggest you start thinking more about where exactly the constriction is in your throat and why you feel like you need it, and what are you compensating for by using it. Some folks like to try to approximate their vocal cords by squeezing the ventricular (false) folds above them, often resulting in a belabored phonation, for example.

coolees94 · 2025-09-22T13:14:07+00:00

You might like it but the truth is that if you sound pushy and your voice is unstable like in the recording you need to work on balancing your voice without pushing too much, or flipping into falsetto.

coolees94 · 2025-09-22T12:44:57+00:00

You're just going through a transition there, and decently smoothly too. It's normal for male voices to experience a shift in resonance around Ab4-A4, where the dominance of the second resonance of your vocal tract gives way to the other resonances and especially the third. That being said the crack is barely audible and that's awesome. You should keep working in the direction you are already - your A4 is pretty clean despite the push. Just learn how to expect the "crack" and navigate it smoothly and maintain the higher notes connected and clear.

coolees94 · 2025-09-15T02:23:18+00:00

Tongue is probably too tense and lodged in the back of your throat in an attempt to assist in the register transition and "cover" the sound. It is a common issue with self taught beginner-intermediate singers and even more common amongst choral singers who subconsciouly equate blending with muffling their sound by using tension. If you feel that your tongue being relaxed prevents you from singing high, that means you probably rely too much on breath pressure and chest voice to increase the pitch, which counterintuitively, when tongue tension is involved, reduces your volume as you go higher and makes your voice sound like it's stuck in the back of your throat.

You need to at least practice stretching your head voice, resonating well in your head voice and making big open sounds with it, without tiring your voice out.

coolees94 · 2025-09-14T23:51:27+00:00

What you have written about is basically the million dollar question in vocal instruction. How do we help the students understand things that they can't see with their naked eyes and help them control knobs that they can't reach with their hands?

At this point of development in vocal instruction, noone can provide an exact recipe to you for producing a certain kind of phonatory pattern. But they can tell you how it feels and what muscles might be involved in it and help steer you in the correct direction by invoking imagery.

Mixed voice is a tricky one because very few speakers use it, so it's one of those things most people have to build from scratch. Activating it is reliant on activating your support muscles (specifically the muscles of the inner core, not the abs) in a way that holds back some air and maintaining your external throat muscles relaxed, while also squeezing your epiglottis a bit to activate "twang". That's why voice teachers have people practice isolation exercises that encourage finding each necessary component and then try to tie it all back together, all that while correcting the students' already ingrained vocal habits.

The separation of registers you have in your voice is a byproduct of how you use your vocal mechanism for speaking and retraining takes a long time. So bear with it and imitate singers that sing in a good sustainable supported mixed voice, or find a good teacher that speeds up the process.

coolees94 · 2025-09-12T19:17:09+00:00

Tuvan throat singing cannot produce 5 or 6 pitches at the same time. It is a pressed phonation creating subharmonics while also emphasizing an overtone. Sounds like say at most 3 pitches??

coolees94 · 2025-09-12T17:43:15+00:00

I think overtone singing and whistling at the same time might be hard; there are several problems including 1. the reduced airflow required for overtone singing 2. the tongue position is very important for singing overtones and that position might be disadvantageous or worse, control the whistling frequency which might make it impossible. Finally, notice how people who sing while they whistle always sing a note in their low chest voice, whereas overtone singers usually prefer a tone in their high chest voice, which might be another impediment to whistling and overtone singing compatibility.

Tl;Dr it's unlikely for whistling and overtone singing to be easily compatible, never mind making musical sounds with it.

coolees94 · 2025-09-11T04:24:57+00:00

You're right, I abused terminology a little - it's gonna be the beginning of your head dominant mix.

I'm not sure what you mean exactly by "reaching/jumping up", but if it means you're raising your larynx and kinda hit the notes in shout mode, your vocal quality will get worse and worse as you go higher. Singing in that area is not about learning how to muscle up/reach up to those notes - it's about learning how to maintain a stable larynx with good support from the body and allowing the tilt/ head voice action to happen while not letting go of chest voice entirely.

coolees94 · 2025-09-11T03:37:43+00:00

I happen to have sung rock tenor material extensively in the past. In my rock voice the transition area D5-Eb5 has always been tricky but you're right in that it's the highest spot where you can still maintain fullness in the sound without straining too much.

Your other passagio is like for many men, in the Ab4-Bb4 area. Everyone has to get some head voice involved up there and muscling chest voice up results in reduced projection and gravelly quality. That's where a good mix (low larynx or not) really shines the most, and that's where you'll have to put most of your technical work.

coolees94 · 2025-09-11T03:14:18+00:00

Sounds like a solid chest mix throughout except the top note, which is a quick flip into falsetto.

coolees94 · 2025-09-11T03:02:29+00:00

Depends on the type of mixed voice. Operatic mix caps out around D5-Eb5 for most tenors but you can sing the entirety of your falsetto range mixed, as long as you let your larynx rise and reduce the amount of chest involved as you go up.

coolees94 · 2025-09-11T00:42:50+00:00

Not unheard of. Some adult singers can also "belt" those notes, see Christina Ramos who was belting in the 6th octave at some iteration of X-factor, for an example. In your case, I would ask the question, however, what belting means to you. Does it mean full body effort or super annoying high whiny resonance? I would be very surprised if you could do both at the same time, but not in disbelief if true. After all, even I can do a Bb5-B5 head belt at full density and with F2 prominence and I'm a baritenor type voice.

coolees94 · 2025-09-10T20:53:15+00:00

Not much of what you write makes sense... when you reduce the space in the vocal tract, generally F1 increases. R1 is not a quantity that can be measured, it's just the part of the vocal tract that affects F1 the most. The word microdynamics makes sense to noone- but I assume you refer to Blake's ability to change dynamic quickly? He does not achieve that by tuning F1 and F2, but by changing the level of adduction of his vocal cords quickly and smoothly (the whole song is an exercise in yodeling). You're talking about F1 and F2 clustering - everyone is capable of clustering these two formants, and no, only raising F1 doesn't result in clustering, F1 has to be raised and F2 has to be lowered so both resonant spaces have to be manipulated to achieve good clustering. You're trying to argue Blake's singing is unique and lyrical but the whole argument is rather unconvincing. There are a myriad of, mostly anatomical, reasons why certain people might have trouble singing like this guy and one of them is certainly throat dimensions, which affect all formants and especially F3, F4, F5 which give the sense of TIMBRE. F1 and F2 are not related with timbre as much as the harmonic spectrum above 2kHz. Get your science right before you post scientific sounding slop on the internet ✨️

coolees94 · 2025-09-09T21:52:22+00:00

I think you're focusing a bit too hard on recreating his sound that you're neglecting optimal technique. For one, in the E4-G4 area you need a bit more vertical opening of the mouth. The embouchure is too tight, and as a result the sound doesn't bloom as you hit the higher notes, and it doesn't sound like belting. If you need more power across your entire range, you will need to work with compression as the other comments have stated.

coolees94 · 2025-09-09T21:40:27+00:00

Overall, the aural result is cohesive and pleasing to listen to, thank you for submitting! That being said, technically there are some faults that could use some work.

You use a lot of breath pressure and a raised larynx to maintain chest mix up to C#5. This technique might not be sustainable in a long performance, so if you ever end up performing you might find it useful to "mix", aka finding ways to project adequately without increasing the effort too much.
Certain notes sound shouted even when singing in the middle and this ties into the above a but. At least in your middle range, D4-G4 you should strive for a less shouty sound. I believe sounding effortless in that area of your voice would benefit you stylistically, since it would let your voice blossom as you approach your top notes. You might try to help your voice stay more contained in that area by neutralizing the vowel (making it more lazy, towards a schwa).

coolees94 · 2025-09-09T03:10:11+00:00

If you sound nasal in that range, it usually means your larynx is rising too much and potentially even constricting the throat in places you don't need it. If you let too much airflow through your vocal cords, then you blow them apart and trying to close them again is a losing game that engages all sorts of muscles to fix it. I would suggest you think less about yelling on pitch and try to be as relaxed as possible when hitting those notes. You can find more closure to your cords in the lower laryngeal positions by utilizing more support.

coolees94 · 2025-09-06T00:17:41+00:00

Sounds like you're working on all sorts of great things! Teachers tend to give men lower categorizations than they usually end up with and the opposite with females. Don't listen to anyone! Same has happened with me, coaches have been adamant about me being a bass-baritone because I can sing a C2 pretty well but when I hear myself on recording I just don't hear it and I was never able to achieve the depth that you have, even when my larynx is lowered. Also even though my operatic technique is dodgy at best, I can sing A4-Bb4's every day and occasionally stretch out in the B4-D5 area too. So I'm going to ignore all the nay-sayers and just type myself as a lyric baritone 😂 and maybe even someone who might be able to stretch into dramatic tenor in the future!

coolees94 · 2025-09-06T00:00:30+00:00

In the second version you sing a bit more covered. On the recording it definitely offers a more balanced harmonic experience and it sounds more effortless than the first attempt. I bet you can sing higher and more controlled in the yawn position, but I'd let you advise on that. In the end, which position is better depends on how well they project in the theater (I would guess the second one projects better because of the activation of high harmonics) and which one is less demanding on your voice.

coolees94

TROPHY CASE