hey chris liepe here with a vocal analysis of a live performance from pink floyd from the early
80s run like hell i'm really excited to do this and compare and contrast david gilmour's vocals
with roger waters vocals how they interact their different timbres their different approaches
what an incredible performance this is going to be fun if you'd like more help with your own voice in
light of some of the things that i'm talking about in this video click the link below and join my
free voice course that's the best place to start and i have a very unconventional approach with
how i help you discover ways that you can use your voice based on what you love about other people's
voices your heroes not just exercises or regimes or tricks we work off of inspiration and feel
right off the bat i love analyzing spoken things in light of people's singing and this is just this
now he's not thinking about technique here he's just kind of groaning and yelling
but particularly with david gilmar's voice
the amount of compression that he uses to get that sort of trucker sound out of his voice
he's using a lot of compression this is moderating airflow this isn't just shouting
are there any paranoids in the audience tonight
is there anyone who worries about things we'll never get tired of the guitar sound pathetic
this is for all the weak people in the audience
now listen there it's really important when we are considering our own voice listen to how weak
weak people this is for all the weak people into the audience listen to how he arced that phrase
it's not even sung but it's almost like his voice is musically speaking
it with the amount of intensity with the way that he's gone in and out
of different sounds and and levels of of you know compression this is how great singers
sing great it's always a dance and varied whereas most speaking is very monotone and
less expressive so stage speaking is a great place to start when we're looking to improve our voice
is there anyone here who's weak this is for you it's called run like hell
it's all our clubs
listen how his voice cracks there holy god time
he's not afraid to make those sorts of things happen with his voice that informs his confident
variety-oriented singing especially when he's doing some of those yowls later on
now that he's using distortion into the mic there's some delay and effects that
are happening right there but he's letting his voice crack
and he's actually though getting into the whistle register i have not figured out how to do this
as soon as i do and i'm able to use it freely
i will make a video on it but you should know that that's not just a really high head
voice he's allowing himself to access that that whistle register that other resonance up there
that other vocal positioning keep that in mind here's some david gilmour
smile and you're hungry huh now i am exaggerating this a little bit if you listen to the difference
in the way they call and answer a lot of times it's david gilmour down here
with this compressed lifting something heavy try lifting your desk try lifting some weights and try
continuing to talk and see what happens you're using the false cord area above your voice box
but then roger waters will will answer with a little bit higher
lighter mixed sound or upper chest but it's it's not continuing that
it's not that it's it's a lighter a playful whinier sort of sound
really neat
all night
roger has this very worried
i'm worried it's darker it's drawn you typically think that
the higher guy is going to be brighter but he's
and of course i'm really exaggerating it we've almost got this confident grounding
in what david gilmour is doing who's also a bit drawn but a bit brighter his larynx is
a little bit higher i get asked this question all the time is it okay for your larynx to move
around while you're singing yes this is part of what what gives you good unique and dynamic
tonal possibilities don't let your larynx be fixed and of course we're talking about two singers here
but the character between them is uh many ways a difference in larynx position and a difference in
how they use their airflow i'm gonna sing up here like this a little thinner with the drop larynx
and i'm gonna add some compression but i'm gonna be higher and not be afraid of
my voice cracking that's what roger's got going for him david gilmour is down here
even as he gets higher crazy he's using more compression and he almost speaks into his lines
notice that too as we move on i'm going to speak but i'm going to scoop up and i'm going alone i'm
going to stay kind of bright and i'm gonna shout a little bit but it's not complete shouting because
it's it's contain shouting and you hear this in other david gilmour performances too it's not
just shouting but he has this speech level engagement combined with this gruffness that
really especially as he's aged really has become a unique wonderful signature sound
different very different approaches just one note apart
it's fun having this ping-ponging vocal thing going back and forth it doesn't mean that we
can't experiment with doing the same thing in our own voice lots of great vocalists do this
those sounds
when was the last time you did that with your own voice in a singing context i realized that those
are kind of sound effect-y sorts of things but if you ever just let your voice cut loose like that
and see what it does see what kind of qualities are brought out in your voice that you wouldn't
normally recognize and you wouldn't normally feel give it a try that's one
of the reasons these guys are so great from a singing expressive point of view
now there there was quite a bit more false chord engagement happening
where what we're doing is we're holding back air and then we're letting
we're not going for a particular pitch but as soon as we release the air
we're we're trapping it again like we're lifting something heavy we're also aiming for a pitch
that our voice will crack on so that our vocal cords don't fully engage and then we get this neat
sort of sound it's a it's a it's an atonal sort of pitchless sound
and then he's letting that whistle register creep in there a little bit
thanks so much for watching and comparing and contrasting ping pong between these two
iconic vocalists instrumentalists again if you'd like more help with
your own voice click that link below and join my free course see for more