hey Chris Liepe here with special guest Lukas Magyar from the band
Veil of Maya with the easy way to save Distortion and screams
if you want to work more with Lucas and discover how you can put some extreme
aggressive sounds in your voice without trashing it and being able to do these
things for the Long Haul over extended periods of time click the link below and join the free
warm-ups course Lucas magyar's warm-ups to outrun vocal fatigue we like to start with a
buzzer exercise which is essentially just going to help you understand how to create this sound
really easily kind of as a sound effect and that sounds a little bit like this foreign
there's all sorts of ways that I could place that walk me through how exactly
you're placing that sure so I like to focus on the Distortion being up here and kind
of in the cheekbones and less down in like the neck area okay sounds a little nasally
okay so as opposed to it's not a grunt it's a buzzer okay yep um so spend some time with
that get comfortable with it make sure that it's something that you can go to time and time again
consistently so if you're like hey Lucas do the buzzer exercise like and it's pretty much going
to be in the spot that I want it to be in every single time so you're contextualizing it like hey
Lucas like work work it in like that so you're not having to think too much about it yeah you
want it to just be easy and that's kind of the first step is just make sure you can create that
sharp gritty sound just anytime okay what's the next step from there now we have to make it sound
musical right because you don't really want to put that into a song people aren't really going
to want to listen to it that way so now we gotta mess around with the facial structure and things
to make sure that it sounds like we're singing so get into the buzzer sound and then just reshape
and reposition your mouth and tongue and just kind of see where it leads you uh so that's a huge
question that that I get from from people a lot is well I can make stupid sounds that feel okay
but as soon as I start to make it musical I can't it starts to feel bad how do you contextualize it
into music and still have it feel okay almost by not forcing it into context too soon so making
the buzzer and then jumping into trying to produce that within the context of a song
might be a little bit tricky for some people I would start with just the vowels themselves hey
right that's like the buzzer exercise got the vowels got it okay keeping it nasal right keep it
it's easy on all to let it drop but we want to keep it
so yeah you're already starting to sort of create with it ease more into the sound
that is singing and we essentially just add space here like if you watch I'm gonna take
the E vowel sound I'm gonna execute the buzzer and then I'm just gonna
add space here and you'll be able to see and watch what it does to the sound e e
yeah so I still have that Distortion in there but all of a sudden the vowel is
nice and rounded you're getting a little bit more like present bass in there it got
more so sharp and nasally yeah it's not so sharp and nasally but it's actually a
little bit more mild too like it sounds it automatically sounds more musical so
you go to an extreme to get the sensation and then you sort of dial back the extreme
and I feel like when I heard you do it and as I was sort of emulating what you were doing I
not only changed here but I had this idea of like I'm gonna I'm gonna back off on the effect and be
just a little bit more of a vocalist and the the byproduct of that was that I I felt like I was I
was pushing less a little bit less is that is that in the ballpark from the core or from here well I
felt like I was engaging this in a different way that allowed me to to exude less energy sort of
fall into my voice instead of push as much as I was doing with the sound effect yeah right versus
like I'm actually more relaxed as I dial it back sure yeah yeah I think it's easy for people to
assume that I need to create Distortion which is usually pretty loud when we create it so I
need to really just yell and give it everything I I have in order to create it but you can create
Distortion in a very controlled manner so as you're working to make this more musical you
actually will take it to real music but in a non-threatening way walk us through that yeah
so again from the bass start with the buzzer then try to round out the vowel sound and then
see what happens when you do put it into a phrase so those steps would look something like this and
[Music]
hey raise raise
I can take a little higher
um so I'm kind of fluctuating the pitch but I'm kind of staying in the same ballpark just
to get an idea of how it feels and how it moves because that's another important thing is when I
go up where's where am I going to find that sound because it might not always be where
you think it's going to end up when you change the pitch and then as you connect it to other
musical phrases that aren't focused particularly on Distortion it becomes exponentially more
musical yeah you can go in and out of that Dynamic race from your lifeless Avatar this is really key
what he did there was focus on making the distorted sound in all the balances that
he's created and then he went into back into sort of normal singing so as you're dialing
this stuff in let yourself compartmentalize like that experiment with the sound be extreme with
it be kind of silly with it and extreme with it then attach it to singing you already do
and you already know well and then over time as you practice dialing back this and dialing
up you're comfortable singing you fuse the two approaches this is safe this is sure fire this
is how it works and it's non-threatening how does this relate to more extreme sounds like
the second sample we heard you do earlier go from to ah okay now now go from one to the other
okay it actually feels like as I'm I'm opening it up and moving moving the placement around that the
resonation is going back the resonance is going seems to be how I sense it a lot too because it's
just more aggressive louder sounds kind of move back kind of move backward okay so walk us through
that progression now okay so I'm gonna kind of give it three stages light moderate and then just
all the way okay and I'll separate them and then I'll just Glide between all of them okay and okay
so you're almost removing the voice do you work off of a higher base pitch I always
encourage people to just go with what's easiest to produce so in there I was kind
of going off of the context of the songs which was a higher pitch yeah hey hey hey
oh
take any note that you can sing and okay apply the buzzer to it so you get a little
bit of distortion okay cool I can do that and then I'll make that extreme yep okay
if you'd like to explore these sounds in my Approach even more click the link below and
join our free course Lucas magyar's warm-ups to outrun vocal fatigue let's see for more