hey chris liepe here i have been looking for a long time for isolated vocals for tool the pot
and it's been requested many many times since i started doing these isolated vocal analyses
i have not been able to find or create an adequate tool the pot maynard vocal that is fit for
analyzing so i'm going to take a risk here and i i didn't want to do like some live thing i want
to go to the studio recording and i want to study his vocals so if i'm not able to play very much
here and there it's because i'm trying to keep the video up and not have it be blocked
but let's do what we can here let's dive in let's see what happens let's analyze
this incredible performance i'm likely going to talk about and demonstrate a lot of things that
if you're a singer or an aspiring singer you're going to need to have a basic understanding of
the fundamentals to relate to if you'd like me to help you get the fundamentals of your voice down
and learn how to feel out your voice ask the right questions try the right things and do so without
injury all while maintaining a wonderful level of interest in your voice click that link below and
join my free voice course that's the best place to start there's a lot of other ways to work with me
from there but i look forward to helping you in a deeper way if you indeed want to dig in all right
let's get into this who are you to wave your finger you must have been out your hair
i hold deep
now this is thinner than we sometimes hear maynard who are you to wave your finger
i'm playing with placement a little bit figuring out what kind of tone he's using
he's not using a lot of air he's not either in his in his uh you know pure head voice either who
are you to wave your finger nor is it who are you to wave your feet who are you to
wave your finger this is a quiet mix this is kind of what i like to call the singing your car
quietly voice you ever notice when you're kind of singing quietly and not caring and sort of humming
you can hit these notes that are thin and pure and effortless that's kind of where
he's at right now it's really cool to hear him doing that and burn the evidence down
notice how he's still so calm and thin intentionally it's just gonna i'm sure
create a huge contrast later not burn the evidence down bernie not head voice either
he's not burn the evidence down it's very very congruent and thin beautiful
experiment with that he got really high there without exposing his vocal break
and without uh getting too ferocious
there's that transition
you must have been adding compression lifting something heavy
finding that you must have been
so same melody here but he's in full chest right
and there's some compression there's some grit talking about
he's bringing that in being able to moderate that and sing that note about
quiet mix you're quiet humming in the car voice come on
till you pull versus out
so the the cool thing well there's many cool things but do you hear how he sort
of starts with this whisper i must have been sawing out of that whisper
this is this is not just a whisper this is not just you must
that that's he's it's a different way of using compression there right having a handle on the
multiple ways to use compression is what's allowing him to do all of this right you must
experiment with airflow holding back air moving around pitches
i'm just going to call this out for those of you who are watching for the first time
i am going to make noises and i'm going to experiment that's part of the fun that
i have doing this it doesn't it doesn't do anything for me if i just sit here and listen
so i have to make these noises and hopefully they help you learn as i experiment with my
voice help you learn about your voice because that's ultimately the reason i'm doing these
that run was incredible and i want to listen to it again that's how he brightens up there
the tonal variance there is just beautiful
the amount of compression he's applying this isn't just i
i
i now oftentimes the more compression you add there's a sweet spot sometimes compression can
help you with vocal agility if you're adding the right amount sometimes if you're adding too much
compression it's harder to move around notes he's found that sweet spot area with his voice here
we can still have a little bit of grit but it's not messing with his agility in other words
he's not like trying to drag this compression ball and chain behind him so that he has
enough beef to his voice he's he's found it he's found a way for it to be an accessory
to the line and still be agile still be really free with it
hear that huge sigh that hey
hey it's almost like there's this crack into head voice very very subtly
creates more desperation there oh that's golden
listen to the difference in the way that he
approached those two same notes right but he was on
he's up there and it was thinner right
like it was in the first verse those those vowels it's harder to be up there and and be thick right
oh yeah you can totally do it but i liked the way he brought us into that right it just it wasn't
it wasn't completely you know but then in the next line when he goes
he's up there with a more broken bright yeah versus yeah
yeah yeah hear how he's using the vowels to create more dynamics this isn't a crutch this
is leading you through a vocal journey and there's nobody better than maynard at doing that so subtle
oh
his words the innocence the innocence
he spends a lot of time resonating with these clothes i'm really exaggerating it but
it doesn't say in us innocence innocence
you hear his mouth kind of closing around things and it creates this really neat
nasality that's unique to him
let's talk about that yeah abandoning into that note here's the way that i approach that
and different people have different ways of doing this uh choose a note that's really high
and then push up to it until you break and then lean into that break
there's my note
and then feel that sensation of your false chords taking over your note
this takes a lot of coordination i can help more with this if you join my courses
start with my free course but if you're able to push up to it start cracking and
then lean into that and then you can remove the note and let your false chords take over
and then add more compression to make it less brutal sounding
now it's more consistent right yeah and change the way your mouth is shaped too if you want
like a more you know herculean sort of sound or if you want a brighter sound yeah versus
experiment with those sorts of things but this is why i get the picture of him kind of
sliding up his range and he's doing it very seamlessly but it's this idea that you're
sliding up your range and then abandoning into this screen instead of just like
forcing it that's why it sounds so free and cool
who are you
my
trails off into that
breathy compression right where a loud supported compressed whisper adding the note behind it
but he's coming off of my so many neat things that can happen with
your voice when you experiment with those different textures go maynard
oh
he did something really neat there that i want to call out he does this a lot
then i'm going to sing the line then i'm going to say some more he will come in and resonate over
the closed mouth and sort of hum before the line comes in and it's so golden it is such an amazing
voice just kind of you know slithers in and then delivers its attack
he does this even when he's not uh trying to be sneaky you know you listen to all these other
maynard songs there's a sense there's these pre lines or these pre-expressions so cool
foreign
same sort of control over that healthy
balance of compression and closure and vowels all these things working together
how through the nose that was no no
which is actually harder to do it's like this cat's gonna claw at you before he finishes
notice how he's he's intentionally exploiting
the different vowel opportunities there and the word hi hi
and taking advantage of it almost in a rhythmic way super cool
nice run
help me
so harnessing the power ah the crow and letting it break apart
on that pitch this is sort of like what i talked about abandoning into this grit
that's what he's doing right it starts
there's that crow thing that's happening highly nasal you can hear it all over what he's doing
partic particularly here at the end thanks so much for watching and experimenting with me
again if you'd like more help with your own voice click that link below and join my free course
leave suggestions on other songs you'd like me to react to and analyze and experiment with
thank you so much to everybody who requested this one that's why this video got made
i hope i was able to leave more in than i was able to take out we'll see you for more