hey Chris Liepe here with how to get intense paint peeling screams with a hint of a note
in there sing screaming
[Music]
[Music] it's kind of funny I've been doing this technique for a while but in my recent
work with Will Ramos he's been guiding me through how to growl pitchless screams sigh
into things
by looking again at sighing that actually helps this pitch screaming idea as well so
we're gonna break down this sing scream approach into three steps and before you do anything
else make sure you're properly warmed up Will has helped me a lot with this as well click
the link below enjoy Will's free warm-up course he shows you how to warm up completely for
the extreme harsh vocal sounds that you're going to be doing and this is definitely one
of them step one Psy just like we were doing with will but have an attentiveness to what
your head voice is doing oh I'm gonna let my voice break as its size
but instead of going completely into that upper constriction false chord engagement
like I was doing with will think about my head voice
and then I'm gonna pay attention to whatever note I happen to be putting behind that behind
the upper constriction you see this thing is actually happening slightly underneath
with my primary chords and then the false chords are going over that so we're separating
what's happening with our true chords with what's happening with our false chords
oh and it seems like they're happening at different times but here's the thing this
is another thing that will kind of help me think about differently as you add compression
to this
lifting something heavy holding air back it's engaging this upper constricted area of our
throat in a slightly different way than the psy we're combining the two approaches so
and then try to compress that
I'm sighing I'm sighing and compressing at the same time and I'm not removing I'm not
trying to remove my primary chord engagement instead I'm trying to accentuate it
the next thing is we want to choose a note and we want to practice singing it cleanly
you don't feel
I'm gonna sigh into that note now you don't feel
then I went into my mixed very clean but now and this is step two in your quest for singing
screaming take that clean note sigh into it and try sighing out of it just as you're sighing
out of it kick in the compression so
now you're gonna feel your pitch go down you're gonna feel it all mess up but as you add the
compression back think that note that you just had
[Applause] fun
yeah and you have that note yeah and you have all that beautiful breakup as you learn the
timing and balance of both sighing in and then sighing slightly out of it as you compress
there are these interesting steps and balances that help you get this just right with enough
practice and enough introspection on how things feel now here's step three let it falter because
if we try to compress too much to get too consistent of a sound we will lose our ability
to retain that note we want to be on the edge and if you listen to me do this [Applause]
you can hear these inconsistencies if I can press too much it ends up doing this
we kind of lose the note all together and then begins to sound like something without
any sort of node at all our primary chords can't quite keep engaging
oh it begins to sound more like that which is an awesome thing but it's not really what
we're going for letting it falter going in between a little bit cleaner and a little
bit more broken up and constantly feeling out that balance as you're doing it especially
as you're holding a note out is just fine especially when and this is what we have to
think about a lot especially when we are putting it into some sort of production when you've
got audio compression delay a little bit of distortion on your track and it's sitting
in a mix you end up hearing the sparkle of what your hap what's happening with your voice
and you don't hear the inconsistencies as much listen to my scream in context [Music]
um
[Applause] now that I've talked about it a little bit you can probably hear those inconsistencies
which actually gives it character let me solo it out you're really and then turn off the
delay and the uh Reverb by the way I'm using the end compression I'm using the Howard Benson
plugin here to get a lot of my sound in addition to as you can see just pegging it on the way
in with preamps and using uh limiting and compression on the way in now listen as I
solo it and turn off the effects how volatile it is [Applause]
[Applause] especially as I change pitch a little bit I'm going in and out and that is
totally fine if we think loose and faltery on this we'll have more air so we can hold
things out longer if we think precision and gotta get a certain tone and we're not letting
our voice do what it does is we feel those balances we're not going to be able to hold
things out very long we're going to end up using too much air and not feeling that balance
the way we need to I hope this was helpful again make sure you're good and warmed up
before you try any of this stuff and if you want a great way to warm up certainly been
helping me out click the link below and join will Ramos's free warm-ups course we'll see
you for more