@Draven Grey Interesting. We agree Halford does have lower harmonics in his voice. Are there techniques to get those types of harmonics Halford gets for people who don't have the same length vocal tract Halford does? Maybe an acoustic position or a type of constriction that would at least get someone closer to such low harmonics?

@Draven Grey Thank you!

I 'm inyterested in producing lower overtones in my grit, so my question is about hthe following quote from you: "E.g. A screaming student of mine came to me because his screams were pushed, wearing out his voice, and making him afraid of hurting himself. Once we got him past old habits that he was doing to feel the intensity he wanted, he's constantly surprised by how much lighter and more relaxed it feels than he expects it to, even months into the new feeling. He then learned to control that intense hyoid pull (old habit) as a fine motor skill taht he can use to add lower overtones—bringing a 4th/5th or even octave below to the forefront of the sound. In other words, he may feel like he's using falsetto with distortion for a very comfortable and brutal sounding scream on B4, but he can adjust his pulling down on his larynx (which is felt in the hyoid area) to make it sound like he's screaming an E4 or B3. And when he wants to stay on the B4 without the extra intensity of the hyoid pull that makes him feel more emotionally involved, he now puts that "pull" into the soft palate. It helps him feel the emotion without underlying relaxed technique falling apart." My question is about that pull into the soft palate that your student now does instead of an "intense hyoid pull." It's my understanding that constriction takes place in one part of the throat and that constriction is activated by the hyoid pull. The harder the pull, the more constriction you get. Apparently a hard hyoid pull is not safe though. Okay! So, if your student is getting the same effect from pulling into the soft palate, isn't that still constricting in the same place as the hyoid pull constricts but just a different way of visualizing the process? Whatever the piece of anatomy is called that does the constricting, whether you activate it with a hyoid pull or a pull into the soft palate, wouldn't the end result be the same but just visualizing the constriction differently? I have tried pulling into the soft palate and it works but I feel as much or maybe more strain doing that than when I do a hyoid pull and the end result still seems to be constricting the same part of the throat, so what makes the pull into the soft palate safer?

@Draven Grey Thank you. Good to see you back on the forum!

You asked for suggestions so how about this singer: Her name is Alice Rose Lyn https://www.youtube.com/watch?v=dEEG9hUDd2E

I have another suggestion. This vocalist, while well known, isn't a household name and he seems quite approachable. He's Todd La Torre: the man who replaced Geoff Tate in Queensryche and did quite a good job of it. A commenter on one of his posts mentioned meeting La Torre on a cruise and having a nice conversation with him about vocal pedagogy.

@Draven Grey Thanks! May I just clarify one thing? I feel heavy vibrations on or around my soft palate when I do a rev on say, a G3 or A3. When I bring the pitch up to maybe a D4 or so, those vibrations in or around the soft palate get much less intense, less rumbly. They almost vanish. As for the sound, there's some distortion as I go up in pitch but around D4 or so, the "rev" quality disappears. I just get airy distortion past that. It no longer sounds like an engine. Is there any way to keep the engine sound all the way up to say, F#4 or G4?

@Draven Grey Oh, great! Thank you! That does gave a rumbly feel, almost like growl. I haven't noticed other coaches talking about using that "oi" placement but it definitely has some cool uses!

I had not seen this! I have tried this many, many times, especially when I was trying to get a Rob Zombie Dragula type distortion. In case you haven't heard that song here's a link https://www.youtube.com/watch?v=EqQuihD0hoI My thing with using this type of distortion is that while it's great for bringing out the bassy sub harmonics (almost making it sound like it's sung an octave lower except it still has the sharpness or edge of the octave it's in, despite having those subharmonics, but I could never get the full amount of distortion above about a D4. As I try to raise the pitch, I lose the tightness of the sounds. It starts to sound "airy", like the cords can't maintain their closure and that airiness makes it sound weak and wimpy sounding and wrecks the whole thing for me. I had resigned myself to never being able to sing Dragula like Rob Zombie sings it :( Now, you're saying, as you increase in pitch, left the resonance or lift the placement (I'm not which you said to lift). I have heard you say that this becomes necessary because the cords are looser when they're around middle C or D4 but they get tighter the higher you go. I can lift but i doing so i always lose some of the nature of this rev type grit that you can easily get at G3 or A3 or C4. As I started raising the placement above or around a D4 I still got grit, but not the really thick grit with that really have bassiness. If I didn't lift the placement, I got the airiness I described. In fact, even with raising the placement, it does get a little more airy. Why is it not possible to get rev type grit like this without having to settle for less distortion and/or airiness in the higher pitches? We're not trying to create distortion by trying to in the true folds, so why should it matter if the true folds are loose or tight at any given pitch? The grit comes from the false folds and they're not tighter as you go up in pitch are they? As long as the false folds don't get tighter as you increase pitch (and we are getting grit from the false folds) why does it matter whether we're are at C4 where the true fold are relatively loose or at G4 or A4 where they are considerably tighter?