I've heard this term used by you. I think you said it is the most commonly used grit and that it has a smoother sound than compression based grit. I have a few questions about it: Since it is a smoother sound, it it probably used in more melodic rock and metal and not used in something like deathcore? Here's my main question: Since it relies on just what the name suggests, "bleeding air" from the glottis, does that mean it cannot work if you are using perfect vocal cord closure because only "poor vocal cord closure" (in standard contexts) means letting air leak through the cords, since the closure isn't that good and as a result, you can get a whispery sort of sound, even if it's a harsh whisper? I ask that because it's my understanding that one of the main purposes of good cord closure is to prevent a whispery sound since that dries out the throat so much. If my assumption is wrong and you use as good cord closure as in clean singing for bleeding air grit, then if the vocal cords are closed nicely, how does air "bleed' from the glottis?

I wrote about this at the end of the mile long thread about cry shape but I feel like the subject is something to discuss on its own. So essentially the question is, does other people have this mucus buildup after doing distortions even though while singing it feels relaxed and good. I think the hardest part in this whole whole distortion stuff is that you have to kind of sound intense and be relaxed at the same time. I feel like after very good warm-ups and like some some kind of simple runs up and down with distortions I can get it pretty relaxed but usually there is some tension before I get to that point. Sometimes the relaxation comes after one or two songs that sing and then it's easy to do after that. Still the biggest issue at the moment is that after I sing two or three songs I get this kind of mucus build up in larynx after half an hour when I've stopped singing and I feel like there are some gaps in the range because of the mucus. I do get it back if I do some extra warm-ups to get rid of the mucus, but I'm not sure if it's because of straining my voice or just being used to the distortion feelings. It just feels a bit concerning when you don't have your full range available, but the voice is always fully recovered in the morning next day. Could the small amount of grinding before finding the relaxed shape be the cause of this irritation or am I just going at it too hard even though it feels really good and not strained while singing? I'm super into singing Avenged Sevenfold songs at the moment which are not easy range wise or distortion wise. So that might be the cause of strain 😅 but still I feel really relaxed when I get the distortion relaxed and there's no strain range wise either except in some songs. It's just so hard to stop after one or two songs when it's so fun and feels good 😁 When thinking of support for me, it feels like higher distortion is much easier and less strenuous and doesn't seem to need that much support. The lower range distortion feels like there's a narrower sweet spot where there is no grinding and there's enough push and support. What I noticed up high is that I need a lot more support to sing quieter. Singing loud is easy but seeing quiet is feels like there has to be much more control so I don't know which one is better.

I understand that maybe if someone lived near Hollywood, there might have been a few rock vocal coaches, but for most of the country, there weren't any vocal coaches in the 80s, as far as I know. So, when you heard someone like Rob Halford sing "You've Got Another Thing Coming" on the radio, or you went to see Ronnie James Dio on tour with Black Sabbath or his own band Dio, how would aspiring rock vocalists have gone about learning rock style gritty, distorted vocals without destroying their voices? How did rock singers react when they heard a song like Miss Misery by Nazareth? It must have seemed almost impossible! It was released in 1975! It must have seemed so futuristic. Even now, I'm not sure that what he was doing in that song was safe! https://www.youtube.com/watch?v=7xfAQ3lrFc4 Dio's grit in this live version of Children of The Sea from 1983 also seems like it would have been almost impossible to figure out all by yourself. Listen what Dio does in this song but especially at 49-50 seconds! Also at 2:34 where he sings "world" from "hiding in our corner of the world." That's a different distortion than at 49 seconds. The one at 2:34 sounds like an epiglottic blues growl or maybe an arytenoid rattle. It is NOT like the grit as 49 to 50 seconds at all! https://www.youtube.com/watch?v=3nmTOykax3Q How do you think singers like Halford. Dio or the singer in Nazareth learn to use. grit sustainable all by themselves? Do you think they could only work on grit for like 15 minutes a day and had to just keep it really brief since they didn't know what they were doing, until they had figured out a way that worked?

I'm not sure if I'm posting this in the correct category. Generally, even if something I sung sounds decent to me at that moment, I get frustrated at it a day or so later. Do you get this feeling too? Like, I can hear sooo many mistakes or missed opportunities lol. In this example, I missed some of the melodic spice, it feels like I'm yelling in some places, mild throat tension, I'm sometimes out of breath, terrible distortion (this was recorded a week ago) and no build up before it, and so on... Can you hear stuff other than these? Evaluation is very welcome but I'm a little sensitive so maybe dial down the harshness? Haha! On the contrary, I feel like I'm developing my ear sensitivity and that's a good thing right??

Some say: "Well, you don't really use your vocal cords when you scream; you use your false cords, so if you're hurting your true cords, you shouldn't even be using them." There's the legendary story of Corey Taylor who had perhaps the most ferocious scream in metal. It's even got it's own name: the Iowa Scream! Iowa was Slipknot's first album and many maintain that Corey's screams were never as brutal after the Iowa album because he had sustained damage to his true folds. Now think about that: Corey Taylor essentially invented his own technique for the Iowa scream and then he screws up on HIS OWN TECHNIQUE TO WHERE HIS VOICE IS NEVER THE SAME AGAIN! You'd think a guy would be a master of his very own technique. You'd LIKE to think so, wouldn't you? Then there's the case of M. Shadows who screwed his voice up terribly and there is some confusion as to whether he actually had surgery for it or not. There's also the case of Matt Heafy, who had a great sounding scream, did it well for quite a ferw years, but then blew out his voice. He went on to record an album of all clean singing because he was recuperating. Finally he came back with his "safe scream",. but Trivium fans maintain that the "safe scream" Matt Heafy used never sounded as good as his original scream which begs the question: Was his original scream fixable? With some minor tweaks, could he have kept doing his "original scream"? After all, it's hard to believe that his "original scream" was so dangerous that it had to be ENTIRELY CHANGED to make is SAFE! So, with that in mind (especially the Corey Taylor incident with his Iowa scream being something he could never truly do as well again) what do you think are the main things that screamers do that end up injuring their voices?