It sounds like it's placed low and forward, making it almost pure false cord. It becomes more usable in song if you think of that as an acoustic placement for a low hum to mix into it, and bring the middle of the tongue up to just inside the upper molars.

@David Ben belkacem By definition, falsetto is airy. The mechanism that causes the saturation of harmonics is constriction. Compression is essentially open and airy glottis vs closed and twangy or /ae/-ish ("ash vowel). Constriction is how narrow the vocal tract is that allows air to pass through. The more narrow, the more the false cords get involved, which is where all the added harmonics we hear as distortion actually comes from. That's why I call that hyoid focused closure your "gain knob."

@Jeffrey Skolnick And what a journey it's been! It's been a pleasure helping you!

@Branco De Souza Welcome! I have a few students in Montreal! The most recent being Diana from the band Trope. I would love to hear your stuff. Chris and Eddie were very different in their approach, but I can hear the direction you're going. Chris was overly relaxed, mixed, and focused on over-crying—so his folds were too thin up high to hold back air, causing distortion if he added any pressure. Eddie was more resonant, which meant cry/sob was still super important, but where he placed his acoustics had more to do with the distortion he got rather than thinness. I talk a lot about cry vocal mode in the training vault videos, and have a couple of longer videos on distortion.