One of the best ways to train and warm up distortion is to rev your voice like a motorcycle. Here's how.

Here's an interesting article on how AI music works and some efforts to reduce the unremunerated exploitation of creators. Thoughts? https://www.soundonsound.com/techniques/how-ai-music-works

In 1976, Judas Priest recorded Sad Wings Of Destiny with Rob Halford on lead vocals and at 7:19 into the song Victim Of Changes, Halford begins what may be the first false fold scream on record. Halford absolutely does a false fold scream from about 7:19 to seven twenty two and a half seconds and you might argue that from about seven twenty two and a half seconds on, that maybe it no longer is a false fold scream and you'd be right. It's something much harder to do. At somewhere between 7:22 and 7:23, Halford's false fold scream transitions into something where the sound from the true vocal folds can be much more clearly heard despite a massive amount of distortion over his voice. Essentially from seven twenty two and a half seconds on, the false fold scream becomes a "distortion siren" that peaks at A5! It's a remarkable achievement for any vocalist, but by 1976 standards, this was the metal equivalent of what putting a man on the moon was in 1969. Here's the link https://www.youtube.com/watch?v=swiKkmcHxHY

For a long time the main thing on my mind when going into a practice session would be how to get better at creating grit or distortion. I was a distortion freak! I find it as fascinating as ever to be able to sing with grit and I've even gotten a little bit interested in screaming, but mostly it was about singing melodically with grit or even pitched screaming, which essentially is the most extreme end of the spectrum that goes from singing with light rasp all the way to using pitched screams. Recently I hit a plateau. It didn't seem like any more progress was possible unless I made some type of fundamental change. It occurred to me that the quality of your gritty singing is going to be dependent on the quality of the signal from the source - the true folds. I'm no expert in acoustics but it makes sense to me that if we're using the false folds and other supraglottal structures to saturate the clean signal with distortion, then the more robust the clean signal is, the better you're going to be able to saturate it with distortion. In essence, good quality clean vocals lead to good quality gritty vocals and low quality clean vocals lead to low quality gritty vocals.

Nik said: "If you scroll through Instagram, TikTok, they're just bedroom kids screaming. Somehow everyone knows how to do false cords and the zombie noises." Oli interjected: "Yeah, yeah, and everyone's got this kind of like, like it's funny like the technique of screaming. Not that there's no technique to screaming, but like, that wasn't something I would think about before, you know, I would just like, yeah. Just want to scream. Like it was just screaming. I never thought about like I might damage my voice or anything like that. And sometimes I'll see someone going 'you want to scream like Oli Sykes? This is how I do it" and I watch it and I'm like "is it'? Cause I don't know that. Like that's, I have no idea how I do that. I never think about it. Do you know what I mean"? I know what he means; I speak English quite well, but I can't say I understand his mentality. Just as if I were going to be a public speaker or an orator, I'd want to learn how to speak without jamming "like" into every sentence. I'd want to try to eliminate saying "um." I know why people do it. They're using that time to think about what they are going to suppose for example, if I were asked: "How do you sing"? Hopefully I wouldn't start like this: "Uh, well, it's like, I mean, when I sing, like I have to relax...." Hopefully, I'd start more like this: "You want to know how I sing? I'll tell you exactly how I sing [that bought me a whole lot more time to think about what I'm going to say than the former example]. The first thing about it is I need to relax. Why would I relax? [I know why I'd relax but by asking that rhetorical question, I've given myself more time to decide how to explain it.] I relax so it will sound good and so I don't get hurt. That means I'm doing some stretches. before I start. I want all the muscles in my neck to be ready for it. I don't want them tight. I want them to be supple and flexible so I don't get hurt and so singing will be a little closer to effortless because ideally, singing should be almost effortless.