Hey guys welcome back again to Ken Tamplin
vocal Academy where the proof is in the singing. I thought I'd throw my hat in the ring on
doing a disturbed sound of silence for a vocal coach reacts to, and I know it's been around
for a while and you know, I'm getting around to it now, but what’s kind of interesting
about this for me is that, you know, obviously disturbed is known as a really heavy band,
right? With that said it's really hard to build a
bridge between doing a song, a Simon and Garfunkel song... it's a cover as you know, and then trying
to not lose your previous audience and trying to broaden your horizons to a new audience,
right? And something this poppy is kind of interesting
too. So now I've obviously seen the song before so I'm not going to pretend that I'm going
to go, “Wow” or “OH!” or “Wow” you know? I will give it a thumbs up though,
because I know I've listened to it a couple times and I'll be able to comment on some
things along the way. But one of the things that I think is really
cool is how he's able to maintain incredible emotion and passion in the song. He's not treating
it really Poppy. He's treating it like he would in disturbed. It's just he's slowing it down he's not doing
something real fast and heavy. So let's listen to it first we'll make comments along the
way. Here we go: You know one thing right out the gate I want to share with you guys is almost all modern
singers have adopted this idea of covering a sound and sounding really dark. Now this started way back in the 90s with
Eddie Vedder and Pearl Jam, and it's just been adopted, for whatever reason, as sort of in the modern sound from male rock singers so, “Hello, Hello darkness my old friend, I've
come to talk to you again, right? It's a very covered sound. Personally I'd go, “Hello darkness my old
friend, I’ve come to talk to you again. And the reason for that is as we go up, he's
going to have to open up that sound to get height out of it, get some more range out of it
the more open the throat the bigger the range. So as we go up it'll be interesting to see
how he does that, and what he does with it. So here we go: Okay now I want to comment one more thing here. Another thing is let's remember: He's what? On the Conan show or whatever. Man, That's a tough gig to go on live TV for
millions of people and have that spot on pitch right? Now there's a part of this, though, to me that's really drony, and just real drone, drony. But, the side note to that is that that's
kind of what adds to the mystery and it doesn't sound as poppy, because he's actually got so
much emotion and passion in it. I can't imagine that maybe their fan base
wouldn't like it, because it's still his personality. He's just stepping into a different thing,
which is, in this case, a Simon and Garfunkel tune. Okay let's continue, here we go: Nice resonance, “In restless dreamss I walked alone And did you notice, “By the flash of a neon light.”? Notice he opened up the sound when he went
to flash and then he came back down. and he covered the sound. So he's got to open up the sound to be able to get up top. Let's see what happens. “Without,” he opened up and “With out
speaking,” he opened up his sound as he went up right? Look at that. Nice. "Songs." He opens up to, “AH” and he gets to that,
“AH” vowel. Nice operatic sort of approach to that. Good job David, excellent. Good support too as he goes up top. I love all that space man. Now he's stepping into the disturbed part
here right? It’s almost chilling. Now he's getting: "PRAYED!" listen to all that. Now listen to all that : "THEY MADE!" He's going into like all this emotion now
like right? He comes off really gentle, and little by little -
reminds me of that song Hurt. There is a song that Johnny Cash did and I
know it was an old Trent Reznor song that he did, I'm hurt. I challenge you to go check out the song Hurt
also because it does the same thing. It starts out real genteel and real gentle, and it builds,
and it builds, and it builds, and by the end man you got the chills on this song. The "drony" thing actually works to his advantage
because it's really his style, and it really brings attention to, instead of being really
distracting with a bunch of licks or you know big vibrato and all that stuff. Instead it really draws attention to the emotion
and passion of the song, and then as he goes up top, he brings down the Disturbed that we've
come to know and love David for. So let's continue I think we're almost done here. Now he's compressing, "WRITTEN ON" he's actually compressing a little too much for my tastes, like he's got, He's squeezing down in the throat, but it's
his style and he's got a real good tone in it. It's just that's a tough thing to get to last
for a real long time, as far as good vocal health. But it's also real emotional, too, so
because it brings the tension in, you know, when you get to this part, so: Good job, man! Now how cool is that to have such a heavy band pull off a ballad like this and he doesn't
miss a note. I'm talking melodically. A lot of bands today
they just want to growl or they want to do you know just kind of scoot around and scream
or whatever. Man he's really singing, and yet he can do
both, which is super awesome. So two thumbs up for that one David, excellent stuff guys. Alright! Ken Tamplin Vocal Academy. I have
a singing course called how to sing better than anyone else, and I walk you through
all this stuff, step-by-step, if you're interested, on how to achieve and attain these different
tones and textures, Okay? Thanks for joining me. Until next time! Peace.
Out. Hey guys! If you like what you heard, please like and subscribe to my channel. And if you want to get notified when I have a new, cool video come out, you need to go to my channel and click on this little “BELL” icon, and it will actually notify you every time I have a video come out. Thanks, guys!
