What Are The Examples Things Of Thin And Thick Timbre

How do I make my timbre less thin?

Thanks for the A2A. I am still learning, so I will share you whatever information I have gained from my vocal teachers (do not take my word for it - see if it works for you, and if it does not, feel free to look for another perspective).From what I was taught, while your basic timbre cannot be heavily altered, you can definitely add a bit more depth to your voice if it is a bit too thin. Try to imagine a subtle yawn when you are singing your notes, but make sure that you are still placing your voice nicely forward. This will help you gain a fatter and warmer sound while still keeping it bright without having your sound trapped and swallowed in the throat (which is what some people, including myself in the past, do when they try to add depth to their voices).Then again, do not worry too much about having a thinner voice either. Some songs would not work if you use a tone that is too thick and big - imagine Pavarotti singing Bruno Mars and how ridiculous it will sound. Not to mention that at the end of the day, good singing is all about having your own recognisable style and artistry as well, and no sound ranging from a very soft disconnected falsetto to a guttural death growl is wrong when used in the appropriate context, so as long as you can match notes with no trouble without hurting yourself, just keep your mind open and explore the various possibilities your voice can offer.

Blues Music: What is the tonal or timbre difference between playing guitar with a slide and without? What are the physics of the "slidey" sound?

There are three main things going on with a slide which give it that distinctive sound.  First, with the slide the pitch of the played note is continuously variable.  A guitar usually is a fretted instrument and consequently has preselected pitch values which hopefully correlate to notes common to the equal tempered scale.  Guitars notoriously have a fairly tenuous relationship to  these preselected note pitches but that is an aside.  Second, the slide presents a larger area of contact area to whatever string is being played than a fret and especially when the slide is held with light pressure a greater amount of harmonics and even a buzzing sound can be produced.  Last, the amplitude envelope of the struck note can be quite different, less attack and more sustain with an extended decay made by exciting the string with a rapid back and forth motion of the slide.  These characteristics add up to a tone which is definitely more than the sum of its parts and uniquely suited to expressing the ache of the human condition.

How does the thickness of a guitar string affect the note it produces?

As Arpit Gupta and Omanshu Thapliyal point out, the main effect is via the mass: for equal tension it goes roughly as 1/sqrt(mass) which means 1/sqrt(area), which means 1/radius.However if you just do that, you won't get a very musical result. That's because you only get the pleasing Harmonic series of frequencies out of a plucked string if tension is the only thing contributing to sideways restoring force. That's a good approximation for a long, thin wire. But as you make the wire thicker, it starts to get significant bending stiffness of its own. As it approaches being a rod, it starts to sound more like a jangly bell and less like a guitar, because the different overtones aren't in the correct frequency ratios.Even if it's not so thick that it's noticeably out of tune with itself, there's an important difference at the endpoints, because the ideal vibrational shapes all bend infinitely sharply there:It turns out that for small to medium wire thickness, this bending effect makes the wire effectively shorter at each end by a constant amount [math]\sqrt{EI/T}[/math], where E is the Young's modulus, [math]I=\pi r^4/4[/math] is the planar Second moment of area, and T is the tension.That's important for a fretted instrument like the guitar, because (i) you have to take the end correction into account when placing the frets, and (ii) as a result, you really, really want the end correction to be the same for each wire.For example, if you have a 660 mm string and a 5 mm end correction, the effective length is 650 mm. If you want to place the fret that reduces the length to 2/3 so as to give you an perfect fifth, it has to be at 5 + 2*650/3 = 438.33 mm from the neck, not 440 mm. And if you have some other end correction for a different string, the fret needs to be somewhere else!Now of course according to the formula you can always bring the end correction back down to the same as the original thin string by increasing the tension. But in fact this is a losing game, because doubling the radius to quadruple the mass to halve the frequency increases the moment of area by 16 (because of the [math]r^4[/math]), which means you need 16 times the tension to compensate, which would increase the frequency by 4, for a net doubling (when you wanted to halve it).So what you do instead is use wound strings, where only the thin core contributes to the intrinsic stiffness and the end correction, and the winding contributes most of the mass.

Is your singing voice supposed to sound like your talking voice? Now, I’ve had this on my mind lately and wanted to know your opinion. My singing voice sounds nothing like my talking voice. Is that a bad thing?

Your singing voice will certainly have some difference compared to your speaking voice. As an example, for people with naturally thinner and much more nasal speaking voices, their singing voices will generally have a little bit more roundness to them - otherwise they will not be pleasant to listen to.However, the distinction between the two is not supposed to be too much, because if it is, that is a sign that you are unnaturally modifying your natural timbre in order to get a particular sound. This is a red flag because such habits will not only inhibit the originality and uniqueness of your voice (it might sound good to your ear but trust me on this, the average listener can pick out if you are singing unnaturally or not), but they are also unhealthy and can lead to unnecessary vocal fatigue. Imagine a high tenor like Bruno Mars shoving his larynx down too much to deepen his voice in order to sound like Michael Bublé or a bass-baritone or basso profundo like Barry White artificially making his voice thinner and higher in timbre to sound like Michael Jackson or Stevie Wonder - you get the idea. What I personally suggest you to do is record yourself speaking and singing at the same time, and see if the difference between the two is extreme. If it is, then you are probably modifying your timbre or voice color in unnatural ways, and that is something that you have to fix either by yourself or with a good vocal teacher.

What is the difference between dramatic tenor and lyric baritone with regards to timbre, tessitura, and vocal range?

The lyric baritone is a baritone voice with a mellow sound, a lack of harshness and can sing some high tessituras but lower than the tenor counterparts. Its range can go from A2 to G4 having a tessitura at C3 to F4. The passaggio lies at B3 - E4. The dramatic tenor is a tenor voice with an emotive rich, powerful, clarion, ringing heroic sound. There are two dramatic tenor voice types per timbre, range, and tessitura. The dramatic tenor or tenore di forza has two passaggios from C4 and D♭4 up to F4 and G♭4. The tessitura of the dramatic tenor lies from D3 to G4. The dramatic tenor range is from B2 - B4 with some going to high C (C5). The second dramatic tenor type which is the lowest tenor voice is the heldentenor. The heldentenor has a more rich, powerful, dark, and dramatic voice with more baritone quality than the dramatic tenor. It’s a tenor voice suited for the lead roles in the operas of Wagner in including Siegfried in the Ring which requires lots of power and a wide vocal range. That results in lots of stamina within the repretoire of this voice. The range of the heldentenor lies approximately from B♭2 - A4 with some going lower and higher. The tessitura of the heldentenor lies between the lyric baritone and dramatic tenor tessituras from C3 - G4. To know what type and fach you are, you have to find where you sit most comfortable in singing range.

Could losing weight deepen my voice?

You may notice that on that link, the person noticing a deeper voice is male.Why is this significant?One of the effects of being very obese is testosterone gets converted to estrogen when you are very overweight. Since men have more testosterone to start with, this is a fairly large reduction in testosterone. When you start losing the weight, less of your testosterone is converted to estrogen, so effectively your testosterone levels increase. An increase in testosterone is correlated with a deepening in the voice.It may not just be the loss of body fat, some methods of weight loss are known to increase levels of human growth hormone and testosterone all by themselves. For example, intermittent fasting has been known to increase both hormones in males.I have been losing weight with intermittent fasting, and I believe I have noticed my voice getting deeper as well. So far I have lost 67 pounds but I still need to lose over 100 pounds to get to my healthy weight.