Jaime wrote this in a thread here on the forum in a discussion about grit and the falsefolds in this forum. :) however the soft palate is THE tool for correct Grit. Jaimies techniques work! So there is no point really in viewing it in an other way(unless your a voice scientist), im just ******** cause im a vocalnerd ;)
it's easy to judge lunte by the cover, he can be abit goofy and dance around as he sings:)he also goes for a very opentoned vocalcoloring. Some might not like that, and thats ok, however ive got the oppurtunity to view one lesson with of one of his longerterm students... And boy can they sing lol
Got some lessons myself after that.
Im not here to sell the TVS technique, and youve gotta have faith in what you purchase and practice with this is really important.
There are loads of great programs out there.

These ones i rank high:
TVS
RYV
Complete vocaltechnique
Discover your voice
Vocal asylum

Got some key aspects in my voice from all of em, and im so happy these products exist

Il send a clip of some distortion when i get home

Cheers bro

The palate is ALWAYS your vocal focal point. The rumbling you feel in the palate on screams assures that it is done safely. I worked with getsigned.com nearly eight years even before I ever saw the Melissa Cross stuff ago and that's when actually originated the name "Extreme Scream" for our screaming lesson series. And yes, there are two more products nearly finished if it EVER gets mixed. As far as how my grit is produced, the ENTs discovered that my scream tones and multi-tones are produced by my vocal cords, even vibrating in two different spots for certain tones. I have never been a believer in this "false fold" theory that sound is produced there. I mean, you can flap two steaks together but they don't produce anything more than slapping sounds;) So, for me, personally, I believe the false folds can manipulate the tone. All I can say, is I have been screaming ACDC songs since I was sixteen, so I have plenty of experience with creating grit both the wrong and right way, ha-ha. I will post short music clips on Youtube with grit soon because we've been adding blog clips last week from facebook.com/OfficialVendera. Bottom line, as long as it doesn't hurt your throat, you're doing something right:)

I'm with you, Tim. Not a believer in the false fold theory.

I may be wrong, but what I see adducting are the "standard" vocal cords.

They look pretty motionless when the note is clean but show heavy vibrations when grit is engaged. This would prove, on the contrary, that distortion is produced on the vocal cords.

Probably the false vocal cords (and/or other tissues on the vocal tract) are involded in shaping the sound because grit singing is not just clean + distortion, but it's underlying timbre also changes a bit (in my opinion).

With this said, I don't have my own researched point of view on this subject because I'm neither a vocal coach nor a ENT. I'm just commenting about what I've seen to contribute to the conversation.

Pedro,

I believe you are mistaking the false folds from the true folds. Here you can see what is the true folds and the false folds:

Oh, thank you for pointing that up. I was not distinguishing boths sets of cords clearly due to the heavy interlacing in the video, but now I can see those vibrations I talked about are being produced in the false vocal cords. Indeed, they adduct.

But (to debate a bit more :-) is that adduction producing the distortion or only shapes the sound in another way? Do the vocal cords something different, too, when grit is applied and so they are actually the grit makers?

CVT says this about distortion: "The noise comes from the vocal tract and not the vocal cords." I respect both CVI research and Jaime's opinion so I'm trying to be neutral.

Pedro,

In this clip it's the false folds that produce the "noise". The vocal folds vibrate normally underneath (it's also mentioned a bit later in the presentation).

However, the true vocal folds can also make "noise" themselves by vibrating irregularly. But that is another coordination and the one that Jaime talks about.

There are various ways to make grit.

So Jaime's technique doesn't involve the false cords and CVI's one does.

I thought they had different explanations for the same vocal reality; i.e., I thought that the CVI's twanging of the epiglottis funnel was the result of Jaime's Power Push against the soft pallate. I did because when applying Jaime's instructions I felt some of the sensations described in CVT.

But it seems that's simply not the case.

With regards to a healthy effect technique, do you find one safer than the other?

Pedro,

The grit technique that Jaime seems to advocate is done at the true vocal folds. CVT also teaches this approach, they just call it creaking. Either approach (false or true folds) are equally healthy if done correctly.

When Jaime mentions the focus in the soft palate it's merely a sensation. The soft palate doesn't vibrate when doing the grit described in RYV.

Pretty interesting. Thank you for sharing that knowledge.

Your welcome. Yes it's interesting how different teachers approach things.

Yes, the false folds can come together, but I think people get confused because they think the false folds create pitch when they simple create a noise effect. I've even heard some people claim that the false folds are for falsetto, lol. Still not a fan of the false fold talks as too many coaches with the exeption to a few cool coaches like Sadolin, believe ALL grit sounds are a product of the false folds. But again, my philosophy has always been, 'Who cares as long as it sounds cool and it doesn't hurt.' When I learned about the false folds and cricothyroid it didn't make me any better. Practicing exercises made me better;)

Jaime,

I agree. Often knowing the physiology will not make people a better singer. I usually only "step up on the wall" when people openly claims that for instance the false folds don't vibrate or that they are responsible for falsetto etc.

In my opinion it's totally fine that various teachers don't bother with scientific facts. I just find it a bit odd that they go ahead and try to do it anyway and usually get it all wrong like stating that falsetto are produced with the false folds.

It's funny that in almost every other areas of education, teachers are expected to know about theory and facts etc. This doesn't apply to the field of singing though.

Also, almost every serious instrumentalist knows how his instrument functions. But a surprisingly few singers know how their instrument works. And in my opinion that doesn't make sense because unlike other instrumentalists they can't just replace their voice if it gets "broken".

Just my two cents.

Hahaha, I hear you. My first teacher was a college vocal coach with a masters who told me falsetto was produced by the false folds. Hmmmm sounds like they need new guidelines for getting a masters degree;) Nothing wrong with learning about vocal anatomy but I just never found a useful place for it in making a singer better.

I recently saw a YouTube video, made by a currently popular teacher who charges around 300$ an hour, where it was mentioned that falsetto was produced by the false folds.

Go figure...

Understanding vocal anatomy is a good thing but if it really was as helpful as you think than ENT's would be the best vocal coaches.

The problem i have seen with teachers who study at university is the whole monkey see monkey do, So and so teacher told me this is what happens so it must be right, this is especially true in classical singing education where tradition is the rule. Students do not study for themselves and become their own teachers.

So much misinformation gets passed on by students who have trusted someone but really do not know any better.

Luke,

It depends on how you use the knowledge.