How To Growl, Grunt and Scream WITHOUT Trashing Your Voice

8/25/2021 How to growl, grunt and scream WITHOUT trashing your voice - Part 1 - The Naked Vocalist
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How to growl, grunt and scream WITHOUT

trashing your voice – Part 1
By Annika Holmberg May 7, 2018  5 Comments
Singing Tips, Vocal Exercises, Vocal health, Voice
Science
I have been teaching for nearly two decades now, and have had the joy of working with
thousands of vocalists of all sorts. My name is Annika, and my work is about enabling
artistry. I’ve taken on a multidisciplinary, science-based approach to voice teaching and
specialised in vocal technique independent of style. I also hold a special interest in the
psychology of performing and learning – and of life in general!
When you have the right strategies, it’s possible to make

your voice work and sound basically any way you want.
This has proven true in my work with singers of all styles,
and everything from theatre productions to experimental
music tours. Slightly surprising given my own background,
I’ve also become somewhat a magnet to metal vocalists!
I never planned to become a science geek, or a teacher at

all actually. I am an all heart singer, who started writing
songs at young age. I’ve had my own indie band and
singer/songwriter act, and vocal technique just didn’t seem 
to rhyme with soulful expression But it soon became clear that although technique is
https://www.thenakedvocalist.com/create-vocal-effects/ 1/14
to rhyme with soulful expression. But it soon became clear, that although technique is
not a goal in itself,
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a voice at all!
There is one thing I’ve never changed my mind about though, despite all the theory and
techniques I’ve come to learn: Vocal technique without a communicational or artistic
intent is nothing. So with this article, I’d like to share some tips and tricks for getting
your voice to do the things you want with both functionality and artistry in mind.
Today I will be addressing the more extreme aspects of the voice, such as singing with
effects like distortion, growl and more. These tips and tricks are in truth applicable to
any type of singing, so you can use them regardless of which style you personally
prefer! For the science types, there’ll be a list of resources and science-y references at
the end of part 2, so stick around for a full nerd out.
What are vocal effects?

Vocal effects are sounds we make to enhance and intensify expression: roughness
added to a tone, quirks and turns inserted on or between notes, sudden outbursts, and
more. They all stem from an urge to express something more than is possible merely
through words and melody. Vocal effects are use in all styles of singing. Rough effects
can often be heard in for instance death metal, ‘screamo’ and black metal, but also in
pop, rock, soul and folk music traditions. An example of a singer utilising vocal effects is
the late and legendary Ronnie James Dio:
Dio - Rainbow In The Dark
We also use vocal effects in speech, often without being aware about it. For example,
you might notice a creaky sound sneaking in when you are tired or unengaged, or when
your energy drops off at the end of a sentence. Or if you are like most people, and
sometimes get frustrated about things, you might catch yourself making little grunts to
express your impatience.
Common terms to describe vocal effects are growl, creak, grunt, distortion, and more.
Also vibratos, breath sounds and ornamentations can be seen as effects, since they are
generally not part of the planned content.
How does the voice produce effects?

Especially rougher vocal effects may perhaps sound damaging to the vocal folds but in
reality, many of these sounds do not even directly involve the vocal folds at all. I say
directly because even if a sound is created at one place, it does have potential to affect
the circumstances for the vocal instrument as whole. Vocalizing always involves an
interaction of several parameters:
POWER SOURCE
The airstream acts as a power source, giving the air movement needed to start a sound
and keep it going.
SOUND SOURCE(S!)
Next we need some kind of sound source and in most singing – that is created by the
vibrations of the vocal folds. However, we can theoretically use another source instead
– or why not two! Almost all rough effects are created at levels above and apart from
the vocal folds. In science this is described as happening at a “supraglottal” level (supra
= above the glottis). There are of course names for the speci c parts involved too, but
as a singer you really do not have to know them. (Okay geeks, see links at the end of
part 2 of this article here). It’s just various little cartilages and mucus membranes 
h ki dh i t i
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shaking and having a party in your throat. When they vibrate against things or each
other, they actWelcome
as a second sound
What source.
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“clumsy” gure of for example cartilages, as compared to vocal folds.
A second sound source can be active while the vocal folds keep vibrating as usual too,
creating the tone. Together the result is a tone with a rough quality. If on the other hand
something else than the vocal folds alone is creating the sound, we will only hear the
roughness, without a note.
RESONATOR
Finally we need something to amplify the sound – a resonator. The vocal tract does this
for us and has the potential to both amplify and dampen different aspects of the sound
depending on how we shape it.
These three parts – the power source, the sound source and the resonator, always need
to interact in a balanced way for it all to work. If you change something at one end, the
others need to adjust too. Therefore there exists no constant state of any parameter, but
rather various places of perfect balance, for every different sound you are making.
Effects at different levels

An effect that actually does directly affect the
vocal folds is creaking (sometimes referred to as
vocal fry). The vocal folds keep vibrating – they
just do it in a different kind of pattern that creates
the creakiness. This effect is generally produced
at fairly low volume and ampli ed by external
means, such as a microphone! During the effect
distortion on the other hand, the ”false folds”
(ventricular folds) situated right above the vocal
folds, are creating an audible vibration. Growl and rattle are examples of effects
produced at a level a bit higher up than distortion. And perhaps the most aggressive
effect of them all is Grunt. Here there is a whole bunch of stuff vibrating – basically the
whole base of the vocal tract. Talk about rocking the house!

Apart from that effects can be created at different levels, they can also be created at
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effect can often be heard, while in for example a pop song, there might be just a slight
raspiness added to notes. The intensity of the underlying note also has a great impact
on how aggressive the sound as whole will seem.
Growl, grunt, what?

If you have been hanging out in the heavy metal community, chances are you’re
wondering what on the earth I’m talking about. You have the right to. Voice pedagogy is
not exactly known for being consistent when it comes to terminology and vocal effects
make no exception. Words mean different things to different people. For example,
vocalists and music listeners often use the word “growl” to describe a whole style of
singing. But in scienti c contexts, growl may refer to a certain gesture and vibration that
is taking place in the throat. Speci cally, the term growl can be found in voice research
describing the type of effect that can be heard in Louie Armstrong’s singing.
Louis Armstrong - Hello Dolly
In the same way, people will often call anything that’s a bit rough sounding distortion.
Yet in science distortion has been described as an audible vibration of the “false vocal
folds”. To make matters worse, some also call one type of effect ”false fold” – even if
the sound sometimes referred to might not always be created by the false vocal folds.

What a mess, huh? In summary, just be aware that people use different words to
describe stuff. So whenever in doubt, make sure to communicate using real sound
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Technique.)
Can really anyone learn to sound rough?

It is indeed possible to both learn to produce effects, and to avoid them if that is what
you want. It is just a matter of knowing how to maneuver your voice in a particular way.
I’ve taught numerous vocalists to safely express all kinds of beautiful, aggressive, joyful,
weird, and ll-in-the-blank sounds they needed in order to be the singer they wanted to
be. I also often work with vocalists who already are able to make effects, but need to
adjust them so they can last through full tours and recordings. In fact, most people have
already made most types of sounds at some point in their life. Remember that vocal
effects are part of our natural way of communicating and many of the most extreme
sounds can be heard already in the baby’s cries and screams!
So yes, anyone who can talk can also make effects. The process is however individual.
The sound has to be designed to t your personal preferences artistically so there is no
one size ts all for this. The same goes for the way we best learn. Find the approach
that works for you. Today there are many learning resources available (some are linked
at the end of this article). Understanding how the voice works, and taking use of theory,
imagery, psychology, practice techniques, and more, can be incredibly helpful. Not only
to help you nd a desired sound, but also transfer it into automatised and effortless
vocal behaviour, solve vocal issues and ne-tune the exact nuances you want. However
nothing of this can ever replace listening, feeling and doing. Those are mandatory
whether or not you work with a teacher or on your own.
Finally, there are anatomical differences that can in uence what one singer has to do
compared to another in order to achieve a similar sound. But though the thought is
attractive, people aren’t born rock stars. There are skillsets to learn for that, just like for
anything else.
Are vocal effects damaging to the voice?

Vocal health when it comes to rough vocal effects is a somewhat controversial topic 
with con icting opinions After using and teaching effects regularly for more than a
with con icting opinions. After using and teaching effects regularly for more than a
decade, I haveWelcome
also formed my own.
What MyAbout?
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long as it’s done correctly.
The science available so far is sparse but does also point in this direction. As well do the
testimonies from numerous singers I’ve worked with, who use rough vocal effects daily.
Not to mention our history of legendary rock singers who’ve obviously lived perfectly
through whole careers of screaming. And let’s not forget logic. Why would humans start
their lives screaming if that would destroy the only voice they have? There is indeed a
need for more research, but meanwhile we have to work with what we have. The thing is
that singers will keep using effects whether or not someone teaches them how. So if
you are one of those, I want to give you some general, crucial keys to maintaining your
vocal health.
Why is this so important? Well it goes without saying, you have just one voice and there
is no supermarket selling new ones (at least not yet) if you mess it up. Some might be
attracted to living like the myth of a rock star, and think that the sound of suffering also
means you really should suffer, but that couldn’t be more untrue. Being a rock star
requires excellent vocal health if you plan to keep singing.
Knowing what is healthy and not

When it comes to rough vocal effects, they may
not necessarily sound healthy. But it should
always feel good. Beware of any feelings of
discomfort in your throat, such as:
– dryness and/or a urges to get relief by

drinking something
– tickles, itches, pain or soreness
– the feeling of strain or uncomfortable
tension
– increased mucus production
– urges to clear your throat
– coughing and/or tears in your eyes 
– hoarseness!
hoarseness!

When these symptoms arise during or in connection to vocalising, they are warning
signs that something is wrong. This is very valuable information and the only one who
can feel it is YOU. Therefore it is very important that you are attentive to your
sensations. If you however have gotten used to pain and strain while vocalising, you
might not instinctively react when this happens. Maybe you’ve grown to think this is a
normal part of singing? People can often be heard excusing their hoarse voices with
that they have rehearsed or performed the previous day. But you should never get
hoarse from any style of singing if you do it correctly.
These principals are universal for all types of vocalising. Using rough effects does not
necessarily mean you are taking bigger risks. However, the energy required is
sometimes higher. This means that IF you hit the wrong place, you hit it hard. So just be
attentive – especially if you are practicing without the supervision of an experienced
teacher. Please also be attentive to even slight discomfort – even just a general ”hunch”
that something is wrong. Trust you sensations – if it feels wrong – it IS wrong. The
GOOD news is that this truth goes both ways: when you are certain it feels gooood – it
IS good!
What to do if it hurts?
Okay great, you have now begun to notice your sensations. But it hurts! What to do?
First of all, don’t panic. Hitting one or two bad notes will unlikely destroy your voice
forever. But the third one is the point when you should stop and change something.
Insanity is doing the same thing over and over again, but expecting different results,
right? More importantly, repeating strenuous sounds can both cause real vocal damage,
as well as train your muscles to learn this unfortunate behaviour by heart. Let’s not be
fools!
Even if you are working alone and have no idea what to change, you can still use the rule
of changing something. Be inventive! Try a different vowel, another pitch, or adjust the
energy level or the amount of air used. Give the new setting max three tries, and if it’s
not working, change something again. And if nothing works at all, keep sessions very
short until you get hold of a teacher that can help. Okay, we’ve covered the crucial safety
stuff and buckled up with extra seat belts Now let’s get rockin’!
stuff and buckled up with extra seat belts. Now let s get rockin !

Questions so far? If yes, shoot me a message via my contact page. If not….
Take me to part 2!
Before you go!!!
Did you nd something in this article especially helpful? I’d love to know what it was in
the comments below!
Author Recent Posts
Annika Holmberg
Voice Teacher, Vocal Coach & Psychological Skills Coach at Vocal Soul
Annika holds her clients’ personal values and artistic choices at heart in her teaching, and is
dedicated to giving them the voice they want. She is based in Sweden but works
internationally with vocalists of all styles. Among her clients are touring and recording artists,
singer/songwriters and bands, voice teachers, musical theatre productions, choirs, TV hosts,
Follow me
actors, and corporate speakers. She also teaches for the Royal College of Music in
Stockholm, and is a jury member and vocal coach for Wacken Metal Battle.
Passionate about the human voice and psyche, she’s constantly studying to broaden her
knowledge and re ne her work, including engaging in voice research. She has lectured at
international voice conferences and is a published author in the scienti c Journal of Voice.
Annika is also a certi ed NLP Master and an Authorized Teacher of Complete Vocal
Technique. In 2002 she encountered CVT and became a pioneer of the method in Sweden.
Nowadays she applies strategies from that and other methods and sciences in her teaching,
as well as her experience as a touring and recording singer, musician and songwriter.
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5 Comments
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How to growl, grunt and scream WITHOUT trashing your voice - Part 2 - The Naked
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Zack I. Reply
May 21, 2018 at 4:33 pm
Great write-up! The ending portion on preventing damage and exploring

distortion effects in a healthy way is excellent!
I wanted to offer some more detail on the “Knowing what is healthy and what
is NOT” section for other curious singers. In my opinion, informed by my 
training with The Vocalist Studio (TVS) Methodolology, the symptoms you list
8/25/2021
g ( ) gy, y p
How to growl, grunt and scream WITHOUT trashing your voice - Part 1 - The Naked Vocalist
y
can be ranked in order of severity. This is useful not just to prevent damage
and avoid learning bad habits, but also to know when you’re getting close to
“GOOD”. Example: if, when just starting distortion training, a voice
con guration feels quite comfortable and easy, but after singing the whole
song you want a sip of water, that is NORMAL.
The most severe signs of abuse should be obvious (VERY BAD!):

– hoarseness!
– coughing and/or tears in your eyes
– pain or soreness (unrelated to “working out” the vocal musculature, where
underused muscles get tired quickly)
– intense dryness after mere seconds of phonating
Indicators of technique needing re nement which, if uncorrected, could lead

to severe damage (BAD!):
– the feeling of strain or uncomfortable tension, especially in a “choky” sort of
way – this is “pushing”
– urges to clear your throat (the more, the worse)
– tickles and itches, especially in the glottal area
– drastically increased mucus production
Symptoms that may be normal just starting out, but should be addressed if
they persist (neutral, but possibly bad):
– dryness and/or a urges to get relief by drinking something
– increased mucus production
– mild soreness or tiredness in the vocal folds (vocal fold musculature should
be strong and well-coordinated before attempting distortion! if your fold
muscles still get tired after singing with proper technique, train more
coordination and strength rst and then return to learning distortion!)
The reason I further classify these symptoms is because dryness and mucus
production are elements the voice needs to keep things lubricated. When a
singer starts leaning to leverage muscle gestures that excite supra-glottal
tissue to vibrate, that tissue is going to dry out in ways it never has before. 
The lower portions of the ventricular folds for example have probably been
The lower portions of the ventricular folds, for example, have probably been
shielded
Welcomefrom wind-blown
What Is Thisdrying
About?the entire life ofBlog
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proper distortion. Some small amount of mild dryness is to be expected, such
that periodic sips of water keep the voice comfortable. So, too, is an up-
regulation in mucus production to prevent such dryness. However, intense
dryness after just seconds of a distortion attempt indicates poor technique,
and a drastic increase mucus production indicates intense irritation (and thus
poor technique).
When I rst began TVS training, I noticed that I was drinking more water and
swallowing more often. I’ve now adapted and “clean” singing does not dry me
out any more – nor does talking for an hour. Distorted singing has a tendency
to dry things out even more as I describe above, and its a ne line to walk. Too
much “leaning in” and tissue will start grinding, even if otherwise done
correctly. Best to start slow and “feather in” the distortion. You may nd your
desired level of distortion is less than you had imagined it to be!
Gina Reply
September 7, 2018 at 10:27 am
I like the emphasis on vocal health in this post. I’d like to be better at
controlling some different vocal effects. At the moment I just do it and I’m not
necessarily sure how!
Session Vocalist For Hire
Dustin Reply
September 25, 2018 at 3:31 am
Hello, when I growl… consistently for a half hour or more, the next morning I
wake up and my voice is much deeper, usually through out the entire next day.
This is what I want, but I am wondering if this is damaging my voice? Either
way, the real question I guess I should ask is how do I get my voice to go 
lower? Growling works but I am afraid of the damage
lower? Growling works, but I am afraid of the damage….
myvoicemod.com Reply
March 9, 2019 at 6:44 pm
nice post
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8/25/2021 How to growl, grunt and scream WITHOUT trashing your voice - Part 1 - The Naked Vocalist

Welcome What Is This About? Podcast Blog Lessons Get In Touch