Six drills back to back, no decisions required. Three holds, two finds, one jump. Best way in when you don't feel like choosing.
LIBRARY
Characters, bits, art, prints, and take history live in this browser and stick around. The backup file carries all of it somewhere else.
A tone plays. Match it, hold it five seconds. Under 20¢ average and you're in tune by any ear in the room.
Random tone, find it by ear. The clock starts when the tone dies. Fast lock means you heard it before you sang it.
Root plays, you sing it, then jump. Only the landing gets scored. Frets = the same jump on one guitar string.
No target. Sing something you love, then read one number: how much of it was actually in tune. This is the honest mirror.
Same note, two different colors — dark and swallowed vs bright and nosy. Snap each, then have the tool guess which one you just made. If it can't tell them apart, neither can a listener.
DRILL LOG · THIS SESSION
TIME
DRILL
TARGET
MEAN¢
DRIFT¢
LOCK s
GATE
NO VISUAL
TAKES · IS IT STILL THE SAME VOICE?
DATE
MATCH r
BRIGHT Δ
PITCH Δ
LEN s
GATE
SETS · WHERE IT DRAGS
DATE
LEN s
TALK %
PAUSES
LONGEST RUN s
PACE syl/s
EVERY FIELD MANUAL IN ONE PLACE
PLAIN WORDS FOR THE TECHNICAL ONES
PITCH / CENTS
Pitch is how fast your vocal folds flap open and shut, in cycles per second (Hz). A cent is 1/100th of the gap between two neighboring notes. Within about ±20¢ most ears hear "in tune." Feels like: nothing — that's the problem, which is why the meter exists.
VOCAL FOLDS
Two small flaps inside the voice box. Air from your lungs blows them open and shut hundreds of times a second. That buzz is your raw voice, before any shaping.
SUPPORT (the "belly")
Steady air pressure from the gut and ribs. Not a resonator — nothing below the folds shapes tone. It's the fuel line. When a hold sags flat, the fuel line died, not your ear.
CHEST vs HEAD VOICE
Not places — fold settings. Thick, floppy folds = chest: big, buzzy, low. Thin, stretched folds = head: light, high. Named for where the buzz is felt, not where sound is made. Hank's moan and the yodel break are a deliberate flip between the two mid-note.
FRY
Folds slack and popping slowly — the creaky-door sound. Grunge moans live here, as does the low growl under blues lines.
LARYNX HEIGHT
The voice box slides up and down your throat. Down = dark, warm, sleepy — Sinatra, Bublé, Barry White. Up = bright, tight, forward — country, character voices, excitement. Yawn to feel it drop; swallow to feel it rise.
TWANG
Narrowing the funnel just above the folds. Loud, brassy, cutting — the country "haw," the duck voice, the busker who carries over a crowd without shouting. Loud but easy; if it hurts, it isn't twang.
NASAL PORT (velum)
A trapdoor between the back of your mouth and your nose. Open = some sound routes through the nose: hummy, nosy, whiny. Closed = clean mouth tone. Say "ng" and hold it — that's fully open. Character voice gold.
ONSET
How a note starts. Clean (tone begins instantly), breathy (a little "h" of air first), hard (a small glottal pop), or cry (a tiny sob or catch before the tone — Marley, Otis, Hank). Onsets carry more style identity than the sustained note does.
RESONANCE / PLACEMENT
Shaping the fold-buzz in the throat, mouth, and nose — everything above the folds. "Sing from your belly / mask / head" describes sensations, not mechanics. The mechanics are: larynx height + tongue shape + nasal port + funnel width.
SPECTRUM
The recipe of your tone: how much energy sits at each frequency. Two placements are genuinely different only if their recipes differ.
CENTROID (BRIGHT)
The balance point of that recipe, in Hz — one number for "how bright." Twangy and nasal read high; dark and covered read low.
VOICEPRINT / SPECTRUM CAPTURE
A ~2-second averaged spectrum plus pitch center, snapped while you perform. The tool's fingerprint of a sound. Takes get scored against it.
MATCH r
How closely a take's spectrum correlates with the stored print, 0 to 1. Provisional gates: above 0.90 in character, 0.80–0.90 drifting, below that a different voice. Calibrate against your own ear — the number serves the ear, not the reverse.
DRIFT / LOCK
Drift: the note slides while you hold it (flat sag = support; sharp creep = squeezing). Lock: how fast you land on a target after hearing it.
[ SYSTEM OBSCURED // FOCUS BY EAR ]
—
TARGET—
MEAN DEV—
DRIFT—
LOCK TIME—
Engage input to begin. Headphones on, or the mic hears the tones and lies to you.
FIELD MANUAL[ + ]
bus idle
Built from oscillators and noise, owned by nobody. Fire them during a take and they land in the recording. Keys 1–0. Headphones, or you'll record everything twice.