Pitchbending Crit?

PuddingPuff

Teto's Territory
Anyone want to rate and critique my overall pitchbending?
I don't really think I have an obvious pitchbending style yet; since I try to switch it up every once in a while, but I'm pretty oblivious to this kind of stuff in general.

https://soundcloud.com/purinkun/sets/tuning-samples

Here's some samples of my pitchbending, so you don't have to bury through my soundcloud.
 

KitWistful

Teto's Territory
Defender of Defoko
I forgot the names of half of these songs, please forgive me XD I enjoy your taste in covers 8D (That one song was one of Mayu's demos, right? I love that song...)

I think your best example was the last )*o*)b Other than that, I did notice a few things.

- Sometimes you make the portamento transition very long. That's nice for some styles of singing, ex. lounge(?) singing but it's not always the most natural choice. I think it sounds like the singer is concentrating in that moment on making the transition smooth; for that reason I wouldn't lean on that style too much.
- And sometimes you have the other extreme in your portamento. In song 2 especially, I think that the bends are too deep/sharp. At some point it stops sounding natural and turns into this metallic/soapy sound.
- Sometimes you go overboard on vibrato...in the sense that you tend overuse it. But!!! In isolation it sounds very nice, the speed/intensity in Song 1 were just right for the voice : D
- A purely negative note for Song 4: The note lengths seem very short on the last syllables. I think it was because you had an ending breath dominating those notes, and if that's the case I think you'd be fine if you kicked the end breath portion into the neighboring R and stretched out the actively-singing bit more.
- A purely positive note for Song 1: in some of the verses (ex. around 0.14) you have a nice giggly/laughing quality to her voice, I love that : )
- Overall I think your problem is that you gotta look at the big picture of tuning. Your programming sounds nice on a note in isolation, but chains of words have little hiccups in them. Then again...maybe it doesn't matter? The hiccups won't be so noticable when you have an instrumental in the back, so that's something else to consider.

As a next step, I'd play around with where the portamento starts- ex. in the preceding note, halfway through the latter note. You could play around with different curves too (if you aren't already), R curves and J curves. UTAUReizo's "Uproar of Teacher and Girl" UST has some good examples of that sort of thing.

I'm glad to see you're still around : ' D And I appreciate the Jigglypuff stuff XDD