整天听adam也不会厌

洛爷爷难得勤快一回，前排插楼精顶赞

再附几个现场。
这个是耳帝转过的合唱。

录音棚的表现，各种细腻的处理。

轻轻我才知道还有这个吧。。

Vocal Type: High Tenor
Vocal Range: 4 Octaves (F2-F6)
Whistle Register: No
Vocal Pluses: Michael Jackson's voice was predominately light and agile with a nimble, rhythmic dexterity that allowed for complex vocal runs, as well as allowing it to mimic instruments- such as drums- or employ trademark grunts and exclamations that were controlled and achieved via proper technique. The voice also had the strength and stamina to hold notes for lengths of time, without wavering in pitch, and the ability to emote the meaning of the lyrics exceptionally.
The low range was the heaviest part of the voice, and was surprisingly dark when compared to the higher parts of the modal range, in which he usually sang. As the voice passed into the midrange it began to lighten and brighten significantly. The chest voice had an elasticity and flexibility that allowed for it to stretch, without much impact on the tone, up to the fifth octave. The belting range had a number of timbres, being either bright, light and smooth, or coarser, slightly heavier and with an edge-see They don't care about us . The falsetto was solid, warm and more resonate than many other male singers, though it was also capable of a softer timbre if so required. Comfortable in this part of the range, Michael Jackson could sing effortlessly here holding notes, or hitting complex staccato notes- see Butterfies.
Unique and immediately recognisable voice that harmonised with itself brilliantly to create luscious and iconic layered vocals.
Vocal Negatives: Michael Jackson's tone could be considered thin and lacking in resonance, particularly in the mid-to high part of the modal register, when compared to other male singers. It should be noted that many fans consider this to be a unique, and positive, feature of the voice.

The lower range is dark and weighty, with a breathy quality to it in its lowest extremes. However it begins to solidify, and gain a more confident tone, quickly as it rises.
The midrange is solid, of medium weight and rounded. It can be used with a raspier, edgier texture- verses of Whataya Want From Me- or can be made sweeter, warmer and softer-A Loaded Smile- depending on what is called for. It leads fluently into the belting range.
The belting range is Adam Lambert's strongest suit. The voice possesses an elastic quality that allows it to stretch high up into the fifth octave and though the tone is light- when compared to the lower range- it's resonant, clear, bright and truly impressive. The upper fifth octave notes can be reached by mixing with the head voice, to create a strong, fuller tone or they can be sung in a rocky, piercing falsetto-Music Again 0.49- that is markedly contrasting to the breathy, sweet falsetto many males utilise.These notes can be further polished by the addition of his quick vibrato.
Adam Lambert also has a robust and piercing head voice, that, like the rest of his range, displays excellent dynamics and control.
Vocal Weaknesses: Adam Lambert's lower range lacks the resonance and ease of the rest of his range.

Vocal Type: Lyric Tenor
Tessitura: 2 Octaves (F3-F5)
Vocal Range: 3 Octaves 5 Notes and a semitone (F2-D#6)
Whistle Register: No
Vocal Pluses: Stevie Wonder's lower register is light in weight with a color that is nasal, which makes his lower register sound somewhat thin. It extends down to D2 with a vocal fry extension but he can hit an F2 with his modal voice. As a result, the F2 is much more healthy in its quality. Wonder exhibits a slightly smoky texture as he extends up to around the E3 mark, but his resonance is lost below G3. Overall, his lower register is achieved using decent technique.
His mid voice, spanning from G3-E4, showcases his nasal tone better. His voice is light in weight but somewhat thick in tone- most likely due to the nasal placement. In this register Wonder has plenty of freedom and agility. His falsetto, for a man breaks late at around E4 (2 notes shy that of a typical tenor) which places him in the realm of the highest tenors. Overall, this area is achieved using brilliant technique, via mixing or high nasal placement.
His belting register is the strongest and most impressive part of the range. Extending from E4 to an impressive A#5 (though the video claims a C#6 which is ridiculous) this is where his tone really shines. His E4 to B4 sounds light and thick with a slightly velvety texture, but as he hits the C5, his voice becomes brighter with mezzo-soprano like weight. His elasticity is uncanny for a male; being able to complete complex and quick vocal runs with ease. Wonder accesses these high belts with one of the most developed mix voices of all time. His technique in this area is generally phenomenal.
He generally exhibits a mix between head voice and falsetto called falsettone. It extends up to D#6, however it sounds at its most healthy at G#5. The sound itself is thick, lacking in defined resonance (though it is there as he transitions between falsettone and head voice, quite a bit above G#5) and sounds akin to a bugle in color. Any note above G#5 is not sung with the best musicianship and his technique in this register is not great.
Vocal Negatives: The head voice also needs to be improved on to strengthen its tone and connect it better to the lower range. The nasal quality of the voice is also not to everyone's taste.

大叔。。。真的是汉子啊。。。

看去吧

。。。。那人怎么追到这儿来了

好帖。深夜受教了～～

卧槽，居然还有耳帝吧。。。果断关一个！