mettelus
Okay, I finally got back to looking at this track more closely. I found that because of the overtones in my voice that Melodyne doesn't move the overtones well (i.e. will not "snap to scale" which is the same issue of trying to snap a guitar after distortion is applied), so I went back to the raw file. I finally signed up for SoundCloud, so can share what I am talking about. I threw Concrete Limiter and Breverb 2 onto the track but it is otherwise raw.  https://soundcloud.com/mettelus/maple-tree-vocal-mp3
 
What I *still* find odd is this (analyzed using polyphonic mode in Melodyne)...
 
At the 17s point, the "my" has 5 very distinct notes (F3, C4, F5, A5, and F6). At least these are a chord, so makes sense (sort of).
At the 22s point, the "lost" also had 5 tones (Bb3, Bb4, F5, Bb5, D5)... which is even stranger to me because the root is actually closer to A than Bb.
 
I am baffled by singing F3, and getting and F5, and F6!!
 
Michael
 
 

That's not all that odd. Particularly the octaves as the strongest overtones occur at the octaves. Then (IIRC) then next strongest would be the 5th. The one thing that MAY be a little weird is the flat third overtone in the Bb but that's just texture. No biggie.
 
However, I used to play with a singer who had a physical oddity in his throat/vocal chords that made him have up to three separate "voices". Like the air and vibrations separated into three distinct primary tones all with their own overtones and he had learned to control them all. It was pretty cool/creepy sounding. His metal screams were very unique.