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  • Recent Posts

    • Hi gang, I've recently joined a Black Sabbath tribute band that specialize in the Dio albums with a few Gillan tracks thrown in.  I'd really like to have a stomp box I can use to recreate the live effects sound Ian Gillan has on the live in Reading, which can be heard on the bonus edition version of Born Again. Id imagine a similar pedal would be useful for some ozzy as well. I've previously used TC Helicon stomp pedals and found them ok, if a bit temperamental, with a tendency to distort on higher pitches. Happy to consider a different manufacturer etc.   Any suggestions? Cheers!
    • Hello, I've just started singing a few days ago and I'm really hoping some of you could help me out. Don't hold back though, really fire away here with anything I should improve. The audio I've linked is me trying a bit from Billy Joel - Vienna twice. The second try starts around 33 seconds. Thanks in advance!  
    • Hello, my 10 year old daughter is an aspiring singer.  She is in voice lessons and has been in some musical theater productions as well.  Any thoughts or suggestions for improvements are welcomed to help her with her goal of becoming a singer one day.  We understand she is not necessarily a "natural",  but she does have the drive and desire and truly loves performing. She has been sung the National Anthem at a couple sports events.  I am also including a link for one of her auditions. Thank you in advance!  (National Anthem)   (excerpt from "Born to Entertain")
    • I sent a message in the personal message section. If you cannot download MP3s let me know. I will try to upload them to soundcloud or something. Robert, You can listen also if you want.
    • Just like the vowels can be heard simultaneously, so can the physical modes, as a general rule. For example, you can be twanging and in cry mode at the same time.
    • Hi Austin. Welcome to the forum. First do have a pleasant sounding voice. I want to make that clear to you. Your voice sounds flat and boring because you are not putting energy into it. When we do practice and do exercises, we are supposed to be paying attention to what works for us and what we have to change to make the exercises work and then apply them to our singing. The exercises do not magically change our sound....we do things  on purpose. Like if we keep singing flat on certain words we find out why and change how we sing those words so they are not flat anymore.
    • Never had lessons.  Had one or 2 people tell me I'm good. Don't really believe it.  Just curious.  Pretty new song played by me on the guitar with a simple rift and sang by me.  I can handle being told I'm awful so don't worry about upsetting me.
    • That is a good way of thinking about things. Before I found out about "TheFourPillarsof Singing", The other books and videos I found made me think you were not supposed to "Do" anything other than use support and let your throat relax. Whatever sound came out is what you had to work with. Anything else was manipulation,and manipulation is bad.  At the same time these teachers were saying things like "Bring the voice forward" "Sing in the mask" "Add Twang" "Tilt the larynx" "Raise the soft palate"..... I was trying to "Let these things happen" without "Doing" anything.     With "TheFourPillars"  Robert would run through the coordinations......"Hum on an EE sound"...."Open to "EH" while keeping the Twang of "EE""  "Dampen the larynx"..... Not only were you ALLOWED to DO were supposed to and instructed on HOW to make that sound..   Of course, these are extreme sounds and what you use for Exercising.  But they also teach you how to control the amount you are using and HOW to dial in more or less of the effect. I was also under the impression that if you used one effect you wouldn't be able to use another or the one prevented the other from happening......Like if you were adding "Twang" you could not also "Sob".    But, as you show in your Effects box, these are different controls that are controlled by separate actions of the voice box and vocal tract. I guess if I keep on there is a danger of your head exploding again...... I am still trying to fit the time to record, soon I hope.   I will send you an Mp3 of my progress plus a recording I made of "Honesty" about 10 years ago. You can let me know if I have improved or lost focus over the last few years.....No pun intended but be honest in your evaluation.......I can take criticism, especially when improvement is the goal.
    • Yeah that's more or less what we are planning on doing. It's tricky because of schedules, but we are going to do what we can to practice all together. I'll keep you posted on how that goes. 
    • What you use to gauge your pitch by could sound sharper or flatter to you. At the very least it will sound different.  How many band members are there? What are the instruments and how are they arranged? How big is the room you are performing in? If you get your pitch cue from the guitar and you are on one side of the stage and the guitar is on the other side of the stage....You may not be hearing the guitar from the source but after the sound returns from the walls of the room. When that is the case the sound you are adjusting to is flat compared to someone who is standing in front of the guitars amplifier. No matter what the actual cause.....rehearsal in a full band live environment is the answer.  At the very least you can track down the problem and do the appropriate.adjustments. Small room acoustics are far different than open hall filled with people....or in some cases empty halls. Whether it is energy dynamics on the part of inexperienced singers or a proximity problem(not hearing the music from the source) or not being used to hearing your voice from the PA, muscle memory needs to be adjusted for those also. Even if you are doing a separate vocal practice without the full band....use microphones and Stand as you would when performing live. Get the singers used to hearing your voices through the pa system. The sound is different when you hear it from an outside source than it does with only your ears.
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