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  • Hello Guest, we are The Modern Vocalist World

    ellise k Victoria alexiton Lord Zefron The Future Vocalist Draven Grey MDEW hobbit rock MBlues cecilia Adolph Namlik Phil Perry JonJon SwedishSinger ShadowMuffin

    We are 17273 users and have posted over 110945 messages!

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  • Recent Posts

    • Welcome 'ShadowMuffin', Click on "Guaranteed Singing Reviews" on the menu above or click "Add to cart" (below). Our coaches and singing experts will be pleased to help you. Respectfully, Adolph
    • you are 14, of course it is not too late
    • Hey everyone!   This is my first post, so I am a little anxious about the reactions I'll get for this :/ I recorded myself singing Little Talks by Monsters and Men, and it would be great if someone would've told me what I need to improve.     Now I have gotten several comments regarding the audio and how the mix is kinda unbalanced, but if you could look past that it would be great   Hope to hear your opinion guys!
    • If you love to sing you are never too old. To be a professional is to get paid for doing something no matter how good or bad. Fame is a matter of perception and degree . You can be famous in your home town and not known anywhere else. Or you can be known by millions on Youtube but still the average person may never know about you. You can either be true to yourself and learn/ practice/improve because of your own standards or you can chase the ideals of the present fad which changes from year to year. 
    • Hey guys I'm a 14-year-old girl, who has ALWAYS been an EDM girl. Which means not so much singing, more beats. After Avicii´s death, I just couldn't bear listening to EDM, so I tried to find something else. I then started to listen to regular pop/acoustic music. And Jesus Christ I love it. In 2 months I'm gonna start singing lessons. I just bought a guitar. I am not a shy girl, and I love to perform (i have been doing theater since a very young age). Besides that, I have an uncle who had a lot of success in the industry, but of course, I still need the talent. My question is. Am I too old to become a professional/famous singer? Before ill be able to sing good, play the guitar like a pro, and write some breathtaking songs, will I be too old by then? able to get signed/recognition? Thanks in advance <3 P.S just to mention it, I don't want this only because of fame, its because I love to sing, and music. PPS. Are there any masterclasses, videoes etc. you could recommend learning how to sing?
    • So you don't like practicing intervals but rather melodic lines? I myself don't sing intervals but rather  lines. C3-E3-G3-A3 would have intervals but it's more than just intervals. Is this what your talking about? Isn't drilling intervals just missing something about real melodies? Today I tried C-D-E-G. I played C-D-E on the piano and had G silent only singing it. I ended up (according to my tuner app) a bit higher than G. When singibg C-E I sometimes come a bit high. Is this common? Does this have anything to do qoth tge fact that a natural third is higher than a equal temperament third or is this just a technique issue?
    • @Draven Grey Thank you so much for your feedback! I will definitely utilize all of your tips and keep working to enhance my voice - especially the breath support, which has always been my achilles heel  Thanks again!
    • Since I'm already here for giving paid reviews, I thought I would go ahead and take a moment to review yours as well. Great character and stylization! One great thing about getting over a cold is that, if you have a voice, it forces you to sing more correctly. The lower/neutral larynx position you're using will hold you back once you get into higher pitches. It gives you a great sound color for this song though. I highly suggest a bit more breath support and volume (just a bit), and then try learning to sing more from a cry vocal mode - the same feeling you get in the soft palate when you cry or are really excited to see someone. Cry will soften and round out your voice to where you can get a similar sound color to what you're using the neutral larynx for, but also have a lot more control and flexibility because of being able to utilize much more breath support. It also neurologically places your body into a position it associates with extreme emotion, which can cause a much more emotional performance. Additionally, it adds very specific sounds colors to your voice that other people associate with extreme emotion. It can take some getting used to, but once you learn it, you'll hear just about every pro singer using it.
    • You're too twangy with vocals compression here, when you need a bit more mass in the vocal folds. Go back to my other Journey song review and practice the /w/ onset I talked about there. Another possibility is that you're relying on twangy compression because you don't have the musculature built up for good mass. Sometimes that can happen from E4 to A4. Resistance onsets can help you build that musculature. Dampen & Release, Attack & Release, and Contract & Release (in moderation), will all help build a bit more bulk in your voice. Are you training The Four Pillars of Singing or with TVS material?
    • A lot of what I mentioned in the Journey review applies here as well. However, I want to specifically address your distortion in this song. What you're doing sounds throaty and compressed. On higher pitches, that type of distortion can be very harsh both in sound and wear and tear on the vocal tract. If you're in The Four Pillars of Singing, I suggest you work more with the lesson on decompressed overlay distortion. Otherwise, or perhaps in addition to, instead of squeezing that distortion out, try to bleed the glottis. That means allowing more air through without all the extra hyper vocal twang compression. One way to help develop that is, while still trying to keep the voice lifted to the soft palate, and still utilizing cry vocal mode as described in my Journey review for you, try alternating between a spoken smoker's voice and singing clean at pitch above your bridge. At some point, while alternating back and forth, you'll feel like you can combined the two. Then, instead of squeezing for distortion and getting a throaty sound, it will feel like you're simply using more air than you need to and thereby activating the false cords for distortion. If it hits your throat, you need to lift more, and move towards /ae/ sound colors. Again, this is similar to what I described in the Journey song review.  If the distortion still feels like it's hitting your throat, rather than above the throat, spend more time trying to raise pulse/fry up in pitch, where it sits on top of the throat, rather than in it. That area is a good placement for distortion, especially if a lot of the vibration is then transferred to the soft palate.
    • Your pitch is good when you're relaxed. The higher in pitch you went, the more tense you got, to the point of almost yelling, rather than singing. Your vowels are too narrow in your upper range to resonate well. There are two main things I recommend for this. First, try to get into cry mode. It's the same feeling in the soft palate as if you're crying or really excited to see someone. Whimper there a bit, to get a solid feel for it. Them try to isolate your upper pitches with that cry. It will also soften your your voice a bit in your lower range. Since higher pitches want to pull deeper into the soft palate, cry will help thin out the glottis better and help pull the voice into a deeper placement, so less pressure is required to sing those pitches. Also, once into higher pitches, you may need to add a bit more /ae/ (he vowel sound color of words like ash, cat, hat, etc) in order to keep a consistent sound color across your range. Second, place much more emphasis on everything supporting good resonance. One great way to do this is using a /w/ as your onset. If you're using good  horizontal embouchure (smile/sneer), it will help lift your voice to the soft palate. If you sing from that lifted placement with a /w/ + /oh/, it gives you both good support and a defined feeling for good resonance. Once you feel that resonant energy on the front of your soft palate, towards the hard palate, or towards your nasal cavities, try to place all of your vowels and consonants in a way that supports that resonance. Singing is all about supporting that resonance, and the sound only moving outward from there.
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