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  4. 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! https://www.youtube.com/watch?v=euqTerUAKvY (National Anthem) https://youtu.be/h8FUMp4dCwU (excerpt from "Born to Entertain")
  5. 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.
  6. Robert Lunte

    Physical & Acoustic Vocal Mode Amp & Stomp Toys

    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.
  7. MDEW

    Singing sounds so bland

    Hi Austin. Welcome to the forum. First off....you 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.
  8. 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. https://vocaroo.com/i/s0zUjW923R29
  9. 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 stuff....you 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.
  10. iipeacefrog

    From the living room to the stage

    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.
  11. MDEW

    From the living room to the stage

    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.
  12. Nordic Being

    From the living room to the stage

    it is and it is only another thing to think about that could go wrong before you gig, do you think hearing your self through a PA system would make you sound flater or sharper?
  13. MDEW

    From the living room to the stage

    Pitch is still reliant on what you hear.
  14. Nordic Being

    Warming up

    munks do a lot of low noted stuff which ant really singing anyway
  15. Nordic Being

    From the living room to the stage

    OK I understand what you are saying now MDEW, but this should not effect the singer pitch while on stage as they should of built up enough muscular memory doing it at home
  16. BillyShears

    Grow Old With Me

    Ken has some good musical experience (check out his albums and live performances). He and his students show a lot of real singing (which isn't always the case with other vocal coaches), so he seems legit to me. Maybe I'm too sensitive about the sound of my voice. There's a lot of famous singers that didn't like how they sounded, Frank Sinatra for example. But the listeners loved it and that was the important thing... Plus I'm still not sure about what repertoire should I sing. There must be something where my voice will shine
  17. That is a pretty cool concept. One thing is missing though......A sound man to adjust things during a performance. My effects boxes and tone controls are labeled towards Character voices rather than vocal pedagogy.....I am more familiar with making character voices. I am now a "set it and forget it" kind of guy. I have been working on "Honesty" by Billy Joel. The sound was kind of OK to me but did not have his punch. Then I made the realization that he is a TOUGH GUY FROM THE BRONX.......I set the "effects array" for New York Gangster and there it was.....The sound I was looking for.
  18. MDEW

    Grow Old With Me

    You may not find a teacher like those to be in the same room with you but Skype lessons are almost as good. I do not know too much about how Ken Tamplin teaches or about his course. The owner of this forum also has a course called "The Four Pillars of Singing". I have this course and I know that it is in depth and has more information about how the voice works and how to train it. His course has videos of how and why you perform certain exercises The types of exercises are basically the same . The difference is how and why you perform the exercise and what it is that you are exercising. You are or should be learning how to control your voice and control the sound while performing these exercises. Singing is easy when you already like the sound of your voice and can match melodies with the intended emotions. But when learning how to shape the sound and get the effect that you want it can get a little complicated. My biggest breakthrough was realizing that if you do not like the sound of your voice, not only are you allowed to change the sound, changing , maintaining and directing the sound is required for good singing. You do this by learning how to shape the vocal tract and adjust breath pressure and amount of vocal fold compression and vocal cord closure. The vocal tract is "shaped" through different positions of the tongue, throat, larynx, mouth cavity, lips, soft palate.......How do you learn how to do this....By exercising on funny sounds and singing repetitive scales and sirens while maintaining the funny sounds. Singing scales on different vowels and mouth positions. All the while you should be paying attention to which sounds "Sound" better, feel better and allow different areas of the voice to get louder, softer, fuller, brighter or stronger. If listen to your voice after making a recording, and you find your voice is dull, lifeless or muffled......add a little of the SHAPE or larynx position that adds brightness....... You can't do that until you Learn the Shape or position that adds brightness.
  19. BillyShears

    Grow Old With Me

    I started exercising with Ken Tamplin Course, but it looks like I'll need at least some time with a pro voice teacher to make any further progress... Will I find somebody like Brett Manning or Ken Tamplin in Poland? I highly doubt it :D
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  21. MDEW

    Grow Old With Me

    The sound remains the same because you are singing the same way. Singing Success gives you the idea that doing these exercises are going to help your voice "Passively". Like you do not need to do anything but sing these exercises and you are good, you can sing the way you always did and your voice will magically sound better and do what it is supposed to do. The exercises are active. Your vocal cords and other muscles DO things to make the exercises work. Like lip Bubbles and Squeaky door exercises. Lip Bubbles teach you how to regulate air pressure and how to alter it to help keep the vocal folds vibrating consistently. Part of the "Instructions" are: to keep the Bubbles consistent: If the lips Stop vibrating or you "Flip" into falsetto.....STOP and start over or start a little lower and continue the exercise. There are also instructions about what to do if the sound STOPS or Changes. You are LEARNING how to maintain the airflow....It is active... you do something to have the bubbles continue in difficult areas of your range. The Squeaky door teaches you HOW to keep the cords closed. The sound cannot happen IF the vocal folds are loosing closure. You DO something to keep the cords in contact with each other to maintain the sound. These are things you are learning. They are not just passive exercises which SLS gives the impression of by using the term "Speech Level Singing". The biggest problem I had with teachers and vocal courses is that they seem to be saying the less you "DO" the more you gain. Which is kind of true in a round about way. When a teacher says things like "Keep the tone in the mask". It is easier to track because you can actually feel the vibrations in the face and lip area when you ARE singing in the mask. But there are areas in the vocal tract that "Shift" to maintain that vibration. And guess what...Muscles are moving to make those shifts happen. More or less air with different air pressures needs to blow through the vocal folds. More tension or less tension needs to be applied to the vocal folds. The student needs to "Alter" things when the exercises are failing. Paying attention to what you had to change to make the exercise work is "Part" of the "Learning". It is not just muscle memory but also knowing when things need to change to have your voice do the things you want it to do. Reguarding not liking the TONE of your voice.....That can be changed. We do it all the time. Happy, sad, angry, sarcastic, jovial, timid bold, sexy, dopey, whiney, bratty. soft, stern.....Each of these things put "tensions" or focus in different parts of the vocal tract or different amounts of air pressure and makes the sound change. One way to change the sound of your voice is to learn what it is that makes these tones different and use them in your singing( without over doing it of course).
  22. Lately, I've been pondering this metaphor in an effort to effectively convey some ideas about singing to folks who have had little exposure to good singing pedagogy yet, comprehend guitar amplification and effects. I'd appreciate any input on this, how it hits you, is it effective, improvements, any debate or opinions are welcomed. I often think of the physical vocal modes as similar to the knobs on a guitar amplifier. . . . . . and the acoustic vocal modes & effects as functioning like the e.q. and effects pedals.
  23. Hello fellow vocalist. I really need help with singing problems...which is chest pain when singing. I try my hardest to breath using my diaphragm, and I think I do, but I still find myself straining while singing with terrible breathing support as well. Another problem I have is a continuous scratchy throat. It feels like I have a sore throat 365 DAYS OF THE YEAR. It never goes away, and I know I'm not sick, because I've had this for the last 3 year's straight. I bought a humidifier, taped my mouth shut while sleeping, drunk warm fluids, tried everything but nothings working. This may be a problem for the doctors, but I'm wondering if any other singer/vocalist has experienced this?
  24. WestCoastRocker

    Reflux, or something else?

    Late reply! I really doesn't feel like it is technique oriented. It feels different. I've done tours for bout 20 dates in a row when my voice been fine throughout the whole tour, even improving. Then suddenly, my voice can change almost over the night on an off-tour/vacation period. As I mentioned above. The reflux thing is probably not the issue. I've been scoped by ENT during bad periods (singing wise) and my folds have been in good shape without any redness och swellings. So that must rule this darn GERD/LPR thing out. So it must be something else. Coming on so suddenly. Two theories I have: MTD Neck, shoulder tension - Sure, I feel tense on the off days. at least the production feels tense. But it doesn't ever hurt, which I believe MTD can do? Phlegm Could it be as simple as this? When I'm singing on a rough day, it can almost feel like my nose is a bit stuffed and that something is stuck in my throat, although it doesn't come off. Some days it has even turned around like being really out of control at noon and great in the evening (very rare though).
  25. Liza, Lot's of good reading and advice here for you i see. It's cool when members here can help give other members deeper insight and practical advice. What I would have given to have this resource when I first started my singing journey many years ago. I feel the same way about Robert Lunte's training course, even though I had received the most excellent vocal coaching available in the 80's (which helped immensely with progress). When I learned of The Four Pillars of Singing, I discovered insights into the anatomy, physics, and vocal training scales, well beyond what my former training had taught me! The knowledge of these aspects produces an intuitive comprehension that channels you to all the right actions to take, which produce the results you are seeking! If you want to feel in control of your progress just pick up the course, the cost is seven times less than I spent more than 30 years ago for the best coaching available! AND, the course is more comprehensive and visually engaging than all the lessons I paid for! best, k
  26. Kevin Ashe

    Warming up

    hey ILM, I'm not sure what singing "closer to how we speak" really means. Monks sing chants, Acappella, I can't think of anything about their singing that is "like" speech mode. If we look at the vocal modes we can see that each "type" of vocalization requires a different configuration of the vocal track or formant. Speech- Very limited. not for emphasizing melodies. Sob- A crying sound, more specifically, the sound one makes when they're holding back a full blown fit of weeping, while they are singing. Belt- Yelling, Anger, volume Falsseto- A light airy sound, Feminine, tender. Opera- A full and somewhat "covered" sound, "rounded" and robust. Quack- Increased compression and closure, similar to a cartoon character Twang- Highly compressed, a “witchy,” nasal/mask focused sound Distorton- Anger, angst, violence, gritty/raspy sound. If I were going to try and associate which of these modes most closely represents how monks sing chants, I'd say opera (with no vibrato) in a light mass. So I'd be interested in hearing details of how their singing is more like speech mode. warm ups. Warming up is about blood flow. Just like you stretch prior to playing an athletic sport. Increased blood flow will provide increased coordination, flexibility, consistency, and strength. Warm up exercises/scales are usually designed to maximize or make most efficient, the process of warming up, or increasing blood flow. If you just sing a melody you know, it may not be as effective in taking the voice through the full spectrum of sound that you make when singing and hence, not be as an efficient of a warm up. I hope this helps! peace, k
  27. BillyShears

    Grow Old With Me

    Regarding your question in welcome topic - it was one of four songs given to the remaining members of The Beatles by Yoko Ono. They completed" Real Love" and "Free as a Bird", but "Grow Old With Me" and "Now and Then" weren't used. Which is a shame. I made this cover as Beatlesque as I could Even though I'm a tenor and I 'can' hit high notes easily (up to g6 in head/falsetto), I just HATE the sound of my voice in high registers. So I try to stay as low as possible to avoid having to go much above middle c... I trained with Singing Success, but even with better technique the sound remains the same
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