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  3. Dear all, It has been a while that I have visited this forum. I have been very busy with my studies—having completed my BA in Musicology and currently finalising my MA in Applied Musicology. I did keep on working on my singing, however. Yesterday, “The Music of the Night,” a song that I auditioned with at the Conservatory of Rotterdam over a decade ago and that I had used for my singing lessons with many different teachers, was one I had never actually performed—until now! Indeed, there appears to be balancing issues with volume between me and the piano. On the other hand, I asked several attendees whether they felt there were problems with it, but they all did not notice them live. While I do think we could work on balancing our instruments, I believe the recording is augmenting the issue quite a bit. I am really satisfied with the performance—especially my acting abilities, intonation, enunciation, and stage presence. I could be more confident with the fermata notes just doing them as long as I want, rather than thinking I might do them too long (I think the “soul”-note [2:32] is great, the “be”-note [3:44] is just about right, the ”night”-note [5:20] is executed pretty well, but could easily be five seconds longer). I could also definitely stabilise and pronounce my “ring” more. Manolito Mystiq
  4. Hello! So I just recorded 2 tunes (first takes, lots of mistakes, but i just wanted to record something) Im looking to sing with my band and would like to know if im on the right track (since this is a type of register i've never used in a live/public setting so i dont know if the vocal placement for these songs is correct). These songs are somewhat outside my singing comfort zone and what we usually play (in terms of vocal range and registers), but i would love to expand my repertoire. To give an idea my most demanding song right now is toxicity (SOAD)(with some chest pulling here and there). I've been a musician for 11 years but only been singing for 5 years now, and only had proper vocal training for about a year (not currently) mostly focusing on pitch, correct breathing, chesty high notes, etc... but nothing of this kind, so there is this desire to get into these types of songs. Also, the "technique" im using for both songs feels (in my throat) the same to me, but it somehow feels more suited for the high notes heard in the scorpions tune, than in the skid row one. so I would love to know (if someone can give some input on this) why do i get two seemingly different results with the same technique? Feedback is greatly appreciated! Thank you Jesse
  5. Jarom; I don't want to sound disrespectful or rude as I know you are a professional musician But all your songs sound the same! and without you singing something a bit different with a different melody I just cant see you hitting the big time Have you tired covering/ practicing other artists that you have done nothing like before, songs that you never though about before that my give you some new inspiration and new art.
  6. Hey guys, I'm posting this as a sort of "hey all, long time no see, I'm doing well" hahah EDIT :Also, I don't ask for critique or review, I'm just showing what I've been doing for others who want to listen or study. I think someone posting about what they think the distortion is, or how it compares to theirs does not help my singing directly. I repeat myself "I posted this as a "hey all, this is what I've been doing" because the "tell your gains" thread is dead. If after this clarification my thread still belongs here, then I'm ok with that, but I just wanted to make it clear. I just wanted to debate singing and technique in general, or whatever someone wanted to ask ( about my vocal fold gap, reflux, etc ), cheers everyone! . I've been working hard on my voice as always, carrying weight up and my headvoice twangy range. My max weight is on B4 and headvoice range topping on E5 on good days, with a solid D#5. I have a vocal fold gap ( acording to my stroboscopy on 2015 ) and I don't know the current state of it. It's a lot better, sound, strength and stamina has gotten waaay better. I still feel my voice a lot different though, I don't know if its because of the vocalis muscle that's grown stronger or what, but I wouldn't give up the stability of my voice now or my sound, for the flexibility or -strained- range I had before ( 2014-2015 ) Well, I come to tell you guys... I at last found some kind of distortion that feels healthy in my voice, and is sustainable. I've tried the "throat singing" type of distortion ( false folds and cartilage, Hetfield style ) but it hurts and always leaves me with air leak and poor stamina for days or a week or two, even. I've tried creaking distortion but as I already mentioned, my voice is kind of f***ed up in some way, and I don't know if it's normal but I have a hard time coordinating fry, lol. and when I manage, it leaves my voice very worn out if done for 20 minutes. This kind of distortion I found is probably like the rattle described in CVT terms ( kind of what Jorn Lande does most of the time ), where something ( I think arytenoid cartilage ? ) vibrates, but in a different way, I feel like the upper and side walls of my pharynx contracting, which makes something vibrate and produce this "overlay". I t's still a thin grit and I have to put quite a bit of effort in it to make the walls contract enough to make the sound but I guess with time and patience the strength will come and I'll be able to put more "anger" into it coordinated with vocal weight. I must mention that doing this distortion makes my voice last longer, stamina is better, and closure is getting better too. I feel my muscles are working out and getting stronger, and I have an easier time mixing into my upper range. All this change in a span of 5 days, so it's important to note. I hope you guys like how it sounds, this is the fifth day since I found it, videos are from yesterday
  7. Avinash, Your kid is cute. And I can confirm for you that she has a gift for singing. You are not delusional or just the "over zealous parent". For her to even DARE to try to sing this song at 9 years old, and then actually ... sort of pull it off, is impressive. It does need a lot of work, but that doesn't hide the fact that for her age, there is something here that is promising. For example: - Here pitch is not perfect, but for her age and the difficulty of this song, not bad. About 80% in. - Notes such as at 1:40, are very nicely resonant and pretty. Foreshadowing what she could do with a more mature voice , more consistently. - She seems to have a rather darker tone to her voice which is unusual for girls. Girls tend to be very shrill and it is nice to NOT be hearing that ear piercing shrill from a little girl, but some more warmth from her sound color. Again, another hint at potential here. As far as competing for talent shows are concerned, I think she could be competitive IF she trained and got serious. Does she have a voice coach? Without professional coaching and someone to really raise the bar to prepare for auditions, she would not be competitive. I believe she can do it, but you and your family are going to have to make a decision to commit to hard work and serious training, not just singing songs for fun. Is she ready to make singing her "job" and study it like she does homework at school? If so, she has a chance. I am available to help you and your daughter if you are looking for a qualified coach. I have a training program that would do a lot to clean things up and get her stronger and more serious about what she is doing. Feel free to give me a call or send me a private email. I hope this helps.
  8. No worries. Please take your time. Avinash
  9. Hello Avinash, I can't listen at this very moment, but I will tonight or tomorrow. I am back to back teaching today. Welcome to our community.
  10. Hi, My daughter is 9 yrs old, likes to sing, she tries her best to take part in any singing opportunity that she gets. I would like to get some valuable and honest inputs from experts here about her singing. what can be done to improve here singing ability and voice quality. What kind of songs should she be singing when it comes to competition / performances, specially the songs that can increase her chance of securing better position in singing competition. Looking forward for your valuable inputs. Thanks, Avinash
  11. Jarom, The opportunity to request a review is FREE. A guaranteed review requires a small reasonable fee of $10. Here is the link for a guaranteed review. http://www.themodernvocalistworld.com/store/product/12-review-my-singing/ Respectfully, Adolph
  12. Earlier
  13. My song passengers was a quick filler song for my EP "Blink of an Eye" but has turned into one of my biggest "hits" being extremely popular at live shows. What are your thoughts on it?
  14. It has been a while since I have posted anything. If you have any comment good or bad let me know. Thanks.
  15. I finally had the opportunity to record this again, Let me know if I did better or worse. Thanks.
  16. Here is the Webinar, it went great! ENJOY!
  17. Excellent. Diphthongs are one of the biggest culprits to singing problems and they are quite hidden and not noticed unless a good coach points it out to you. Often times, the "trigger" that is making the voice break, chirp or otherwise shit out... is the diphthongs. Why? Because if you examine diphthongs closely, you discover that they are all typically, closed vowels; /i/, /u/ & the /r/ controlled vowels; /er/, /ar/, /ir/, /ur/, etc... these are the bugs in a lot of people's singing. Be aware. On top of that, I hate trying to spell the word diphthong. Another really important insight. YES. Most singers will start their onsets low and scoop up and end their offsets with a slide down. Once or twice in a song may not be a big deal, but do this repeatedly on every single phrase and you have a major pitch problem. With a few stylistic exceptions, 90% of the time, get in clean and get out clean. As a sort of general rule, ... "singing" happens on vowels/sound colors.... not consonants and diphthongs". So in a sense, get to the vowel and stay on the vowel as long as is reasonable. Get the hell off the diphthong as soon as you can. An exception might be singing low in your range, something that is more balladish. There are always stylistic exceptions. Because the "weight" not only darkens the sound color which is probably preferred, but it is also a symptom of more musculature engagement Joe. TA, higher closed quotient, more "fat" , surface area and probably some cricoid tilt which tends to also stretch and tighten down things. GO JOE!!
  18. Thanks Marcus, we appreciate that. It is at 1:00 Pacific Standard Time... or California time. Go online and look for a time conversion web page, there are many. I believe that Sweden is 9 hours ahead of California... so that would be 10:00 pm in Sweden.
  19. Thanks Draven, I have embraced my identity more as a story teller than a singer. Jim Croce, James Taylor, Jackson Browne along with Dylan and John Prine. I dropped the key from Bb or B to G so the highest note as I sing it is G4 staying away from the dreaded passaggio. As I mentioned above after watching other people perform this on acoustic I thought I had been singing it a bit too heavy. With any luck I will be able to rerecord this evening with the suggestions that you and Robert made along with my original approach before being influenced by the way others have presented this. I have been trying to get a handle on my dipthongs for some time now. I grew up with Bluegrass/Country gospel. Part of their appeal is a thin piercing sound. It goes well with the Banjo and fiddle but leaves a little to be desired for other types of music.
  20. I cant see What Timezone this is i Will be tuning in from sweden if its not in the mkddle of the night. Love Your stuff Robert and Draven i awesome aswell å
  21. I've never heard this song so light. Very cool! Watch your diphthongs in your accent. If you focus more on the main vowel to sing out, then pitch, accent, and timbre will lock in more often. Another thing to watch out for is anticipating the next note or over-relaxing at the ends of your phrases, both causing the note to fall. Again, that will start to go away when you focus on singing out your main vowels. What Robert mentioned, singing with a bit more weight, might also help stabilize the issues I mentioned.
  22. Thanks for listening. To be honest I ran through this song quite a few times trying different things. My first approach was heavier and more matter of fact rather than soft. I viewed a few covers by other people to get a handle on the acoustic guitar rhythm. Most of the other singers used a lighter approach and I guess I let myself be influenced by them. I will rerecord this and see how it goes.
  23. MDEW, Nice, soft acoustic version. Kinda reminds me a bit of Bob Dylan, but I dare say, your a better singer then Dylan. At this light and soft approach, there is little risk and therefore, little to critique. But I would say this... Why are you allowing your sound color to be so thin Joe? It sounds like there is no larynx dampening and/or added warm vowels to your resonance. I would like to hear this again, same approach, but conscientiously try to "man-up" and warm the sound color. Let's get more beefy modal voice behind this. It is kind of thin and tinny. I don't believe it has to be. Shoot again Joe. Hope this helps.
  24. Yeh! I'm looking forward to hearing it. I'll get to it in the morning Joe!
  25. I already registered. I hope I do not miss this one. It seems to run pretty smooth with 2 or more coaches. If someone loses direction the other can pull him back in or explain things a little differently.
  26. It has been a while since I have presented anything. I still have not found time for true practice but I have improved since receiving the FOUR PILLARS OF SINGING. Any tips would be appreciated. Thanks
  27. I agree and that would be a good idea. It is in my plan to invite Ken to do this. It would be cool. ken kinda keeps to himself, not really a collaborator type , but I'll try.
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