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Showing content with the highest reputation since 05/18/2018 in all areas

  1. 2 points
    Err. Sorry but I don't know what is the surprise. I mean suppose that it was your company, would you risk doing anything other than closing *all* the possibilities that could lead to people harming your business or collecting your revenue? I mean these singers have no image to protect, and any value that they may get will be due to your action. Contracts ca be negotiated, not having the leverage to negotiate does not make you a victim. Say these artists that get to the semi-finals could just sign with anyone else. You promoted the singer and constructed their image, invested on the product so that another person gets the cash. Of course, it's not a very good deal in my opinion, considering the chances of winning and the risk you take of losing and being tied to the contract. But this thing of *no one reads the contract*, that's just stupidity and you cannot blame it on the company, unless it was the case they were deliberately hiding the burden it places on the singers / lying about it. I think I said this here before, I know one of the instructors that work with our The Voice (Brazilian version), they literally build the main performances, and rig it so that their choosen participant wins (which is also part of a marketing strategy). But the singers know it perfectly well and no one is really harmed. It only shows that you can not use these shows as some sort of parameter, specially NOT the opinions you hear given by the judges or whatever they decide to air to justify a given choice lol even the performances you see, you see just the parts of it that fits the show. If they choose only good parts, it will be stellar, if they choose bad parts, it sucks. And there is high entertainment value on doing *either*. The only ones being deceived are the people that watch it, and well, I would argue that's what we want from TV isn't it? A show?
  2. 2 points
    Hey Bayloydi, Sorry for the delay. I have been consumed with the Vocal Athlete Intensive here in Seattle. Thanks for your patience. Great that you are videoing your singing.. you get more information and learn more that way. Don't put your hands in your pocket, it is bad form. you need your hands to express yourself and give you physical balance. It also looks super amateur when you do that. Do you want people to think your bored when your singing, or that your into it? Get your hands out of your pockets! I like the way you maintain the resonance on your "with you"s... you maintain the compression through that phrase and that could be a part of the song that would give a lot of people problems, but you intuitively knew to maintain that narrowed position and keep resonating. VERY GOOD! Your rhythm and feel for groove is great. Your intonation is pretty darn good as well. A few spots are a hair flat, but overall.. really good. I don't have a lot of critique feedback for this other then pointing out what I liked. I think your a great singer and this performance was very well done. VERY WELL DONE BAY! Are you from the Philippines ( just a hunch )? Where are you located? Do you have a voice coach? What is your story?
  3. 2 points
    Hello, Please review my singing: My Favorite videos: https://www.youtube.com/watch?v=_jxsuziK3t0 https://www.youtube.com/watch?v=_2DgIx1UOuI
  4. 1 point
    Hi everyone! So I'm having a bit of a crisis. For the past few months I've been dealing with a sinus infection. Although it seems to be cleared out, I'm now having doubts about my voice. I'm not sure if it's because I couldn't sing for a while or if I'm still not at 100%. I use to really like it, but I'm honestly questioning whether it's good or not. I know I could definitely use some training (i've never had any formal training) but that being said, what do you guys think? If you guys could give me some honest feedback that would be greatly appreciated!!
  5. 1 point
    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.
  6. 1 point
    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.
  7. 1 point
    Here it is recorded on Smule https://vocaroo.com/i/s0L56jlQ217k
  8. 1 point
    With everything turned all the way up in my studio, I can t still only barely hear it, as if I have everything turned all the way down. Can you upload a new one that is louder?
  9. 1 point
    Hello there, I would start working on your pitch. You notice it at the end, when the music already ended. Without the music it sounds better, because you're not hitting the right pitch yet. After that you can try to work on the emotion! You sing it rather emotionless Try to put a little more character in it. If you work hard I guess you can make that song.
  10. 1 point
    Welcome 'Brix', Click on "Guaranteed Singing Reviews" on the menu above or click "Add to cart" (below). Our coaches, our singing experts, and our members will be pleased to help you. Respectfully, Adolph
  11. 1 point
    It's good. There's room for improvement though. Keep it up! if I was a judge in the X Factor, I would say "yes". My point is you sound good, but you could improve on your voice; needs a bit more work.
  12. 1 point
    Hello all, I am currently taking Bel Canto singing lessons with an instructor, and she has been teaching me vocal technique and giving me exercises to get more in touch with my emotions so I can draw them out and use them in singing. Learning Vocal Technique and Adding Emotions Separately? I originally wanted lessons so I could improve my vocal technique and use my vocal organs to their maximum ability (and sing healthily) so I was a little surprised by the addition of emotion, as I had thought that adding emotion comes after you learn how to sing properly. The instructor trains all her students with stardom as the goal, and says that learning vocal technique and emotion go hand in hand, you cannot learn one first then the other if you want to be a good singer. She said that if I wanted to learn technique first then emotion, she is not the teacher for me as in her opinion that just doesn’t work (or is a rather half-assed attempt at becoming a singer). What's your Opinion? I have zero experience with singing and don’t even know anyone I could ask about this (cept for the internet), and to a layman’s mind, it seems logical that you could learn vocal technique first then learn how to sing with emotion later just like learning an instrument. So, is she right? Side Question Let’s say that my interest in singing ranges from singing broadway like Les Mis, Chinese pop songs, and Oratorios like Handel’s Messiah. Can I train to sing all those genres in their appropriate styles, or is it impossible to do that?
  13. 1 point
    Just listen to the video and on the last bit A vocal coach hiding there own inadices and blaming the student and making them feel shity when they leave the lesson, har har This reminds me of a first time lesson with new teach not so long ago. I told her in the middle of the lesson what my altimate goal out of all this was. And she just turned on me and said you can never make it you don't have what it takes ect ect and finished the lesson for me and had me walk out feeling small and embareced like I had been hooded off of the x factor or some thing But hold on a moment, on my drive home I thought about this and came to the conclusion that she was not that good anyway and I would of just been wasting my time and money as I don't think there was much I would of learned anyway. Just to prove it all I later call a time served pro up who was far more experanced then her and confirmed it all any way The truth is that this breed of people are not interested in hard work and in helping other, instead they would rather parasite and steel off of other peoples hard work to make up there loss
  14. 1 point
    Right then, the way I see it, it crosses the line. If it has nothing to do with singing then it's not the job of a singing instructor/teacher/coach.
  15. 1 point
    I am not sure of what kind of exercises she would have you do to "Get in touch with your emotions". But, just as in Roberts explanation of the physiology of the "Cry" in your voice, emotional reactions trigger different positions in the vocal tract. Happy and joyful will lift the soft palate and brighten the voice. When you are sad and lonely, the vocal tract tends to set up a lighter, softer sound. An outburst of laughter will open the vocal tract and trigger other muscle involvement. When you are angry the folds tend to tighten a little more and give you more vocal fold compression, and a deeper fuller sound. These things happen naturally with a spontaneous emotional reaction. For me the "Use of emotions" is a way to control muscles that you cannot see and are usually beyond "Physical" control. Training technique is pretty much giving you the ability to control the different positions even though an emotional response did not trigger them, and getting you to know which aspects are needed for a given task(tone, pitch,volume, dynamic....). Sitting in your room and pretending to yell across the street to someone who is headed for trouble is way different than having to really yell to someone who is in the path of a speeding vehicle. The response triggers things you are not even aware of. Becoming aware of them lets you start using them on purpose.
  16. 1 point
    Depends on what that means. If the idea is replacing technical training with "emotions", as in depending on feeling something to sing as you intend, that's a problem. However, there is this aspect that is not easy to convey and perhaps it's what she wants: On every thing you do, you have two ways to approach it. You can do things intuitively, or, you can do it rationally. For example, say you have two boxes full of objects, and you want to tell which one has more objects. You can just glance, evaluate the contents and take a shot at guessing the answer, with a certain probability of getting it right, you will use your intuition. Or, you can sit down, and *count* everything inside each box, and have an exact answer. That's a more rational approach to the problem. Now, if you are an engineer or an accountant, that first approach might not be the best way to do it eh? hehe But on creative arts, we need the intuitive process more than anything else, because it is this type of approach that will give you freedom and allow you to express yourself better. And we need it because it's fast and does not depend on consciously evaluating everything. It may seem bad because it's not very accurate, but the good thing is that by failing and trying again, and again, you get better at doing tasks intuitively (and in fact you learned quite a lot of them as a child, all the things you do that you are not even aware). And that may be what your teacher wants to get you more into. It's common with people that are rational, and very intelligent, to try to break down problems and solve it in pieces. For example trying to count and measure every interval and duration of the notes they will sing. Which believe it or not is associated with a decrease in performance.
  17. 1 point
    I would stick with the teacher. Most of the things regarding "Technique" is what your body does naturally when expressing emotion. The problem comes in when we "TRY" to be emotional or "TRY" to sing. You can over-do technique and lack character and end up sounding boring even when you are nailing every pitch and tone.
  18. 1 point
    Interesting post! How you guys doing? I'm doing great, just been heads down on events and other things... came in here and did a singing review the other day. TVS Studios - RØDE Microphones Sponsor. Vocal Athlete Intensive Boot Camp. TVS Studios - Extreme Isolation Headphones Sponsor. Vocal Athlete Intensive Boot Camp. NIMES, France - TVS Training Vocal Athletes Tour. Pescara, Italy - TVS Training Vocal Athletes Tour. Ansbach, Germany - TVS Training Vocal Athletes Tour. Do you guys have any information on The Voice contracts?.. I have a new student that is preparing for the auditions.
  19. 1 point
    So I know many hear would like to put things like this to rights, so hear is a good video of how to ruin ones career
  20. 1 point
    I've been taking some local vocal and singing lessons in San Jose for a few months now and I've always wanted to sing like Chris Cornell. I feel like I'm getting closer and closer!
  21. 1 point
    I've never been on Britain's got talent but I was on American Idol and I had a friend on the voice. However, I assume it's similar to those. Basically, you become their product. the contestants signing in most cases know fully well what they're signing but that doesn't make them any less crazy.
  22. 1 point
    I've seen a couple of these videos - usually just a bunch of clueless 20 year olds who don't know how the world works. You don't get something for nothing. The talent show route allows the contestants to, theoretically, bypass the grind of building an audience or following at a grass roots level and get massive exposure instantly. That comes at a price. I bet if you have, say, 100K subscribers on YT or an existing music career you can negotiate different terms. The more you bring to the table the more power you have. This contract is a catchall for the bedroom singers and pub crooners. Anyway, contestant X goes on the show, and fails early. After a year of getting over the crash to earth they start releasing music and performing are the entertainment companies really going to persue them for ownership of content? I doubt it, unless they try and use the fact they've been on a talent show in their publicity, they're all ready yesterday's chip paper.
  23. 1 point
    Singing is the art of producing musical sounds with the voice and augments regular speech by the use of sustained tonality, rhythm, and the most important thing, a variety of vocal techniques. Sure the one who listens to songs are known as the listener (Song listeners) but the one who sings the songs are called singer or vocalist as well. If you are the one who is interested to learn singing but due to busy schedule can't join any Musical Training Institute or center then don't be sad I have best alternative for you. As World is moving toward digital so you can learn music online as well, There are lots of music training Sites / Teachers available. You can Learn Music On Youtube or you get paid skype classes as well If want to know about more sources to Learn Music then I suggest you to go check out singing-Life Blog. Singing Life was the one of most helpful source for me to learn music when I was struggling to learn hope you are going to get advantage from it as well. Best of Luck Don't forget to leave Feedback
  24. 1 point
  25. 1 point
    It's physics. I know, boring. Anyway .... A note needs a space properly sized to resonate. At about D5, and this is true for all voice types, there is not enough space to resonate both the fundamental and partials that create a particular vowel. There is only room for the fundamental. So, at D5 and above, all notes have the same "vowel" sound. No amount of training or magic pill technique can change physics. A vowel sound is a matter of certain partials being enhanced and others attenuated. There is no possible way, physically or anatomically to create the vowel sound at the folds. It happens in the resonators. Forever, and amen. This has been physics with ron (the redneck) ws. :)