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  1. 6 points
    Just started a new singing podcast my first guest my teacher and great singer Alexander Kariotis . He studied with Pavarotti 's teachers and some others. Great podcast with some high notes for good measure and stories about Bel canto lineage etc enjoy or not whatever I like cake...also multi platinum singer can't disclose name but he studies with alex as well...
  2. 4 points
    For practice its best to hear yourself dry. On the shows, you hear compressor, equalizer, de-esser, reverb and auto-tune, the whole effect chain. Reverb (the echo as you said) is necessary to make it sound more natural, to sound like you are singing in a room of some sort. But should be very subtle, never upfront.
  3. 4 points
    When you ask huh? I was saying there's another guy in the podcast I couldn't give out his name because of legal contract however he was stating the thing about terms and all the BS that gets thrown around YouTube and how can make you feel stupid but then you listen to the people putting out these programs and he was disgusted. And Alex doesn't mean they need to be world-class singers but they need to be able to sing everything that they teach and the things the student wants to learn meaning that their technique should be solid and that's what technique does it makes you solid.
  4. 3 points
    I filmed this in one-take in Seattle with @Robert Lunte at The Vocalist Studio. I brought this song to Robert because I tended to push WAY too hard and wear out my vocal cords by the end of it, in 2.5 minutes! As a performer and teacher, that was unacceptable! We worked on sobbing/crying through the song, which made it FAR easier to sing. This convinced me that Sob Vocal Mode works like magic. Crying through the song not only released extra tension, but also made it much more emotional to sing. I usually train a song through a cocktail straw for a week to get the same result. Purposefully adding sob meant I didn't have to do that. Speaking of magic... Do you see that mic and filter? Aston's Halo Reflection Filter works better than anything I've used in my decades as a recording engineer, beating out sE Electronic's flagship product by a very large margin. The room is not treated at all and sounds like a reverb chamber, and yet the raw vocal track was perfectly dry. Aston's mic, Origin, is also the first solid state mic I've ever truly loved, which says a lot if you know me. Apparently, it's built like a tank too, without exaggerating at all. And no, I didn't get paid to say any of that.
  5. 3 points
    No, do not add delay or "echo" to your practicing, but it is ok to do so when you are working on your songs. Do it lightly. Set the rate of the delay to the tempo of the song as well so that it adds an additional element to the pulse and groove of the song. If you set the delay to a tempo that does not fit the song, it can create noise. Delay is a rhythmic entity, so use it as such. If your quarter beats are 100 BPM ( beats per minute ) , then it is advisable to set the delay rate at 100 BPM. Now your delay is not conflicting with your song and actually adding to the groove. Anyways, don't use it when practicing. When practicing, just use a little bit of reverb, thats fine.
  6. 3 points
    Good points Jon about the Cymatics. Ever walk into a room and have a bad feeling come over you, you find out later that there are people there who have had an argument a few minutes before you walked in? How about getting a good feeling when walking in? We give off Vibes that others pick up on.....we feel them ourselves from others. It is sort of like a sixth sense. Music is the same way. Most people do not pay attention to the music playing in the background during a movie or TV show. Pay attention and you will see the patterns of when there is danger, or sadness, or excitement....... The pattern is there and it is easy to recognize. Pay attention to the types of instruments and the basic patterns during different shows of emotion.....Use those themes when you are making a composition. They work for a reason.
  7. 3 points
    Emotional response to sound is pretty much in us when we are born, or conditioned in the first few years. Good musicians, song writers, singers and composers know this and use it to their advantage. Tempo and tone set the stage..... It is not just the singer who makes a song so powerful emotionally but the music behind him/her.
  8. 3 points
    I had a friend ask almost this exact question today. It's something I think a LOT about, and so this is going to be a bit long-winded. My friend posted: To which I replied: I would also like to add this here, since we're talking about singing technique as well: One singing technique that can help you get in touch with the core emotions of what you're singing is vocal sob, or crying a bit through the vowels. Robert and I had a lot of long discussions about this while I was in Seattle last week. He helped me stop pushing as hard on my belts and rely on my vocal sob a bit more. I immediately was able to emote the song more. I often use a 3.5mm cocktail straw to help my students find this feeling and relax their singing voice in that particular way, Robert helped me take it away from the straw where I could very purposefully apply it anytime I wanted without having to use a help like the straw to train for it. Regardless of the technical help it provides though, it's a very emotive tool. It's incredibly intuitive and primitive, helps you truly feel the emotion of what you're singing because you're putting your body into the physical state that many of our emotions cause (similar to neuro-associative conditioning), and it's very easy for the listener to pick up on and connect to on a subconscious level. Apart from sob, I would also say that I firmly believe such an emotional connection is a skill that can be trained, albeit different than the muscle strength and coordination we usually focus on when singing. I had an absolutely incredible mentor for it, who made it her goal to get me into such a state of mind and emotion. It took her nearly a year, and it took me feeling like I had let her down time and time again, until I finally touched on that connection she wanted me to achieve. I remember and tell that story in detail a lot. If I haven't already told it here, then there are definitely a few videos coming where I talk about it. Once I felt that contagious connection, not just with the music, but with everyone listening too, it quickly became one of the most important aspects of music for me. I learned to completely lose myself in the music and therein allow anyone listening to do the same. This is one of the reasons I have such a difficult time allowing myself to sing cover songs. Most just don't feel emotionally authentic enough for me to lose myself in. And I personally feel like I've let down my listeners if I do that. I don't believe others let people down by it. It's just a thing I very highly value about my own performances. I'm also not claiming that everything I've released thus far achieves that goal. I certainly tried, but I don't think I always got there (although I know quite a few people who would argue that I have, I'm still not convinced and hope that I never think I've "arrived"). I had a long talk with my partner in The Silent Still about this recently, and we've been putting a lot more focus on it with our newer music.
  9. 3 points
    While physical differences will of course lead to differences in sound, if you sound "thin" its very unlikely its due to it. Both the singers you mentioned used a somewhat low placed, in your face, approach on the low range. I doubt you will still sound thin if you do something similar.
  10. 3 points
    It probably matters but so does everything else and there aint much you can do about it one way or the other. No need to give it any thought. Bottom line, there are ALL kinds of great rock tones and you can develop your own particular tone. Every singer, including Coverdale and Tyler, have strengths and weaknesses. A thicker or rounder tone like a Jorn Lande, Jim Morrison, Peter Steele, Ian Astbury (or Muddy Waters!) has a certain type of strength built into it and its great, BUT it can sound "blocky" and it might not be as agile as a lighter voice. It will sound great on certain types of songs but not so great on others. There are many great singers with "lighter" voices. The basic rock tenor voice could be described as "light and bright". Some of my fave lighter singers are Robert Plant, Goran Edman, Ray Gillen, Mark Slaughter, Daniel McMaster You can take your basic voice type, whatever it is, and maximize it and you'll be fine. First you can learn to support pretty firmly to get a stronger chest vibe going. Also you can learn to shade things back towards a darker basic tone by leaning back towards darker vowels. For instance look at the IPA vowel chart and start playing with vowels in the middle or back (right) of the chart and maybe the bottom (open) side of the chart. So experiment with vowels like bought, bout, bot etc and see how they affect your tone. Then play around with using that basic vowel position as your temporary base of operations to sing whole songs from and see how it sounds etc. Those are the darker warmer vowel positions. But also play with all the other vowel positions and see what sounds best. They all have advantages and disadvantages Even a guy like Paul Rogers is a good one to consider. He had a nice bright rock tone which wasnt shrill but also wasnt huge and dark and boomy. Id say he is a good role model for a basic rock tone. But like I say, if you maximize and strengthen what you have you'll be good to go Peace, JJ
  11. 3 points
    @Felipe Carvalho @JonJon EXACTLY. He is singing in Falsetto mode, therefore, he isn't "really" singing. Let's hear it.
  12. 3 points
    Since I can´t play the guitar to save my life, this will have to do \m/ RIP https://app.box.com/s/uixx0of9tffyqdipds6ckkgjf4wn1ngw
  13. 2 points
    yep, sob/cry is a cornerstone method, no doubt
  14. 2 points
    I was just thinking about the emotional responses that some of us get from hearing music, particularly singing, and I was wondering, what causes it? Like nails on a chalkboard will make the hair stand up on the backs of the necks of a lot of people. Other sounds will have a similar effect but in a more comforting manner. People often talk about something giving them "chills". What quality about certain sounds can end up resulting in that kind of effect? And for anybody responding, what, as far as music goes, has given you an emotional response?
  15. 2 points
    Totally. For every great, legendary singer , there was a kick ass band behind them.
  16. 2 points
    a more recent one. really strong imagery. A slow build up to a peak at 2:08ish and then the really dreamy western cowboy movie sounding vocals what does it evoke? hard to say. maybe mildly depressing but mostly you just get deep in thought. Dude is a crazy good singer but I dont understand how he hasnt blown out his voice yet with the crazy high belting. He goes to the ragged edge
  17. 2 points
    this touches a whole different nerve. This is basic hypnosis and dreamy imagery
  18. 2 points
    Hi, JJ. I have put the question out to a friend who studied with Coffin at UC in Boulder... In the meantime, I found a quote from Shirlee Emmons that indicated that they knew each other from singing on the first tour of the Robert Shaw Chorale, in which they both sang. So, I would have to answer your question with a 'Yes, He sang!' at this point. Knowing the quality of singer Shaw recruited for the Chorale, I would have to guess he was quite accomplished. I will let you know further info I get from my friend. I agree with this impression. Its one of the reasons listeners are largely unaware of the vowel tuning (modifications) that the singer is doing... because when done well, the singing appears effortless, and sounds wonderful and appropriate, regardless of the genre of music. Best Regards, Steven Fraser
  19. 2 points
    The tone of the song is primarily the reason a song moves me on an emotional level. Listen to some of Karen Carpenter's songs and you'll know what I'm talking about. She has some of the most emotional music around just by the way the songs are structured to her tone.
  20. 2 points
    BTW, I really liked the podcast. I was with Robert when we listened to it. There was a lot of head nodding going on.
  21. 2 points
    okay, where is this comment by "mystery BB" lol...what time in the podcast? I listened to most of it but didnt hear that part. The thing to me is...we are all on slightly different paths and we are getting where we are going by slightly different methods. Some people are REAL good at figuring things out for themselves....others get lost after the first 3 minutes of the movie lol. Some are real techie/mechanical whereas others just want to feel their way through a thing its a bit silly to try to FORCE others to adapt one's own super specific terminology. Not only is it silly, its downright impossible. Its simply not going to happen. Lets get real here. its about as douchey as it gets when you are talking to someone and you use the term "headvoice" and the person says "headvoice doesnt exist"..or..."I believe in one voice". Its like come on dude, you know what the person means lol. Do we have to be that asanine?? Bel Canto is no better off. Ever see that video where the famous female opera singers are discussing "chest voice"? Evidently none of them agree to what it is lol. We should all be confident enough in our own game that we can still accept others. In the end we are all brothers and comrades in the singing game. We ALL can get better lol. Youtube is no different than the libraries of the past. In the library are many books...some great and some suck. The individual still has to learn how to weed through things on his own search for truth Without youtube id never have heard of Robert Lunte, Ken Tamplin, Dan Formica, Kevin Richards, Brett Manning, Felipe Carvalho etc etc Are there a bunch of "me too" bozos on youtube too? of course lol. It is what it is. As always its up to the individual to LEARN HOW TO LEARN. All told, youtube/google/internet is THE most important info resource we have in out lifetimes Terms like "quack" and "twang" are very legit in my book. If nothing else it leads us to investigate what the terms mean. Take a term like "formant". I heard that term almost 2 years ago and only JUST sort of got a grip on exactly what it technically means. Do you HAVE to know it to be able to sing? of course not. But could it possibly help you if you want to maximize your skill set and knowledge?? of course it can help. Just because there are idiots who abuse and misuse the terms doesnt make the terms bad. Idiots wreck cars every day but we dont say cars are to blame. Idiots abuse medicine every day but we dont say medicine is useless. Peace, JJ
  22. 2 points
    Daniel, see if you can get Ralph Saenz on to discuss in sickening intricate detail how he gets the David Lee Roth whistle! and also of course how he trains his voice and how he learned to sing etc
  23. 2 points
    Hey Bjorn, welcome! Which song do you want reviewed? I'll go ahead and review the Johnny Cash. - Pretty voice. - Where are you from? Your singing voice suggests that you may have some foreign accent which is "here nor there" , but was just curious. - Your intonation is pretty good. - Nice mix/production. Overall I think it sounds nice. I don't have a lot of critique advise for this. Your voice sounds pleasant, intonation is pretty solid, the color of your voice is interesting, and effective. Nice job!
  24. 2 points
    Face shape ? I’d say nothing to do with it. Intrinsic vocal track and oral cavity shape? Yes...
  25. 2 points
    Interestingly enough I have a powerful oo (boot) vowel. In recordings of the choir I'm in when we're called to sing an oo above C4 I can clearly hear my own voice even with 10+ other male singers. However my ah (bat) is weak. In a very simplistic way that chart kind of confirms that. The main issue is that I speak in the right middle section (boat/bert/boy) and that gives me a swallowed tone that I want to get away from. I actually practice speaking (in private of course ) mimicking more forward accents to break the habit when I'm singing!
  26. 2 points
    Before you totally write off this article you'll have to admit: karaoke is fun! If you haven't yet had the experience of blasting out vocals to your favorite songs with your friends then you are missing one of life's greatest experiences. If this is you, stop reading right now and make a date with your friends to hit up the local karaoke bar this weekend. With a little bit of practice (okay, maybe A LOT of practice) this could be you: What about those who still have a fear of performing in front of people? Well, that's why the home karaoke system was invented. Designed for those who want to host a more intimate karaoke outing. Also, a great addition to liven up any regular house party. For the rest of us, we know how exhilarating it can be hitting the high notes to the backing track. We know the feeling of seeing the crowd actually enjoying a karaoke performance. Some of you may even be familiar with the high that comes from an enthusiastic applause from the audience. But karaoke isn't something that we actually should take seriously is it? Well, in my opinion, the answer is both YES and NO. Mastering singing is just like any other musical endeavor. It requires both time and purposeful practice. Those who have the control to really let loose while singing have spent hours training their breathing, vocal chords, and posture. They've put in the hours and hard work required to master a skill. One common thread that every experience singer shares is time. If you ask them they will likely tell you they are constantly singing. The sing in the car, in the shower, doing laundry, washing dishes. While this is not exactly purposeful practice, the hours add up over time. If you're like most people, finding all that time to sing can be exhausting. Seriously, who has an extra hour a day to devote to singing? This is where karaoke comes in. While it may be difficult to find the motivation to grind out an hour of practicing the major scale, it's far easier to head down to the bar with your friends for a fun night of karaoke. This is a place where you can relax and let loose. You can challenge yourself under pressure. You can push the boundaries of your range and ability with a little help from alcohol. You may even find yourself getting far more singing in then you would during your typical practice session. Learning a new skill doesn't always have to be a grind. Through finding fun workarounds you are able to make the process much easier. You may even find that karaoke provides you with a new source of motivation. The karaoke stage can be a great way to showcase your talent to a receptive and forgiving crowd. If you underperform, no one has to know that you've been secretly taking singing lessons for the past year. If you knock it out of the park, all the power to you. So while karaoke can be another powerful tool in your arsenal, it doesn't have to be shrouded in a technique and rigor like your regular rehearsals. While I know many of you will still look down your noses at karaoke, I hope I've inspired at least one person to go and give it a chance. What do you think? Is karaoke something worth trying? Let me know in the comments below!
  27. 2 points
    I find the comment to not only be dead wrong, but it also reveals how little the judge knows about voice training. It also shows the individual to be mean. No credibility, shouldn’t be judging.
  28. 2 points
    Are you maybe singing the female songs an octave lower than the actual pitch? In Let It Go, for example, Idina Menzel ends the "Let the storm rage OOOOOOOONN" on an Eb5, which is a very difficult note already for females to hit. If you can sing it as a guy you won't have any problems singing Blake Shelton or Ed Sheeran (most of Ed Sheeran's songs only go up to like an A4). Unless you're really singing an octave lower, so you'd be hitting an Eb4 on Let It Go. You would still be singing in key but it wouldn't be the original pitch. The note Eb4 should be singable for almost all guys, with or without vocal training. You might be squeezing a bit to hit that note in your chest "belty" voice due to bad technique. If that's the case then it makes sense that Ed Sheeran would be too high for you.
  29. 2 points
    a wild guess: you are singing falsetto on the high stuff. Then when you try to sing in your regular chest voice you start to struggle when it gets too high
  30. 2 points
    Record yourself on one of the problem songs and one of the female songs that you can sing. Send it over so we can understand what you are doing.
  31. 2 points
    Ask the guy where he bought his talent'o'meter, I want one! (if possible, analog type, for a more vintage feel)
  32. 2 points
    If you are monitoring auditions to see who has the talent to go forward in a show like that, there is not enough time for tact. Sure, the judges go for cutting the throat of those auditioning and they should be more mindful of their responses. Those auditioning should know whether or not they are up to par for the competition. Edit: meaning that they should be told by somebody, either family friends or unfortunately for them, these judges. If you are a voice coach and one of these singers come to you to improve, I would not say that they can never be able to sing to a degree that is above average. Getting them to hear what to listen for and their ability to understand why they do not sound good at this moment is more of an issue than training the vocal cords and coordinations.
  33. 2 points
    Best tool I've ever found for answering a question like this for myself:
  34. 2 points
    You don't why? Even if you convince some stranger on youtube you gain nothing
  35. 1 point
    Corrected. Sorry, in a hurry. It's a spectrograph.
  36. 1 point
    That complex vowel is exactly the way I teach it, when I have to use vowels as examples because they're not able to "move the vowel with the pitch as it goes deeper into the soft palate." That's a bit of an oversimplified way to say it, but I think I already explained it.
  37. 1 point
    moving the resonance around etc...but the vowel isnt consciously changing lol. Thats the difference. I might be modding a lot of other stuff so as to NOT change the vowel. My main practice routine for about a year was long sirens on 10 different vowels. from low to high and then back down again (or vice versa), crossing the passagios....but keeping the vowel pretty constant It might be because im from Virginia. We dont even do diphthongs. for me "eye" has one syllable and one vowel I know its (modding) a type of crutch or training aid but it seems that it gets lost in translation as being "this is how to properly sing". Like there is a teacher online, good guy and sings good (deep baritone speaking voice) and he preaches modding the vowel to get thru the first passagio. I guess I just dont see the need unless one is a struggling beginner. Or like the guy is a deep baritone, so when he is singing basic tenor stuff he is already around his own personal passagio. Then there is the whole thing where people go to do a cover and David Coverdale or Steven Tyler sing a certain vowel on a certain pitch. Then someone comes along and says "oh, it'd be a lot easier to change his vowels to other vowels (plus lower it 2 keys)". Why? Why not just train and get better at singing? If someone is singing Journey and they have mutated the vowels into oblivion then dropped a step and a half.....they aint singing Journey lol. Its like saying "I replicated Evel Knievels jump of 15 buses".....and then you look and the guy only jumped over 3 shopping carts lol The "resonant anchoring" thing is probably something I do as well....and several variations of it. Thats why I say I dont mod vowels....I do a few dozen other things instead. I sort of like looking at "vowel" as more like "vocal tract setup". So lets say I want to sing nice bright late 80s rock like the BulletBoys. I sort of get into a nice bright "ee" position and use that as my "home base" for the song. But I will sing any and all vowels from that position. Thats how I analyze someones voice. Their natural vibe is somewhere on the IPA vowel chart. You find that basic spot and you set up shop and sing the song based around that position. But thats a far cry from modding individual vowels. thats too much like math homework
  38. 1 point
    as far as sounds, probably something like this is deeply imbedded in me. Appealing to the left brain but also allowing one to drift off into fantasy. Being a kid id often think of Europe and castles and knights etc. Its kind of soothing and reassuring...like MAYBE there is some logic in the world lol. So naturally a ballad like this, based loosely on Baroque progressions has a very strong pull on me. You combine the logical chord progression with the emotional pull of the lyrics and subject matter and then combine it with a rock backbeat and its pretty much a fully encompassing deal ----------------------------- We had this album in the house when I was a young kid. finally my mom literally destroyed it because I would get too depressed listening to it lol. This song just has one of the strongest emotional vibes to it.Eric Clapton is in the studio. He is madly in love with Patti Boyd Harrison.....who just happens to be married to his best friend, George Harrison. So he is in the throes of that situation (finally stealing her from George) and they are all coked out of their minds and doing 48 hour sessions and pouring it all out in the music. THEN in the midst of the sessions, Eric's other great friend Jimi Hendrix dies at the age of 27. So Eric did this Jimi song as a tribute and it is just one of the most emotion drenched things ever laid down. That musical peak at 4:48 just kills
  39. 1 point
    It is funny, and kind of ironic or confusing that we use different words to say the same thing. Being from his background Robert would use the term "Sound color" and me being the hillbilly that I am would use the term "Inflection" or Emotional expression, Martin may use the term "Prosody". In "Blues for Baby and Me" by Elton John, Elton uses a lot of "Sob" quality. He sounds sad and almost apologetic for leaving and taking his girlfriend or wife away from her father. He has the music behind it to express the same feeling. I choose to sing it from the perspective of saving the wife from an abusive father. Matter fact and defiant. I am also just using an acoustic guitar and I play it a bit faster. Whether you use the term "Sound Color", "Prosody", "Emotional intent" it is the same thing, Using a tone and phrasing that matches the emotion you wish to convey. When done correctly that same feeling should be carried to the audience......Have you heard the term "Phoning it in"? that pretty much means just singing without providing any emotional connection to the song. Side note... I was working on a song that my brother wrote(he passed in 96). They way he sang, it sounded upbeat and happy... whenever I sang the song it sounded sad even though we have a similar voice and style and using the same melody. It finally dawned on me that I was thinking about what I had lost while singing and my brother was thinking about the great time he spent with the girl when things were good. It made all the difference in the world just thinking from a different perspective while singing.
  40. 1 point
    'I should have said, "You may post examples if you wish"
  41. 1 point
    One thing I'm certain of is there is no "mode" where you can only use certain vowels. I agree, it doesn't make sense to me either. Dan, modifying vowels in this way is not bullshit? It is a legitimate, alternative option for the more narrowed positions. It couldn't be bullshit, because every great singer does it from time to time, including you. I would invite you to just view it as an alternative. Why would an occasional “ee” to “eh” modification be “bullshit”? Focusing on narrowed language vowels does have a lot of benefits I've noticed. You get a nice diction from it but it also has the effect of working your musculature a lot and it makes you stronger. I am a big advocate of it. Singer's should be aware of both techniques and their unique advantages. Nobody benefits by purposely trying to only do one or the other. Why be so rigid about this? One of my Vowel Modification Lectures. It is an explanation as to why we need vowel modification. That doesn't sound crazy, that is a good decent description of how to manage vowels and their resonance. I think most people understand this forumla. That is a formula for vowel modification, or the layman's formula for the physics of it. I like it, but it is definitely a vowel modification, resonance amplification formula. Excellent. Singing vowels become more multicolored in their auditory perception, the higher they are in frequency. The lower they are, the more singular the color seems to be perceived. The Berton Coffin? Ya, it seems a reach to do it alone without a coach. I think Maestro Steve Fraser understands it. You guys remember Steve? @Steven Fraser. I don't cite who my teachers were very often. I had great, legendary teachers as well. Including Steve above... But It never occurred to me to speak of it so often, other than a page on my web site. I feel like I want to focus or highlight what I'm doing. My former voice teachers are not a big thing that defines my credibility. I suppose they add something to it, but when I think of my credentials, who I worked with,,, at this stage of my career, is a side consideration with marginal weight toward my credibility. Great posts guys.
  42. 1 point
    Robert I also saw that dio breakdown using cvt modes. And i get Felipes point as none of the CVT modes as demonstrated sounds nowhere close to the sounds like DIO or Pavarotti uses. Yet they claim these singers use these sounds or modes. I know ive personaly been big on supporting CVT modes in the past. But im honestly starting to doubt them, sure when we can apply DIO or Pavarotti as examples for a program it's gonna sound awesome. But the truth is neither of them used CVT and ive yet to hear a CVT singer come anywhere close. In regards to CVT we have been spolied on this forum as we had Martin. His examples was and probably still is 10 times as strong as the stuff out on the CVT libraries
  43. 1 point
    I started to post this the other day when the thread disappeared for a while...then was locked.... It still seems valid to me after all the other comments. The terms and ideas get a bad rap because they are misused or misrepresented. Any written description of a sound is going to be inadequate, especially when that sound is supposed to lead to a coordination which involves air pressure, vocal tract alignment, vocal cord approximation, tongue placement, ect........ Even the guest stated to his teacher " I don't know how to make that sound" at that point descriptions on how to make that sound would follow from the teacher or just a back and forth of the teacher making that sound and the students attempts until something close is achieved. There was also a demonstration showing the difference in a sound production.....one without appoggio(or classical technique) and one with.......but no description on how to make the difference in sound......A teacher or method that uses written words or even a video would need to describe in words what makes the difference by describing a physical coordination. Even someone like Lilli Lehman would describe the difference in vowel modification on different pitches by writing things like an add an " i " on top and and "oo" on the bottom with a " Y " to link them. That would give you the vocal fold closure or "Twang" plus the open throat and lower larynx of "curbing". Yes now there are terms to describe an action of the vocal tract and a sound to lead to them. And that is what they are. They are a way to LEAD to a coordination. No different than using the term Appaggio or Squillo to discribe different aspects of "Classical" or "Bel Canto" techniques. No, you do not need to know terms to sing......but when people keep telling you that you are speaking on pitch not singing.....or you are squealing not singing......or you are mumbling not singing.....They better come up with some way to lead you what IS singing and how to achieve it if they are your teacher...... Edit.... Not all of us have someone who can push on our stomach at just the right spot to help us find appoggio or support.... Edit 2. Dan this is not meant to slight your Podcast. It is a great idea and I enjoyed it thoroughly. Awesome job and a great interview regardless of where it led this particular thread.
  44. 1 point
    If you are implying that its insignificant, I agree. It wasn't a big deal. Just put me off is all... That is not a little harsh, it is a lot harsh. Someone, we don't even know who it is, griping about "twang and quack and voice coaches that make videos with screams..." ( GMAFB ), and now we are suppose to consider the idea that the coaches he worked with were also liars? Regardless if they are as effective as they would like us to believe, which is a subjective opinion, these people are not liars and to call them liars only exposes how unfair and off point attitudes like "mystery BB" are. No singer's career is made or lost by a single voice coach. That is absurd. I wonder why "mystery BB" has to be a mystery? Maybe it is just a way to troll anonymously and criticize other voice coaches without being "seen". I think that aspect of the content is a tad suspicious. Great stuff, I have the book and would like to dive into it with more detail one day. Well they do. I have many career singers that work with me as does Kevin Richards, Ken Tamplin, Brett Manning and more. There ARE good things to learn from YouTube... there really are... it is just super hard digging through the noise to find it. I'm not making the argument that it doesn't exist, it does. At the risk of sounding biased, I happen to believe my content is super helpful! And other coaches as well. I like Ken, Justin, Draven, Kevin to name a few... but with the increase of "me-too" circle-talkers, it is just buried under a lot of noise.
  45. 1 point
    it could be worse...what if u only had half a headvoice??
  46. 1 point
    I'm wondering if it's maybe safer to scream WITH grit because it's added resistance above the glottis, sort of like a lip bubble is added resistance above the glottis.
  47. 1 point
    I feel u, I live in a quiet apt too lol. my poor neighbors. A couple of years ago i was trying to record some Gregorian chant. Im pretty sure they thought I was worshiping the devil or something
  48. 1 point
    Haha I don't know. He's been a bit hoarse in a few clips on youtube. But they've been active since 2008 and he sounds better than ever, so probably not. Vocal fold swelling/early nodes go away with rest anyway so maybe he overdoes but his vocals are not declining
  49. 1 point
    Yeah this guy sounds great too. I think it's good for us singers to pick a style and work really hard to get good at it. Personally I prefer the singers who get beltier and beltier at the top range and not the ones who sing it with balance like Nathan James and this guy. I like the danger when it sounds like the singer isn't gonna make it There is so much the voice can do, I don't think there is time to become a master of every style Check this out, this is dangerous singing
  50. 1 point
    Here is a good reason to stay hydrated — regardless of singing. After at least 10 years of feeling very poorly with headaches, feeling like I had mouth and sinus inflammation and ultimately resulting in anxiety and depression I decided to seek out a top UK ENT consultant (I had already spent literally thousands on various other treatments to rid myself of this misery - belief me I was poorly). The ENT consultation cost a fortune and the first thing he did was to look in my mouth and instantly proclaim that my problem was one of chronic dehydration. He told me to go away and drink 2 litres of water each day and cut down on coffee and other 'fluids' which he claimed were not really considered water (debateable I know). He said, the other option is to pay him thousands of pounds to do further tests and possibly he might find something that he could charge me a fortune to operate on. Guess what, I chose the cheaper water option! I have never felt thirsty (I now know that thirst is not a good indicator of hydration) and started the very next day with a 2 litre bottle. During the first week I felt a bit sickly and a different type of headache - a sickly one - started. By the end of week one that had gone. Just into week two and I found that I had been cured of my ailments. I was so astounded - and happy - that I am now a massive advocate of hydration. I take a tiny bit of celtic sea salt with each glass but it has been 6 weeks now and no return of symptoms. It's obvious really but an awful lot of people simply ignore hydration. I ignored it for 52 years and so my message to those younger and older is clear — like my pee: ignore hydration at your own peril. It certainly must be one of the most beneficial things you can do to enhance and maintain vocal health and performance. Get yourself a big bottle of water and make a vow to get through it. It's easy for me now and I urge you all to look at this carefully. PM me if you want to know anything else. Anyway, I just signed up with Robert Lunte to start my training. No visions of grandeur, just a desire to entertain people.