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  1. 4 likes
    Hello everybody! My name is Moe. I'm 23 years old and I just developed a passion to sing. Thing is, I don't even know one tiny bit about how to start over. Can you guys help out a brother? Is it even possible to learn to sing in my age? Is it too late? Where can I start? Thanks.
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    You can NOT become a better singer by only experiencing the pleasure of training and singing. Nothing in all the world is more dangerous than sincere ignorance and conscientious stupidity. Martin Luther King, Jr. To belittle knowledge and the way things work, is a popular tactic that is occasionally seen by some people in the singing industry. It is interesting to note that people who make the "less knowledge and understanding is not very important to learning how to sing", argument all suspiciously have one thing in common. They don't have a product to sell and/or if they do, the offering lacks depth. They don't choose to explain how and why the singing voice does what it does. You will never see CVI, EVTS, TVS or programs that offer some scientific insights publish a video or forum post that makes the claim, "... you don't have to know all that complex stuff, just let your inner feelings carry you through. That's all you need. It should never be hard, it should always be easy. You can just will it to happen. Don't bother learning any of the science of singing"... The world's best training programs will never say that. There are two things that motivate people. Pain and pleasure. Some people like to be given permission to avoid all the pain from voice training and learning how to sing. Promise them that they can learn to sing better without any "pain", ( practice, commitment, doing the same thing over and over again, reading a book, paying attention to a lesson, understanding a methodology, understanding how vowels work, etc... ), and they happily get on board. They don't want any "pain" associated with training or learning how to sing better. They only want instant gratification and pleasure. By no means is everyone like this. However, for those that do respond to that message, there will always be someone there to "sell" it to them.
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    I almost thought that was somebody else. I'm a beard guy though. Don't like how I look without it and my shadow comes back by the time the day is over. You know I'm proud of you, man. You used to join the singing challenges all the time. You really came up. And that's the best story Queen could have read here. The worst possible thing somebody could say is you suck. I had the privilege of having a family who didn't tell me I sucked. Other people gave me positive and some negative comments. But when it comes down to it, who cares. You're not doing it for anybody else. You're doing it for yourself.
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    I had severe depression all because I wanted to sing but I was to scared to even in my own home. Once I started to sing my family told me to stop and called me the worst singer they had ever heard, that didn't boost my confidence much but I kept going...... now they ask me to sing
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    Sing. The only way to get over the fear of singing is to sing. It will not work when you are quiet. You need the air to move the vocal folds. If you are afraid to sing. Yell, scream, make funny sounds, Talk to yourself, learn what changes take place n the voice while you are making different noises If you do all of those things anyway, Go ahead and sing. People already think you're crazy so go ahead and sing. Nothing left to be afraid of.................
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    Cool, Robert I'll watch them tonight. Here's Vocal Tip #1, Basic Warmups Pt1 P.S. I'll get the lighting thing together! lol
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    Thanks for sharing your thoughts about 4Pillars Tyrone, I appreciate it of course, but also people that want to learn more about the program also appreciate this. Your point that the program is comprehensive is a common point that many people make. I find that most people, once they get into "Pillars" and learn how to use it, really have a good time with it. There truly is a lot to explore. The amount of information you can learn and train is only limited by your time, commitment and the size of your ambition. It truly is the program for people that want to study and train. It is great to have you as a student. On To The Question: I have to preface this statement by saying, this is my personal experience. I am not suggesting that all accomplished singers feel this way. Likely, not everyone does. But for me, I need to keep my "eye" on the respiration from time to time. It is just a statement that reflects my personal experience as a singer, not everyone's. But the point for everyone is to insure that you are aware of it. Yes, as a general rule, good advise for everyone. Seems to work for me... so I'm passing on the advise. A bit of a strange question... ?? Good, balanced respiration should be... good and balanced at all areas of your voice and range. The vocalize, or intervals you are singing or training should not matter in regards to the level of attention and importance on respiration. Thanks again Tyrone. Yes, precisely because 4Pillars is so comprehensive, I have instructed people that own it to train with the "Blue" modules and lessons first. It is one small way to help people get oriented on where to start and to prioritize. I am VERY pleased to hear that this idea was helpful for you. Thanks for the feedback! Uh ya!? It is the best vocal forum in the world brother! Going on 8 years strong and with rock stars like Draven, Richards, Formica, and everyone else here. You are covered! Tyrone... I have to say. Be sure to find the video and downloadable PDF in the "My Training" page at www.TheVocalistStudio.com , where you will find the 6 respiration workouts. They are also listed in the back of the hard copy book, inside the red training pages. There is a video of me doing the workouts as well. Also, regarding respiration. The Wind & Release Onset is the BEST onset to increase your respiration balance. It helps improve bernoulli physics in the glottis and overall, will do wonders for your respiration. So.. 1. The above mentioned breathing exercises. 2. Working Wind & Release Onsets into your sirens ( Integrated Training Routines ). The Karate Kid Trains Vocal Onsets: I love this scene from the movie "Karate Kid". It reminds me of the teacher / student relationship. Many students don't understand why it is important to train the rudimentary, the basics and as TVS students, the ONSETS. But after the beginning stages are over, TVS students begin to understand how power training the onsets can be. The TVS onsets build instantaneous motor skills and muscle memory, similar to the defensive moves that the Karate Kid experiences after his Sensei, shows him WHY he has been training repetitious movements. I hope this scene will inspire viewers as much as it has inspired me and other TVS students. Let me know if I can help you ... and thanks for posting here so we could share with others.
  8. 3 likes
    It's not really tightening, it's leaning in and out. It has a similar feel and function to the push downward, but the mentality of it changes the structure enough that it tends to stablilize more and not put undue pressure on the pelvic floor. When I want to get really loud, I still push down, but even then I think about it differently than I used to and mentally push more into the abs than I do downward. Either way, you end up moving the diaphram much more slowly and controlled than ignoring the abdominal pressure altogether. I don't think it's contrary to the way TFPOS teaches it, I think it's complimentary. In many ways, it's a matter of semantics. But I think it's a crucial distinction of semantics for a better visualization and thus better support when a student is simply just pushing as hard as they can downward. See the video below. I don't like Trimble's vocal style, and there are many things he's doing to the contrary of contemporary singing. But this way of achieving breath support is someting to consider when learning Robert's method. Again, not cnotrary to, but to help adjust your sensations, visualization, and technique to achieve the end result faster. I teach a few things differently than Robert, but again, not to the contrary. For instance, I have my students use a stirring straw for warmups, cool downs, and even when trying to get the sensation of tuning the formant, proper pressure balance, and relaxation of compression. IT's just another way to achieve the same sensation that has helped my students learn the TVS methodology faster.
  9. 3 likes
    I'm glad I brought you here! I'm glad to help however I can! I often go full appoggio, but it's not always necessary. There are definitely softer parts of songs. However, even on softer parts, proper respiratory balance is a must for longevity and consistency. I use extrinsic anchoring a lot too, but I'm training to rely more on intrinsic anchoring (especially in embouchure, since my tendency is to open vertically on higher notes which isn't the most pleasant sound, haha!). As for "the push" for volume. I have a couple of students who are Yoga teachers and refused to do it that way. I had to search for a better way, especially given their explanation of the horrible things that can do to the pelvic floor and your internal organs. Now I teach to pull in or tighten the stomach slightly when breathing in to the kidneys or lwoer, which causes the air to expand the obliques instead. Then when colume is needed, "lean the ladder" the other way. In other words, lean into the abs, even while keeping the slightly tightened. It makes the lungs work more like bellows, and give much more diaphramal control than breathing with the stomach out and pushing down for volume/support.
  10. 3 likes
    Geran89 is not a troll but a former member who has received and given help on this forum and others like it. Part of many people problems with singing is over thinking the problem to begin with. Trying too hard to let the voice relax and do what needs to be done or singing the way we "Think" we should sing. Most of the time exercises are to break bad habits and get rid of tension. Tension comes from over thinking or trying too hard.
  11. 3 likes
    I use TFPOS techniques with all of my students, with a few extras I've been teaching for years. Once I started TFPOS exercises, all of my students - beginner, intermediate, and advanced - have had amazing results and mostly only want to go through drills with me now, rather than sing songs.
  12. 3 likes
    Moe, of course The Four Pillars of Singing is for beginners as well. How could I produce a training program for singers that wasn't for beginners? That would be a program that would get no students. 4 Pillars starts very basic and then progresses to more advanced techniques and training as you progress, as any good vocal training program should. A lot of these guys own my program as well. If they would be kind enough to chime in from a user perspective, both me and Moe would appreciate that. In any case Moe, after you purchase, I will also be here to answer any questions you may have. I don't go away after you become a customer and student of mine. It doesn't work that way at TVS. Here is the testimonials page... I invite you to view these videos and read these posts, these are real, genuine people that have trained. You may even recognize Draven in one of the videos. What other questions do you have? Lastly, please don't call me "Sir". I appreciate your interest in referring to me with some level of respect, I'm ok with that, but I am not a knight in the court of the Crimson King...lol. Just call me Robert, or if you would like to address me as something with higher levels of respect, you can call me "Maestro" or simply "coach".
  13. 3 likes
    I listened to your other song too. I hear what Rob is talking about concerning Sob mode, and I also think it has a lot to do with your chosen dynamics. For instance, in the other video on your channel, you have a bit more twang and compression. However, even in that video, you chose to not allow yoruself to belt when the song called for bigger dynamics. It was almost as if you were holding back, which kept the song (or both songs) from ever climaxing or taking people on an emotional rollercoaster that you could have with those lyrics. You obvisouly were able to keep your chest voice musculature engaged on higher notes, but you stayed soft in volume, which rounded out the voice, made it prettier, and pushed it much further back towards your throat (hence "sob"). By belting, I don't mean yelling either. Don't be afraid to get loud when the song calls for it or you want to show passion or emphasize parts. Get loud from pushing into your abs from behind, not from pushing from the throat. And let that extra air pressure push right into your soft palate. Then lean the voice a bit more towards your teeth for more edge, if you like. The extra air pressure will cause more twang through what's called Bernoulli's Principle, and cause more volume without pushing frmo your neck (which would be yelling). The focus on keeping the voice up into the soft palate and then out towards your hard palate will also cause more compression.
  14. 3 likes
    Working with Maestro Ross Jelf was a huge pleasure! Ross came to Seattle to train the first 20 hours of our 40 hour training required for TVS Certified Instruction. It was particularly fun to train with Ross because I was working with a world class musician. Someone that understands how to sing with years of experience, but contemporary training techniques and singing colors are new. Be sure to check out the story below and then the performance!
  15. 3 likes
    Of course you can. There's a few things you can do. For one, you should look into getting lessons. You could get either one-on-one lessons or Skype lessons. One other thing you could do is to take one song you like, not anything too hard, but a song you really like, and try to sing it, and make a recording of it. You could download this app if you're looking for an easy way to do that. Then you can buy a singing review on here for $10, post the recording, and then people can help you with telling you what you need to work on. Reviews can be bought here. You must be serious about it though. It could take years to get the voice you want, but your voice is the one instrument that you could never put down, so you should always keep practicing. Also, join our singing challenges, which are challenges to yourself rather than competitions against other people, to keep your eye on the prize and stay working on your voice.
  16. 3 likes
    You made a good attempt on these song. I commend you on your effort, especially since it sounds like English may not be your first language and English, which often makes English difficult to sing. I've trained a few students from other countries that spoke naturally much further back in the mouth and throat than English. I had to give them speech training as well as singing. I think what Gsoul was asking is if you were trying to stay quiet. Your breath support and volume sound like you're trying to be as quiet as possible rather than sing out strong and proud. I have some students who have struggled with the same type of volume and breath support simply because they didn't even think about volume control. Find a volume you think sounds good and fits the song, then try to keep all of your singing at that volume. Sometimes, different parts of a song will call for you changing your volume level, but you still want to stay consistent throughout each part. For instance, a chorus may sound betetr louder, a bridge might work better quieter, but it truly depends on the song and the emotion you want to convey. But volume control and breath support are not the main issue. It's very important, but I heard something else that could hold you back even more. You seem to be singing a lot of speech mode vowels, rather than well placed singing vowels. Vowel placement is extremely different for singing than it is in speech. Learn to lift the vowels to the soft palate. You feel this happening if you smile when you talk. But unlike talking, you want to try and place all your singing vowels to feel more like they're coming from the soft palate than from the throat. Beside the smile, or embouchure (like the video below), you can also place your finger or mic on your bottom lip and try to sing up and over it. Try keeping all of your vowels there. Do you train? Do you have a teacher? I think you would benefit greatly from it. Check out the TVS Training Program linked to in the footer of this page. Even better, train with a teacher who is getting the results in their students taht you want to have yourself. And if you think you can't afford it right now, then at elast watch the video below and Robert's other videos too. He's one of the very few vocal coaches on YouTube who actually explain what they're doing well enough for you to learn from his videos. His course, which I mentioned above, is far more in depth though.
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    Our voices are more adjustable than people give them credit. Do not fall into the trap of wanting to sound "Just like ----------" . None of the singers you posted sound "Just like" the other. It is the style and delivery. If you have already been trained Classical making the transition to another style should be easier for you than those of us without proper training.
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    better yet.... my whole EP (that song included)
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    Unsung heroes of Rock, Pop, Contemporary............... You name it. The Vocal Coach. Do you really think that your favorite singers JUST had a naturally good voice and did not work for it? More likely than not they were just like you. Spending hours in a locked bedroom or garage, shed or in their car singing and making funny noises trying to find that sound or sing that same phrase that has been kicking their butt for years. You can almost bet your bottom dollar that they were also singing in Churches, Fairs, Birthday Parties and bars when they started to realize they were not that bad and could hold a tune. And when the money was finally available and the opportunity or need arose....The search for a Vocal Coach. A few unsung heroes...Elizabeth Sabine...You may recognize a few names that you thought were Natural Singers.. https://rockandrolljunkie.com/2015/06/08/7774/ Judy Davis...Singer to the stars... http://www.sfgate.com/news/article/Judy-Davis-of-Oakland-Vocal-Coach-to-Stars-2957551.php Of course you may have heard of Seth Riggs...Vocal Coach of Michael Jackson among others. Other vocal coaches are Jo Estill, Catherine Sadoline.... You can find a few Videos of Seth coaching and a Program of his. Unfortunately there are very few if any of Maestro David Kyle, Elizabeth Sabine and Judy Davis. Our loss to be sure. But thanks to the newer breed of coaches that have the guts, forethought and passion to bring us videos, books and audio files of their own and tried and true methods of the past we can reap the benefits that others spent thousands of hours and dollars to achieve. So THANK YOU, Robert Lunte, Ken Tamplin, Kevin Richards, James Lugo, Jaime Vendera, and some of the newer coaches...Daniel Formica, Keven Ashe, Draven Grey.................And also to those here who do not let on that they are coaches. I have to stop somewhere so if I missed you just know that your efforts to help others are appreciated.........................................................
  21. 2 likes
    First of all, just thought it would be nice to point out that i sent this question to Rob by email. And he sent me here, so that he could answer it in public and everyone could benefit. What a nice guy Rob is. Been learning a lot from his program, still studying and working on all the stuff, registered not long ago. It's quite a lot of content to fully diggest and grasp!. And most of all, actually apply!. Which is awesome of course, haven't had a course as detailed/comprehensive as this one. Not even close. Before i bought it i was actually wondering why many people called it "comprehensive", now it makes total sense. And the time i spent wondering on if i should get it, could have been spent further studying and applying the techniques. So i encourage others to start ASAP. On to the question, might be a rather simple question, that i probably know the answer too but just am not concious enough to apply it, it can be easy to forget. So of course asking will save me the doubts. And hopefully others as well. This quote from the program/book "Engaging the respiratory system sufficiently to optimize your phonations as a singer is not intuitive for the body. Even after 30 years of singing, training and teaching around the world, i still, to this day, have to be very conscientious of engaging my respiratory support when i train and sing. If i do not, just like everyone else, i start sounding like a duck (and get tired from all the squeezing)." So basically what i took from this was, concious support is mandatory, both in training and singing. Basically you should ALWAYS engage some sort of support. Both in training and singing?. Now i didn't include this part in the email but i want too add a question, how "key" is this?. I think a lot of students these days need a lot of "value guidance" in order to fully recognize what they should be working on. It seems self explanatory, but on a scale of 1/5 - i'd like to know where this stands specifically in your program. Just for perspective. Which btw reminds me of a feature i really liked in the program, in which Rob basically does what i just said. He outlines the most "key" lessons to work on of every section/module. And of course each one also has long detailed descriptions/ illustrations / examples / and my favorite - benefits and troubleshooting. He clearly put A LOT of effort into this. Very thoughtful effort, might i add. Since a lot of programs out there don't go into such detail. Anyways, That's the question. (With some extra rambling included). Heck in a sense that's a mini review. Although i could say a lot more. Rob deserves the praise. Also thanks Rob for encouraging me to get registered, there is clearly a lot of value in this forum i was missing on.
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    What a detailed reply!, love it. Thank you Robert for answering in such a thoughtful manner. I will make sure to remember your advice here and apply it. Funny thing is before i started T4P i was doing a lot of breathing exercises, stuff like 360 breath / hiss / root the breath exercises / so i may be decent or good in that aspect. But the problem i have is remembering to conciously use it both in training and in singing. As in support. Some programs i studied with just basically said "it's natural, you don't have to focus on it". Some others basically focused all their time on it and made it out like it was like 90% of singing. So that conflicted me and i just ended up focusing on other things. Looks like i need to start forgetting what i learned from those other programs and just start from complete scratch through T4P method. I was trying to fuse some stuff from other programs with T4P, and i guess that's not the best idea. Or if anything i should evaluate what causes possible conflict with T4P and remove it accordingly. And btw, why i bring it up is because i do feel that my voice fatigues frequently, but maybe that's not related to breathing issues, although i gotta admit. I don't shut up!! i'm always singing and training for long periods of time. So i gotta work on that maybe. Is tough to not sing, sometimes it just happens. Or if anything i might do what robert suggests in this case, instead of singing all that time, replace it with being "Mr Buzz a lot" or "Mr Lift and Pull back a lot". Anyways thanks for the answer Robert. And yes! i love that movie. Very inspirational. And relatable too as a student, he was frustated and thought he was being played because it "didn't look" important. But all along he was building a foundation without even knowing it. Priceless.
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    His videos are okay. Lots to ponder. But a lot of what he teaches doesn't apply to contemporary voice or get the results that Robert does. "Appoggio" directly translates to lean, prop, bolster, support, and the like. Simply knowing the full meaning of the word in Italian helps better imagine how to use it. The idea can help you quickly get better support while training through Robert's breathing and training exercises and learning how to do it betetr and more naturally.
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    I find that those who CAN access F#4 and above forget the process they had to go through to get there. Some will say you need support, or Cord Closure or proper resonance, relaxation or larynx stability on and on. They can remember all those things they tried for a while and seemingly had no effect. When the goal is finally reached the last thing in the chain is regarded as "The Trick" to access higher notes. The reality is that it takes time, training and balance of several different aspects of the voice. Some things are strengthened by certain exercises and other things are strengthened by certain other exercises. I have not had the opportunity to train or even sing for a few months now. Today I had the chance. Going through a slide, upon reaching the F#4 there was a little wobble but what was on the other side had the same timber and quality as my "Chest" voice. When I last trained I could transition relatively smooth from "Chest" to "Head" but there was a definite difference in quality between the two.
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    okay, here is the audio i promised!, sorry for the great delay in posting this but the truth is, i just had to edit the audio, i recorded all this the same day that i told you i would do it, but i then drank a bit of beer and went out to party and then on the street i was robbed, and i have been trying to fix this problem during these days (they stole my wallet, credit cards, my phone etc etc we have really a problem with colombian immigration here in chile, lots of delinquency, crime drugs etc. well the immigration isnt the problem per se -there are all kinds of immigrants, but it just happens that there are lots of black colombian criminals on the streets here on chile, this wasnt the case 5 years ago-, but... the laws here are too soft so criminals do what they want and they dont go to jail or deported, its not that all colombians or black people are criminals, there are people that are colombian or black that really work their ass off and help a lot to build a better society, the problem is that those that make crimes mess up the image of their own compatriots, but the fault here is i think on the chilean justice, it's really just a party, a banquet, free pass, for the gangsters, almost like the gobernment reward them haha...) so my head has been a bit bussy xd but anywayyy, im back here it is the audio! https://www.dropbox.com/s/2ifhq9ipzy1b3ll/response audio forum14.mp3?dl=0 it's long, i know!, but i explain all my points and demonstrate them if you follow that you shouldnt need to distract or worry with breath support, breath support will be just felt as you using more energy, but not as something you have to actively or consciously do, you will just have it, cause, if for example you cant do the creaking exercise that i show there, it isnt relaxed -on your throat- and your voice goes to clean when you want to do creaking on that note, or if the creaking gets all dragged/dissordered and not "ordered" as your low vocal fry is, it means you have to start lower, cause it's impossible to do this exercise correctly without using support (so you find support without thinking on it or searching it ..eternally haha ). semioccluded phonations (that i also demonstrate there) also teach support this way! also i show you how was my technique 5-6 years ago (that was very similar to you) and compare it to my current technique so you can notice how this mixed voice approach helped me! and also show you why the top to bottom approach isnt soooo good, and why it's better to work bottom to top. i edited the crappp of the audio (it was like 40 mins and now it is 20 hahah) cause of my baddd english, i hope this isnt a problem and hope this helps any questions or comments are welcomed (and interesting for me to answer!)
  26. 2 likes
    You don't want to jump or push the diaphragm upward you want to slow its movement upward. That's what support is. You want to breath in and hold that position as long as is comfortable when it starts pushing in you lean out(appoggio) You need to learn to cover and learn mixed voice to get through the f4 and you want to start a few notes earlier.
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    I do a few different things.One of them is to treat the song as a story. Usually there is some sort of time progression. one thing leads to another. Another thing I do is to visualize the song. An example is the song "American Pie"....... "While the king was looking down, the jester stole his thorny crown".... I visualize Elvis wearing a crown of thorns and a man dressed as a jester reaches up and snatches it off his head. "The courtroom was adjourned, No verdict was returned"... I visualize the Judge pounding his gavel on the desk.....The crazier you make it the better. I see the whole song play out in my imagination while I am singing it.
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    The idea now is balance. Now that you know the two extremes - very forward, overly bright "Masky" sound and the more "droopy" or dopey sound - you can find the midway point. The forward bright sound gets the range to go up but it lacks compression or cord closure. The dopey sound has the compression from the dampened larynx but it carries too much weight or lower resonance. Strike a balance between the two by using the exercise word "Law". The "aw" sound strikes a good balance of edgy resonance and dampened compression by combining the properties of both the "ah" and "uh" sounds. If you feel its too "heavy", tilt the resonance forward to open the sound more toward "ah"; if its too bright and/or lacks compression - tilt the sound back toward the "uh" feeling. With experimentation you'll find the right balance for your abilities at this stage of development. As the coordination becomes stronger, you can lean on the "uh" feeling more and add some depth to your upper mix area (F4-Bb4).
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    I will chime in here. I would say, for now, forget all the terminology (TA musculature, formant tuning, semi occluded phonation) and concentrate on the sound you want. Your "End Result". Knowing all the physiology or terms IS NOT going to help you achieve the End Result now. Knowing how to manipulate the sound and feeling of your voice WILL. Listening to recordings can be VERY deceiving. You are listening to a voice that has been recorded through a $3,000 microphone, into expensive pre-amps, compressed, EQ'd, aural excited etc. Its a very different vocal than what came out of the mouth. What you hear as "loud" may not have been originally. Its been processed to sound big. A good example is "Happy" by Pharrell Williams. That's an extremely weak vocal that's been processed in the studio to sound full. With that being said, you can pick up some clues as to what singers are doing if you know what to listen for. The singer in question is singing in a light, heady mixed voice with good closure. He is blending nicely between lower mix and upper mix without his tone changing much. (A good indicator that his closure/compression is consistent). What some are describing as a "chesty" tone is just a good mixing of both mouth and nasal resonances (the upper 2/3rds of your pharynx/throat), without losing compression. The "trick" is developing balanced compression without adding or pulling too much throat resonance as you go from your lower range to the mid and upper portions. Someone suggested SS/SLS exercises. I agree, as this is the very type of "light mix" singing is what that method is designed to produce. Exercises like a "Mum" or "Nah" on a 5 tone scale - ascending or descending. I also like "Yuh" or "Vah" or "Nuh" on that as it keeps your resonance out of the throat and more "Masky". If you like visual examples, I have a YouTube playlist on Mixed Voice https://www.youtube.com/playlist?list=PLNvaKcRmv_1ShEEu86hIuKO74E9pYr0RL Keep us informed of your progress. It will take some time to get this light coordination fairly good, so let it. Kevin Richards http://www.rpmvocalstudio.com 5-tone-scale.mp3
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    MDEW, Thank you for coming to Gran's defense and being informative for Cats. Thank you for watching the shop. On the other hand, I ALSO support cats expressing a sincere interest in protecting our community from the harassment that has been going on in the business from Tristan Paredes and his cowardly, troll supporters. In any case, anyone that is vigilant about sniffing out these people to protect our community is part of the team here. Cats, job well done as well. Let's make no mistake. There is a war that has been declared against GOOD people and GOOD teachers by a new community of haters, trolls and cowardly traitors stirred up by the sick sociopath that was banned from this very forum for the same behavior. We stand our ground and retreat not one inch. Here, we make our stand. Thank you to both of you... MDEW, for setting the record straight with your experience and executive insights... Cats, for being a good trooper, guarding our borders and taking the initiative to to say, "who goes there"?! Good stuff guys...
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    Cats, With all due respect, Geran is not here to cause trouble, he's not a troll, nor is he the individual of whom you speak. Geran registered in October 2011, and the photo is indeed himself. Can we please stay on the topic ? Thank you. Adolph
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    Great answer @geran89. I do exactly as you described when a student is overconstricting/hypercompressed.
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    Not too many other R&B guys here, lol. I actually recently posted how I met Lauryn Hill a bunch of times in one of the other threads, who happens to be one of Adele's biggest influences. That's important because knowing who inspired the people that inspired you can further inspire you and keep your flame going. Thinking about which songs you like also can help you with figuring out what kind of techniques you want to develop.
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    Hi Moe! You're Welcome! and you can call me Kevin or Kev. This forum is a really good place to reach out and get most all of your questions answered. You'll encounter (mostly) people who care and enjoy helping when they can. Maestro Rob () said it all my friend! He is a Maverick, and a trailblazer among voice coaches. I've been around a while and have studied with great coaches. Robert Lunte takes the cake in the Awesome Vocal Coach category! He's a tough yet effective motivator because he has built a vocal system that eliminates time wasting efforts. He will be able to give you the guidance you need, you should be able to assess that yourself by watching videos on his Youtube channel. Well, I was always fascinated by these artists. The way they would express themselves, their emotions, in such a beautiful form. I also want to be able to do that. It's like that fascination was building up in me with time, to the extent that now my fascination is overflowing and I want to learn singing already. Confidence and stage presence comes with training, time, and live performances. As you refine your vocal skills, those traits will increase. A good vocal coach will know how to build you up in this critical area of live performance. Weakness and strengths. I have no strength at all in singing. When I sing I sound like someone being tortured. I know nothing about singing. First, I doubt you sound as hideous as you describe. That being said, you can smooth out all the "bumps" in your voice with the right training. The voice you imagine having will begin to emerge as you essentially remove (with the training) engrained, problematic habits from your singing voice. Songs I like: I'm more of Pop and R&B type of guy. I like Hello by Adele. Awesome, Adele is very bluesy, and you'll notice she has amazing control of her voice whether she's belting or singing a soft ballad. Learning those kind of vocal strengths is hard but, lots of fun if you have a passion for singing! You will see improvement if you get the right coach, and train several hours per week on your own at home. Go for it Moe! kevin
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    Thank you for replying sir. This is the best advice out there. I'm aware that singing is like a sport and requires time, discipline, and effort. As a matter of fact I was going over your sales page and it was quite interesting. I do have a few questions though. Like, is your course meant for total newbies like me? or does it require to have some skill/knowledge? Also, I don't really know any singing terms, like, soprano, register, chest voice, head voice, etc... I need something for total newbies. And I'm willing to give it dedication.
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    Hello Sir! Thank you so much for taking out the time to respond to me. What inspired me to want to learn singing? Well, I was always fascinated by these artists. The way they would express themselves, their emotions, in such a beautiful form. I also want to be able to do that. It's like that fascination was building up in me with time, to the extent that now my fascination is overflowing and I want to learn singing already. Weakness and strengths. I have no strength at all in singing. When I sing I sound like someone being tortured. I know nothing about singing. Songs I like: I'm more of Pop and R&B type of guy. I like Hello by Adele. That's about it. Looking forward to hearing back from you.
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    Hey Moe! Lots of good advice here that our fellow TMVW members have posted for your consideration! I'm curious, what occurred that inspired your passion for singing? Also, What would you guess the weaknesses and strengths of your singing voice to be? and, List a song or two that you really enjoy singing. The answers to these questions may lend even further insight for the experts here to help you take some first steps.
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    You don't have to get into why it's hard, because you won't know that when you start out, lol. Just a song you think you can sing better than any other song you like, without hurting yourself. At at one of my first lessons, my teacher asked me what my favorite song was and to try and sing it. I said I couldn't. At that time, my favorite song was a song where the guy sang while drifting back and forth between falsetto and full voice throughout the song, but also multiple times within a single phrase. Then he sang with vibrato and used melismas at the same time (at that point, I could barely do any melismas whatsoever), and at one point, did both while employing rasp. Of course I didn't know all of that at the time, but I just knew I couldn't really sing it well. Now, if I had showed him the original, he probably would have tried to explain it to me to try it without the different dynamics, but you don't understand all that when you've yet to have lessons. It's important not to try to sing something very difficult because you want people here to tell you where you are starting from. If you are trying to do certain relatively advanced techniques that you can't do properly, it's harder to see what basics you do and don't have.
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    That question is a lot more clear. Thank you. In the other post,I talked about using Chase Holfelder's version of I Will always Love You to help intermediate and advanced students gain much more control over voice placement in application. But a song being hard or easy is completely subjective to the person attempting to sing it and what precisely they're trying to train for in using that song. In context of this thread, "hard" means pushing the edge of your abilities a bit rather than just singing something that doesn't challenge you at all. Are you training for belting, range, soft TA engagement above the passagio, stabilizing low notes, vocal effects, or something else? The Four Pillars of Singing addresses all of those things, but applying that training to a song to further your training and test it out in "real life" situations, you may want something that challenges you. Just today, I spent about ten minutes going through songs with a student to find one that sang above and crossed her passagio. Everything below her passagio was too easy for her, and she was specifically training to tune her formant above the passagio and needed a challenging song to apply it to. For her, the song we found was hard in that she had to work through it and figure out how to apply what she had trained for. All the songs we found before that one were in her chest voice range and didn't challenge her at all.
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    You're kidding, right? Is there another way to phrase your question? Perhaps I misunderstood.
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    Okay excellent thank you very much, I'll work on those! Kind Regards Connor
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    Ah sorry my bad. This one please https://www.youtube.com/watch?v=i_JRzDdDqvw
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    Hey sorry, i do have a few on i forgot about https://www.youtube.com/channel/UCuW7x9BvMgvw0T6LeTWqnWg Regards Connor
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    This is the AMAZING performance of my student Erin Colby, singing "At Last", from Etta James. It has been a lot of fun to help Erin with her songs and watch her grow stronger and more stable with her application of the TVS training techniques.
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    Hello! My name is Frank (or Franco in spanish). Im a 25 years old singer from argentina. I have experience singing musical theatre,Rock, pop and Jazz. Also i do gigs in manga and anime conventions singing songs from anime and games (in japanese by phonetic and in spanish) Hope i can learn as much as i can here!! https://www.youtube.com/channel/UCuaUgyCPBkzKZlUplb7bQ5g Here i leave my youtube channel where there some covers, live performances from some gigs, and also some plays i've been (im also an actor) Have a good day!!
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    I'm gonna keep coming in here to talk about progress. I mentioned distortion up there and I've actually gotten into the habit of practicing with it everyday. I had a skype call with Dan the other day and he was so kind to show me a bunch of things. Also noticing my tastes start to become a little more leaning towards a rock-soul fusion sound. I'm constantly reminded when I try to sing along in my car or when I'm just singing along to something, and I try to sing along with a tenor note-for-note, and I either purposely go into falsetto or go flat trying to match in full voice, that I need a regular practice schedule for Pillars. It would be much easier if I could make as much noise as I want, whenever I want, but of course that's a luxury. I may actually have that privilege a little later in the year, but can't wait until then to train this.
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    Hello Kris, Welcome to our community. Your Review: - I like the sort of... "sleepy", down home vibe of your voice and delivery. I mean that as a compliment. The makings of a nice country delivery. Good start with potential. - Your intonation is good, at least your potential for good intonation. You don't have a pitch problem that is serious. If the singing is slightly out of pitch it is only because there is a lack of musculature engagement , "support" inside your voice to keep the singing from slouching. A metaphor would be, your not sitting up straight in the chair. Your slouching, its a weakened position simply because you are not engaging the musculature and overall voice enough. - The good news is that to engage the voice more so that you will "sit up straight" and the singing will sound about 5x better is a very easy thing to do for you. You need more compression on your vocal folds, or what we call vocal twang. You could also use more respiration to support as well. You need to open your mouth more so that you can get better resonance and more color from your voice. If you simply do those three things, this singing will be about 5X better!! You are very close to singing better, just need to remove the "lazy" and replace it with more activated, intentional, enabled musculature. Which would also mean you have some basic understanding of what you are doing and need to do, more so then you do now. How do you do that? You invest in yourself and your singing. You need to understand what vocal twang is and practice... just reading this advise isn't going to fix it. You have to commit to practicing some basic vocal workouts to strengthen your voice. I actually offer a very popular vocal training, home study program that many people around the world have benefitted from. At the moment, it is for sale for $49. Its a great deal, believe me. If you simply follow the warm-up routines in this program, that alone, will rocket your voice forward radically... guaranteed. CLICK HERE >>> Hope this helps. Kind Regards,
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    That's a career, not a talent or singing skill question. She has a great voice, just pushed way too hard on higher notes and ends up losing her voice half way through her concerts. As for fame, that takes time, planning, implementation, networking, branding, and much more. She networked while edging her way into writing for some really big names. From what I understand, she didn't originally want to be famous or have her own career as a performer. As for my own performance career, I took several years to find the right team of people for my current project. In the past, I've had music in film and TV, played to crowds 10K+ crowds, been a guest on quite a few albums, released a song on a charitable album that now has $2M+ in sales, and coached bands (signed and unsigned alike) around the world in their careers for many years. By most people's standards, I have been very successful. By my own standards, I was never as focused and determined as I am now, but instead played around and took opportunities as they came rather than seeking them out. It's never been about fame for me, or playing the major label game. Although, I've been on a big label before. It was only recently that I decided to stop coaching bands and tinkering around, deciding to put all my focus into creating my own band instead. As The Silent Still, apart from releasing our first album, that same year we successfully tested a big event along with it that's essentially a masquerade ball meets Cirque du Soleil meets rock concert. We had a 40-person cast and crew, a small advertising budget, and no one knew who we were, but we still came out on top and filled the place. Now we completed the team and have been writing new music for the next version of the show. Then we're writing some new stories around the songs as well as a music video, have a scheduled plan for release of each song, and are planning out a tour to start this Summer with a scaled-down show. By the end of the year, we will be seeking investors to do the full production starting in 2018. I mentioned stories being written...We have several flash-fiction stories already released, with a huge backstory behind the band, inspired by The Silent Still Society. It would take too long to explain what that is, and although our website is currently down, there is a video that describes it in brief: https://youtu.be/ye_ZKEQkI8w . The first part of this year, I also have a novel coming out based in that world, and several short stories that will also be made intno serial podcasts. The stories around the songs are set in the same world, but are more tidbits and pieces (journal entries, video, pictures, etc) that all point to the setting and story of our Rock Circus Masquerade production. All that to say, while great songwriting is important, there's far more that goes into being successful or famous. For some people, it doesn't even take great song-writing. I mean, turn on the radio and listen for a while, haha! That's all about great marketing in spite of the song. Sia networked her way to fame and had great songs to back her up. Many artists have skill, don't write their own songs, and are simply a puppet or the label - labels who know how to push product very well. The market is over-saturated with great artists too, all struggling to stand out from among the others. Some go the label route, otehrs have a lot of success on their own, each one defines what success means to them and the best way to connect with their more ideal fan. A "great songwriter", in my opinion, is simply someone who writes songs other people truly connect with. I know a lot of closet musicians who do that.
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    I mentioned it was Ingo Titze's straw exercise, who has quite an impressive resumé in teaching. From him, I learned to use the straw for more than just voice recovery, but also for warm ups, cool downs, and even learning to train proper technique. It's a solid method for getting students to quickly learn to tune the formant, modify vowels, relax compression, engage many of the same things as tracking, and more. It's also an incredible semi-occluded and muscle stretching exercise that I now use with all my students for warming up. The trick is learning to relax into the straw, when the tendency is to push into it. Using the stirring straw correctly can greatly speed up how fast a student learns proper support and balancing the registers through strengthening each one. Also, you and I are both good teachers who sing their asses off. I'm not surprised we use different methodology. Though I don't think one discounts the other. Alternating exercises to sing with and without a stirring straw has greatly helped my students, especially those who dealt with hyper-compression. Most of teh time, they needed the extra support to learn what it felt like to curb/modify their vowels correctly.
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    Great voice! On the second verse, you started to go a bit flat. I didn't hear the same sisue on most of the rest of the song. It was almost as if you were trying to force harsher sounding vowels by squeezing them out rather than adding color to an already well placed vowel. You might try placing those vowels a bit deeper into the soft palate and using more breath support to get a more compressed sound rather than squeezing. I can see this helping the only other thing I heard you struggle with as well. When you added breath support you tended to so one of two things: (1) you compressed along with the louder volume, causing a lot more twang/closure/harshness when you got loud, or (2) you opened your embouchure far too wide vertically, which cause the same issue, thus "splatting" the vowels. If you learn to narrow your embouchure to support the vowels being more in line with the placement of the note in the soft palate, it will release some of that harshness, and allow you more control over just how harsh you want it to sound (based on how wide you open). This will also help a bit with the overcompression at louder parts, but you can also purposefully dampen the larynx more during those parts. Learning to dampen and stabilize the larynx will not only make singing higher notes easier and less harsh, it will make it more consistent with the rest of your voice. There are some great training onsets to help build that sort of support, but apart from training in TFPOS to learn those onsets, you can start by placing your finger just below your larynx and then trying to sing through scales while keep the larynx in the same spot. This isn't the same spot it is when speaking. It helps to start singing, feel where the larynx goes on the more releaxed notes, and then try and keep it there as you go up. Look up Robert Lunte's videos on embouchure and vowels. I think they will give you a bit different way of thinking through how you were trying to place your voice. You have a beautiful voice. I'm excited about hearing you with even more control over the sound colors of your higher pitches.