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  1. 3 points
    Hello Fellow TMVW members! Humbling though it may be, I thought I would share a track I'm working on, (Beatles - In My Life) and the vocal "sculpting" process I go through in an effort to record my best performance. (I'd never share unfinished tracks except to friends and in this forum . . . plain vanity) I've had a lot of experience analyzing my vocals for recordings, I never quite knew how to articulate the process I was engaging in nearly as well as after having gone through The Four Pillars of Singing, learning the "talk track" I've heard Robert Lunte utilize across many hours of lecture videos! Once one is familiar enough with these "mechanisms" for mending, strengthening, or otherwise fine tuning a vocal line, the mystery about what to do goes away! Rob's techniques are structured in a simple, yet meticulous sequence that really does create the feeling of having a vocal sculpting tool box! I'm posting this both as a subject of interest to others who may be starting out with this type of challenge, and as a means of accountability for me to complete the process, which has been brutal for me due to inexperience with the recording software. It's good for me though, as I intend to record several old hit favorite song interpretations in the coming months. I'll post my final "sculpture" here for this track when I finally complete it. "Work to be done" on this vocal performance is: Pitchy lyrics / appaggio drop out, vowel mods for best resonance, better phrasing, embouchure brightening, slight lightening of mass throughout, . . . . I'm sure there's more, also, rhythm guitar mistakes, and guitar solo is not quite tight yet, not happy with the effects on my voice yet either. I'm contemplating leaving the last "in my life" line unresolved like it is now. I was trying to sing that last half of the last line and had to quit recording due to a leaf blower. I think i'll like it that way, maybe with a high harmony over the top. Lastly, I may end up using a different mic than I did for this take. One thing that clearly gets hammered home in this process is that performing live is a far more forgiving environment than being under the microscope of a recording. Peace, k
  2. 3 points
    I listened thoroughly to all the flaws I was hearing in this take and then created my cue sheet in keeping with The Four Pillars of Singing methodology. I've attached the document I created. I will use this to change the way I'm singing the lines and hopefully therein improve the overall performance.
  3. 2 points
    Just like the vowels can be heard simultaneously, so can the physical modes, as a general rule. For example, you can be twanging and in cry mode at the same time.
  4. 2 points
    That is a pretty cool concept. One thing is missing though......A sound man to adjust things during a performance. My effects boxes and tone controls are labeled towards Character voices rather than vocal pedagogy.....I am more familiar with making character voices. I am now a "set it and forget it" kind of guy. I have been working on "Honesty" by Billy Joel. The sound was kind of OK to me but did not have his punch. Then I made the realization that he is a TOUGH GUY FROM THE BRONX.......I set the "effects array" for New York Gangster and there it was.....The sound I was looking for.
  5. 2 points
    Very nice Kevin!... super cool post.
  6. 1 point
    Lately, I've been pondering this metaphor in an effort to effectively convey some ideas about singing to folks who have had little exposure to good singing pedagogy yet, comprehend guitar amplification and effects. I'd appreciate any input on this, how it hits you, is it effective, improvements, any debate or opinions are welcomed. I often think of the physical vocal modes as similar to the knobs on a guitar amplifier. . . . . . and the acoustic vocal modes & effects as functioning like the e.q. and effects pedals.
  7. 1 point
    Never had lessons. Had one or 2 people tell me I'm good. Don't really believe it. Just curious. Pretty new song played by me on the guitar with a simple rift and sang by me. I can handle being told I'm awful so don't worry about upsetting me. https://vocaroo.com/i/s0zUjW923R29
  8. 1 point
    That is a good way of thinking about things. Before I found out about "TheFourPillarsof Singing", The other books and videos I found made me think you were not supposed to "Do" anything other than use support and let your throat relax. Whatever sound came out is what you had to work with. Anything else was manipulation,and manipulation is bad. At the same time these teachers were saying things like "Bring the voice forward" "Sing in the mask" "Add Twang" "Tilt the larynx" "Raise the soft palate"..... I was trying to "Let these things happen" without "Doing" anything. With "TheFourPillars" Robert would run through the coordinations......"Hum on an EE sound"...."Open to "EH" while keeping the Twang of "EE"" "Dampen the larynx"..... Not only were you ALLOWED to DO stuff....you were supposed to and instructed on HOW to make that sound.. Of course, these are extreme sounds and what you use for Exercising. But they also teach you how to control the amount you are using and HOW to dial in more or less of the effect. I was also under the impression that if you used one effect you wouldn't be able to use another or the one prevented the other from happening......Like if you were adding "Twang" you could not also "Sob". But, as you show in your Effects box, these are different controls that are controlled by separate actions of the voice box and vocal tract. I guess if I keep on there is a danger of your head exploding again...... I am still trying to fit the time to record, soon I hope. I will send you an Mp3 of my progress plus a recording I made of "Honesty" about 10 years ago. You can let me know if I have improved or lost focus over the last few years.....No pun intended but be honest in your evaluation.......I can take criticism, especially when improvement is the goal.
  9. 1 point
    hey ILM, I'm not sure what singing "closer to how we speak" really means. Monks sing chants, Acappella, I can't think of anything about their singing that is "like" speech mode. If we look at the vocal modes we can see that each "type" of vocalization requires a different configuration of the vocal track or formant. Speech- Very limited. not for emphasizing melodies. Sob- A crying sound, more specifically, the sound one makes when they're holding back a full blown fit of weeping, while they are singing. Belt- Yelling, Anger, volume Falsseto- A light airy sound, Feminine, tender. Opera- A full and somewhat "covered" sound, "rounded" and robust. Quack- Increased compression and closure, similar to a cartoon character Twang- Highly compressed, a “witchy,” nasal/mask focused sound Distorton- Anger, angst, violence, gritty/raspy sound. If I were going to try and associate which of these modes most closely represents how monks sing chants, I'd say opera (with no vibrato) in a light mass. So I'd be interested in hearing details of how their singing is more like speech mode. warm ups. Warming up is about blood flow. Just like you stretch prior to playing an athletic sport. Increased blood flow will provide increased coordination, flexibility, consistency, and strength. Warm up exercises/scales are usually designed to maximize or make most efficient, the process of warming up, or increasing blood flow. If you just sing a melody you know, it may not be as effective in taking the voice through the full spectrum of sound that you make when singing and hence, not be as an efficient of a warm up. I hope this helps! peace, k
  10. 1 point
    Thanks for the guitar track. I never tried to use alternate tunings. I may dedicate one of my yardsale guitars to DADGAD tuning to play around with. If I can think of it as a separate instrument it may make it easier for me to learn. I have played Mandolin, banjo and Dobro before. Dobro is like a slide guitar or simplified steel guitar. I think the Dobro was tuned to open E or open G. As for voice sculpting ... I was also a product of the 60's and 70's mid east coast USA, cartoons were my babysitter. When singing I was told to not imitate others...do not strain and to sound like other people was "Forced" and bad. Having said that,Several elements are mentioned in Vocal pedagogy: sub-glottal and supra-glottal pressure, TA engagement, CT engagement, support, Thin fold, Thick fold, Fold Compression, Breath compression, False folds, Epiglottis(epiglottic sphincter , tilt...) Thyroid tilt, Cricoid Tilt, arytenoids, Larynx(lowering,raising,dampening), and last but not least Formant tuning... . What does this have to do with anything? Although most singing teachers/coaches would tell you NOT to manipulate the voice, when you are doing nothing more than singing a pitch without the worry of sound-color or emotional content or formant tuning and such, IF you are having trouble or things do not sound pleasant, they will tell you to Raise or drop the larynx, add or subdue twang(Epiglottic sphincter, throat narrowing and opening) , or add a "Cry" to the voice, or Add TA or CT, or raise your soft palate......on and on. How is any of this this NOT manipulating? Also, Any of these things will "Change" the over all sound of the voice. I will preface this next part with this statement......A dedicated singer speaking about imitating cartoon voices is almost as taboo as an airline pilot speaking about when he piloted a martian spacecraft........ Ok. A while back I recorded a song for the review section.....I was told I was too nasally(Even though the Pinched nose test revealed no changes in sound) , I sounded strained like I was reaching for notes, I lacked support and over all had a bad sound. Everything seemed free and easy to me...I kept my ribs expanded like I was told to do for support, I was singing in the "Mask" like suggested(at least as far as I understood it)......So what to do? I decided to rerecord with the most choked up no soundcolor, most aweful sound I could think of for singing....A cross between, Bullwinkle Moose and Granpa Simpson......Wheezy,hard to control and like singing through a nearly closed throat. no twang, no mask resonance and pretty much no high overtones at all. The result? according to the reviews it was the best I had ever sounded and whatever I was doing keep doing it. My conclusion......If you do not like the sound of your voice use someone else's. Think about some of your favorite singers.... Dio, Freddy Mercury, Axl Rose, Bon Jovi, Elton John, Adele, Bruce Dickinson Elvis, Michael Bolton, Michael Jackson.......Do they really sound the same when they are speaking as they do when singing?. Maybe when trying to speak to 1000 screaming fans at a concert or while on stage but not when speaking "Normal". Their singing voices are "Sculpted". They have gone through a process of finding a sound that fits their style and the music that they use to back them. What does this have to do with Cartoon Voices? Cartoon voices sound the way they do from exaggerations of one or more of the elements I mentioned before plus a specific dialect or accent. Because of not being able to feel or see the muscles and ligaments that make the voice work it is not easy to isolate the different elements and use them or work on them. , Drop the regional dialect or accent and you have a way to access those elements and work on them. For instance, the Bullwinkle sound is a matter of vocal fold compression, larynx dampening and a little air bleed-through. The Grandpa Simpson thing is Over compressing to the point of closing the throat completely. From all the talk and books on singing that emphasized "Open Throat" and "Feel Nothing in the throat" I lacked compression and that also leads to lack of "Support". Even though people would tell me I lacked support or compression, I had no idea HOW to access them especially when told to FEEL NOTHING in the throat. A voice like Bugs Bunny would be an example of "Twang" or a "Narrowing of the epiglottic sphincter" or the Bright Bratty sound that youtube teachers keep mentioning but never tell you that it is just to help keep the vocal folds or TA muscles engaged, not a "Sing like this" kind of thing. I am not sure how to wrap this up now.....I started this at 10 this morning and have been doing "Drive by" typing while taking care of other projects......I hope it is useful to someone out there........
  11. 1 point
    It seems to me that more people would have replied to this thread. The subject of Vocal Sculpting itself is rather interesting. It is one thing to sit and learn the melody of a song or figure out the basic chords and quite another to actually think about how you want it sound and then work on fitting the voice to the music or fitting the music to the voice. I am the type who for the most part just sings and plays and whatever it sounds like is what it is. There are times that I hate the sound so much that I just move on to another song and then there are those times that it sounds as if there is something more there that can be brought forward if I just change the Inflection or sound color or maybe the mood of the song. How others make the choice and what their process is for changing a soundcolor or mood would be an interesting conversation. Was there something special about "In My Life" that made you decide to go for a softer more personal delivery? As I have mentioned, the walking bass line is what I chose to follow and build apon for "In My Life". When first learning a new song I will usually listen for the bass line to help me figure out the chord progression. Even though I had no idea what I was doing, I played bass for a working band before I finished grade school, so that is the first thing I hear when listening to or working on a song..
  12. 1 point
    I think you nailed it. I am not even sure why I did not try that. I am already using it on "Hardly ever heard", H-ah-dly......
  13. 1 point
    Almost everything I do has a John Prine feel to it. "In My Life" has a walking bass line that I like. It almost has a swing feel to it when played by itself. As I would build the song around the bass line and rhythm guitar you are playing a chordal melody( Which sounds awesome by the way). Did you work out this arrangement on your own? I do not even really hear a problem in the singing. Perhaps, you are just closing a bit too much on Lose because of the OO sound. The rest of the singing sounds just shy of a whisper and the OO has a closed voice sound. Other than that it is pretty consistent.
  14. 1 point
    I like this. It has a soft lullaby feel to it. More reflective and nostalgic than the Beatles version. There are places in the song that you may be trying to get a little more intense to show the emotion....this is not easy to do when singing soft and trying to keep the quiet reflective feel. It turns out that these places have to do with the word Lose. Maybe if you let a little more air escape(More breathy) on the word Lose(at those times) you can keep the intensity and not have the OO sound get too sharp and loud. Only a suggestion. I really do like what you did with this. I tend to go in the opposite direction with this song, more intense than the Beatles and a bit faster.
  15. 1 point
    Hi guys I’m new to this website does anyone know if this website can record your voice and then give you feedback as I’m desperate to know if my voice is good Thx a lot, Alya
  16. 1 point
    Hi all, I would really apreciate to get your opinion on my voice and my covers below with many kind of music (Pop/Acoustic/Piano-voice...) SoundCloud link to my covers : Let me thank you in advance for your feedback ! Best Taha
  17. 1 point
    Hello ! New cover of Ed Sheeran songs: Happier https://soundcloud.com/user-257453606/ed-sheeran-happier-cover Hope you'll like it ;) Fell free to comment, Thanks !
  18. 0 points
    I try not to mention pitch unless it is directly related to an obvious problem, Usually the person recording either knows about the pitch problem or does not believe he/she is off pitch( I found that out years ago from the review section in this forum). I know what you are talking about when you mention believing you sang well and listening back to the recording and finding slight issues. I have been working on "Honesty" by Billy Joel. I have found that after multiple recording I am still off pitch on the same word over and over again even after working that same line by itself. "Honesty, is SUCH a lonely word..." I believe that the added intensity is going to lead to the proper pitch but in this case it does not for me. If I purposely sing the higher pitch I will go sharp, sing in my normal fashion and I am flat......