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  1. 5 likes
    First of all, the singer in the video DOES use vowel modifications. He is singing AH (open) in the low range and goes to AW/OH (more closed) in the higher range. If he would go even higher in pitch, he would need to close towards OO. This is pretty much the "standard" way of modifying vowels in classical singing, sometimes call the "Caruso scale". It goes something like AH -> AW -> OH -> OO. Of course the modifications need to be subtile, but you can definitely notice them in the singer in that video. To make the vowel mods as subtile as possible it helps a lot to learn "throat shaping" of the vowels, which means that the vowels are formed in the pharynx and not using the mouth. You can notice that easily on the singer in the video. His mouth shape does not really change at all, but he still uses the vowel mods by using a more open pharynx for the low range and a more closed pharynx in the higher range. As for being "chesty" in the high range, it depends on what "chesty" means for you. Singers like Steve Perry create a more "chesty" sound in the high range by adjusting the formant frequencies. He stay quite open in the pharynx (very close to falsetto) but shapes the vowels in a way that the resonacne makes it sound more similar to chest voice. The other way of being "chesty" is to sing with "more muscle" after the passaggio. The key action for this is (again) to learn to narrow the pharynx in the high range and keep it narrow independent on the vowel you sing. Here is an excercise you can try - first of all you need to make the "dead face". Try to imagine that your mouth is numb in a relaxed state and cannot move. Then sing a relaxed AH in your low range without changing the shape of the mouth out of the "dead" state - Then switch between AH and AW on the same low note using the "dead face", notice how the vowel is shaped in your pharynx because the mouth is dead and cannot shape the vowel. This is the action of "closing the vowel in the pharynx". - Now extend that excercise by going AH -> AW -> OH on the same low note (remember the dead face), then do AH -> AW -> OH -> OO. Notice how with each modification the vowel closes more in the pharynx. - Next try to speed it all up, so you go AH -> AW -> OH -> OO very fast on the same low note (remember dead face) - The next part is a bit tricky. You do your fast move from AH -> OO, then stay on the OO and modify that OO to AH again. Try to stay on the same kind of "narrowness" that you had on the OO. What you will get is a different version of AH that will sound more bright ("twangy") than the AH you started on. This is the "narrow AH". - Now you have two vowels that both sound like AH. One is wider, one is more narrow. The narrow AH actually has an OO-modification in it, but it still sounds like AH. - What you do during passaggio now, is that you simply learn to smoothly and slowly switch from "wide AH" to "narrow AH". There is an OO-modification in it, but to the listener it will sound as if you are staying on the same vowel. The difference between singers like Steve Perry and Bruce Dickinson is that Perry stays on the open AH in the high range and just "ligthens" the voice when going trhough passaggio. He reduces the mass a lot and goes very close to falsetto. Dickinson narrows more during passaggio, which allows him to stay on a heavier mass. However, this is also more costly in terms of support of course.
  2. 3 likes
    Really excited and grateful to be a part of this Robert!
  3. 3 likes
    "What would you best recommend to improve F#4 and B4 area, to get a sound co-ordination that is closer to M1" i will also try to answer this: forget about registers (M0 M1 M2 M3), in fact consider to never going into M2, work in feeling and hearing ALL your volumes (pianissimo/quiet to loud) in A3 the same as you speak, and on C4 the same, then on E4 the same, then on F4, G4, A4, B4, C5 etc... if there is a point in which you stop feeling you are on your speaking voice, then you are rushing too fast and need to re-work this from a lower note or range with the goal of having this speaking voice sensation and sound on all your notes. you have to really be strict with yourself on this: prefer to work only with notes that are easy and that feel & sound just as you talk (on any volume), instead of working too fast, too high, and before you gain the coordination (to do what i mentioned), cause it will not be well supported, and the higher it is it will be less and less on your control (less options for you), cause you passed a while ago (on a lower note) the point in which you have the "right coordination" (it doesnt feel as your speaking voice anymore) on your current level. the note in which you can do this could be as low as C4, or could be F4, it doesnt matter, if you work like this, it will be eventually a higher and higher note, but dont rush and dont try to fix it higher on the area in which you dont have this control yet, instead, work in bringing your speaking voice higher (in all volumes), you can play using creaking and cleanin into your speaking voice (it works on any volume you work). dont worry about registers, if you lose control or the quality changes, you are too high or must rest for a while or a day etc... your priority has to be quality instead of quantity of notes. resonances and like 10 types and subtypes or air-pressures adjust (and variables are infinite and there are yet infinite more scientific papers yet to be wroten about voice science) without you knowing it while you speak, sing, use your voice etc... i ask you to try to see it more simple, you dont need to know if it is M1 or M2 (the singer of the video you posted also doesnt need to know if it is M1 or M2, he is just using his speaking voice sensation on any sound he is making, nothing different or special for him), if you work it like i said above, you will have what you want and the complicated, more scientific stuff on your voice will be taken care without you knowing it. edit: and about the vowel modifications, just know that you should use a more open vowel when using more volume, nothing more complicated than this, but focus on what i said above
  4. 3 likes
    To get respect you give respect. Bashing by no means gains respect. Playful and vindictive are two different things. For myself Vindictive loses respect. Maybe it is my own upbringing but profanity by itself is disrespectful. Not directly related to this thread but I have seen others on Youtube literally crying about their losing of customers because of their Youtube rants and refuse to see the connection between their own profanity and ranting about others and the loss of their customers. After a person claims that Support is Bullshit, Cord Closure is bullshit, Vowel modification is Bullshit, Warm ups and Exercises are bullshit, If that person starts teaching people using these same techniques that he was putting others down for. I cannot have respect for that. I would rather see/hear coaches of two or three different camps have a conversation on their differing opinions than to ever here bashing of techniques or coaches. That loses my respect real quick. We tried that here on several occasions. The conversation between two differing opinions that is. People demanding that their way is better --------- is not a conversation. Name calling or Profanity is not a conversation. I rather enjoyed the debates of the past until they got out of control, where Vocal pedagogy was not the subject by the end of the threads.
  5. 2 likes
    Hi geran, long time no see! I understand your thinking, that the thickest you are, the more space you need, but the opposite is not true. But its not really just about the space (this is a simplified explanation we often use indeed). The shape of the whole thing, epilarynx, lower and upper pharynx, mouth and lips makes it easier for a given level of thickness. So for "mixed", or whatever we call it, there is a certain way to position things that is more efficient. Same with belting, or with a lullaby voice. Although this relationship is stronger the heavier we are, for the middle intensity its still very relevant. The center of the CVT modes are like this, but the adjustments for classical singing are more about aesthetical result than the physiology. Its possible, and I had to do so on a song from the 40s I studied (Ink Spots). But I really don´t think I would have been able to do that without making sure that the more "vanilla" coordination was in place. Also there are other adjustments we can do that can sound more open. In some cases these ideas can be reversed, Dio did this a lot, covering his low range and opening like hell for the highs.
  6. 2 likes
    felipe and jens! it's nice to see you guys felipe, in regards to the last thing you said and demonstrated (at the end of the video), when you showed not modifying the vowel you went, as you mentioned, shouting the non modified AH vowel. my question is, can you not modify the vowel -as you did on that last example- but use less volume, like medium volume? or you say that using the most open vowel (the non modified one) forces you to shout? my idea is that using the non modified vowel can be done without shouting, with less -medium- volume, cause on the high range the thickest sounds are the most limited on vowels, and for this, a medium volume sound should have MORE vowels available (including the really open non-modified AH). what do you think?
  7. 2 likes
    Hi! Jens is right about the modification already going on. Ive made a video with some comments about it: I hope it makes sense!
  8. 2 likes
    Great job man. I've heard you sing this before. Totally in your wheelhouse.
  9. 2 likes
    You still remember when you started ? Did you have problems at F4 and above? Do you really think that ALL you had to do at that point was open the vowels to belt? After you can do these things they get easier and it seems that all you are doing is opening the vowels, But others things are taking place. You just do not feel them anymore. They become automatic. Part of the process.
  10. 2 likes
    That is the way I have understood. I was misled to believe that the singer did not do vowel mods when in reality it looks like it did. The way I have been visualizing support is to really feel it in the stomach area as pointed out. I was surprised to find I could actually go higher in my "chest" voice. Where it gets complicated is singing lines. I in particular have an issue it the onset is around my passagio and it is a hard onset. Support certainly helps more than vowel mods there
  11. 2 likes
  12. 2 likes
    THE MODERN VOCALIST WORLD PRESENTS ROBERT LUNTE & JAMES LUGO Q&A WEBINAR FREE Q&A on singing and voice training! That's the agenda! March 30th, 1:00 PST/4:00 EST ... Will be super cool, so don't miss it. Click magic button below to register
  13. 2 likes
    i think one could conclude with this video (from the original post) that vowel modifications are important -of course-, but not in any way AS important as good connection between breathing and the voice (support/appoggio?), if your support isnt well enough for the given note or range, you will need a lot of these vowel "modifications"
  14. 2 likes
    Yes, vowel tuning is real, but it is not neccessary to do it to sing well. It is an efficiency thing. The most efficient way to sing is not always the way that gives you the sound color and thickness that you want for the note.
  15. 2 likes
    ... did someone say "the best thing you can do to learn how to narrow is to sing Bruce Dickinson songs?" I can't say that I necessarily disagree... This song was AWESOME to learn for narrowing and throat shaping. SNEAK PREVIEW... hope you gents like it.
  16. 2 likes
    This can be compared to an exercise that "FourPillars" has. Robert leads step by step in the actions. Establish pitch and placement, . Engage support and anchoring, dampen the larynx. In Roberts exercise you start with a hum, switch to ME, engage support, Dampen the larynx, switch EH, Keep everything in place while sliding up a fifth. The difference in this exercise is that he establishes the pitch and placement with OO and gradually dampens the larynx and engages support while he is switching the vowel to Ah. The larynx IS dampened here, Anchoring is engaged. This is not just your regular speaking voice/coordination.
  17. 2 likes
    Please see : "The TMV World Guidlines". In particular, rule number 10 ! 10). Any discussions about illegal downloading services and pirating protected, intellectual properties of musicians, teachers or anyone will be immediately deleted and those that created the thread will be removed from the TMV World Forum permanently.
  18. 2 likes
    Hi Benny. Thanks for taking the time to type out such an elaborate response. It is beginning to make sense. Just one more question. Is the sensation of narrowing the vowel same as "leaning into the sound". Or is that support specific?
  19. 2 likes
    Vowels are not frequencies, they are frequency relations. If you take a voice recording and pitch it up, you can still understand the vowels. You can do the same thing in singing by spreading the mouth more and raising the larynx more the higher you go. However, just as with the recording you will start to sound like a chipmunk character in the high range of pitches.
  20. 2 likes
    Exactly. The main point that most people miss is that when you can ALREADY make a solid nice sound on the passagio area, lets say F# 4 to A4. you are not going to have a problem. The problem that beginners have is that the TONE of F#4 to A4 sucks. It is not that they cannot produce the note in some fashion or another. In this example the singer is starting on a C#4 IN FALSETTO and increasing vocal fold closure(Finding a balance in an area that is common to both Chest and Falsetto resonance. In Effect as Geran said "FINDING THE MIX". Once FOUND it is easier to maintain it. He does not have to deal with consonants and is already using a vowel that is stable in CHEST and HEAD resonances. In the video the coach says that there is a Loudness limit that changes the production of the tone to a YELL this is the sound that requires a modification. The SINGER already has the strength, ability and proper coordination to keep the tone. Beginning singers are still trying to find this.
  21. 2 likes
    "The Four Pillars of Singing" is a Vocal Exercise program. Training for strength and coordinations. CVT is an acoustic sound based program. Which "MODES" create which sounds and a guide to make them. I am not sure if they have actual coordination exercises or just examples that of the sounds produced by different modes. In CVT the vowels you sing and how loud or intense determine which "MODE" you would be in. In any given song you could use any number of different "Modes" and "sound colors". Even one phrase would switch back and forth between different modes. It gets quite confusing analyzing songs this way. They may tell you HOW to sing a full sounding note above your breaking point but not give exercises to give you the strength and coordination for it. TVS and "FourPillars of Singing" will give you the same thing with their Acoustic mode concept. Adding, Cry, Sob, Twang, along with vowel modification is the same thing as CVT "Modes", and they give you exercises to strengthen the coordinations.
  22. 2 likes
    Please don't endorse pirating. Complete Vocal Technique is one of the few systems out there where you can learn more than you would learn from a $15 vocal exercises cd from Amazon. It's actually worth the money! Though I think you could do more with it once you get the fundamentals down. Pillars is probably the better thing for you now, if you were to buy a system.
  23. 2 likes
    Hey Cats, Whenever you post a clip of your singing and ask for it to be critiqued, it becomes a Review my Singing Request. The Review my Singing (RMS) forum is a consultation service that we provide to help you get feedback on your singing and training. As such, it is a paid service because a thorough consultation of your training and singing takes time. We wish to provide you the best feedback and insights regarding your singing that we can. Kindly navigate to the link below if you wish to pay for a review. http://www.themodernvocalistworld.com/store/product/12-review-my-singing/
  24. 2 likes
    I always find brightening and darkening your voice super easy. I don't view it from a technique angle at all, to me it's purely intention. Maybe that comes from years as a cover band singer and having to go from sounding like Bon Jovi to Muddy Waters to Paul Rodgers. I would not complicate things, see in your minds ear your voice and how you want it to sound and move that way. Another thing you can do is swing the pendulum to far the other way for a period of time and sing super dark, almost dumb sounding like some of that old Riggs stuff, the mum mum mum, goog goog goog, nu nu nu... etc...
  25. 2 likes
    So if we are talking about vocal timbre then are there exersises for neutral, curbing, overdrive, edge and for thickness? At first I had you down as a troulbe maker, someone with an axe to grind But I guess I was wrong
  26. 2 likes
    I pointed him to the "Review My Singing" section of the forum so that any audio clip he posts for review and advice won't be deleted and him be pointed to that forum anyway.
  27. 2 likes
  28. 2 likes
    I thought I'd post an official review my singing thread for my new EP "Blink of an Eye" available on all major music platforms. What are your thoughts? What do you like? what do you not like? whats your favorite song? iTunes https://itunes.apple.com/us/album/blink-of-an-eye-ep/id1208272015 Spotify
  29. 2 likes
    This topic has been locked. We don't discuss Tristan here. You don't know the extent of what happened. He was banned, and that does not happen easily on this forum.
  30. 2 likes
    i will let rockwell blake tell you why you should not keep closing its very simple. watch how heavy and distorted it gets if you take it too far. he calls it dark timbre i call it covering tomatoes tomatoes;) https://youtu.be/2oZ2AcaPb7o
  31. 2 likes
    Hi John, great to have you in our community. If you are looking for some feedback on your singing, please post your video here: http://www.themodernvocalistworld.com/forum/14-review-my-singing/ To have your singing reviewed, its $10. It takes time to listen and do a really nice review for you... hope to help you out. ... and yes, singing Steve Perry songs can be very difficult and is quite the challenge for singers.
  32. 2 likes
    Draven is great. One of my favorite coaches on YouTube.
  33. 2 likes
    Agreed. Jarom,... I love your music, but for a review, can you help us focus here?
  34. 2 likes
    interesting: there is no second voice in Jar of Hearts, just an echo of my own voice. Thanks for the feedback! Guess I better get a vocal coach
  35. 2 likes
    I listened to Perfume. I tried Jar of Hearts, but it's hard to hear you over the other voice. You had an ear for pitch and a natural pleasant tone to your voice, but your fundamentals are all a bit off for singing. I'll get to that more in a minute. Yuo have a lot of great potential, and I can hear a great singing voice in there just waiting to be utilized in full. Please don't take my review as harsh. Text alone can feel that way very easily. My hope is to help you, not critisize you. You need to be training your voice. Not doing so is holding back a lot of your potential. I highly recommend starting with The Four Pillars of Singing and seeking a vocal coach with student success in the style you're going for. Not success as in career success necessarily, but in learning to sing that style well - contenporary rather than classical. There's only so much I can address in text without you having a coach or doing a lesson with me, Robert, or other coaches here. The first thing I hear is your placement is lending itself to more speech vowels than singing vowels. There are a couple of ways to get you started toward proper placement of singing vowels. Start by making a soft "K" sound while breathing in. That spot your tongue hits the roof of your mouth is where you want to point your vowels, letting the soft palate do most of the work for you. Higher notes will feel like they go deeper into the soft palate as well, and if it makes sense in text, you want to allow your vowels to shade back from that soft "K" spot, adding deeper vowels in the soft palate along with the deeper note (deeper in the soft palate, but higher in pitch). Besides willing them into the soft "K" spot, you can also bare your teeth, or smile. This helps naturally lift the voice. Additionally, when first starting to do this "lift" of the voice resonance and vowels, it may help to place a finger on your lower lip and try to make your voice go up and over it. This is called "over the pencil", as it's modified from putting a pencil between your teeth and sing up and over it with only vowels. Your TA (chest voice musculature) strength and breath support are a bit weak, which is a HUGE area holding back your voice. GRanted, without proper placement, trying to add these in will only get you yelling, rather than singing with more power. There are ways to strengthen these but it would likely take a lesson to really show you how, since you need get a proper feeling for the basics befroe we can truly help with adjustments. One thing you can do right now is bridging and connecting. This will help you gain better control over the musculature, placement, and movement of the voice. It's arguably the most important thing to learn for singing besides pitch. I talk mroe about that in the video below. To predicate my videos, I truly only put these out there to help people get a feel for proper sensations of the voice. There are things to do from there that make it even easier. For instance, instead of opening the jaw wide to help TA engagement, this is better for a more controlled vowel: raise the embouchure (lift and bite), narrow vertically, and push the tongue slightly forward into the bottom teeth (which gives extra support to the TA muscles). OPening the jaw may help you learn to turn on the TA muscles and sing higher notes, but narrowing is what allows you control from there.
  36. 2 likes
    Can you pick one song for us to review your voice on? Most of us, if not all of the coaches here, don't have time to go through 5 songs. I was going to try, but had to keep pushinng it back in my schedule.
  37. 2 likes
  38. 2 likes
    There is no global definition of "covering", which might be the problem here. There are two main actions that may be referred to as "covering:" 1. darkening the vowels 2. closing the vowels In classical singing "covering" usually includes both. When contemporary singers talk about covering, they are usually talking about closing the vowels, not darkening the vowels. This here is a good example by Daniel. He is talking about singing an EH vowel. In the first example he clearly modifies EH -> IH, which would be the contemporary version of "covering". He is not darkening the vowel, he is closing it from EH -> IH to get a lighter mass sound. In the second example he uses an open "uncovered" belting setting. Classical singers also darken the vowels on top of the covering. The thing with darkening though is that it brings the vocal folds apart and will make you flip to falsetto if adduction gets too low. Thus, if you darken, and want to keep your compression, you need to increase air pressure, which increases "mass". Overall, you have 4 major combinations, going from "heaviest" to "lightest" (assuming the same amount of fold closure). 1. open vowel, dark sound color 2. open vowel, bright sound color 3. closed vowel, dark sound color 4. closed vowel, bright sound color Classical singers use 1 for their low range and 3 for their high range. 1 is the heaviest of all modes and allows you to sing really loud, even on the lowest notes of your range. In the higher range, setting 1 becomes basically unusable, it is simply too heavy. Setting 2 is usable in the high range, and it is used by the more heavy-style rock singers for the high range (think of Jorn Lande for example), this is the setting that I would refer to as "belting". Setting 3 is the classical covering, it is lighter than 1 and 2, so from the perspective of a classical teacher, it IS lighter than a contemporary belting approach. Setting 4 though is the most efficient and lightest of all settings and is also used a lot in rock and metal singing, especially if the song is very high in pitch. (think of Geoff Tate or Steve Perry). So if you compare singers from classical vs. rock it heavily depends on the premise if you assume the use of mode 2 or 4 in the high range for the contemporary singer.
  39. 2 likes
    just sing and train your voice, and sing and keep doing it! eventually you will be good enough so you are better than most average people and you could go to karaokes to test you out, and gradually you WILL build confidence about you singing to other people (cause you will know you have something cool, special, that are showing to people and they know it also!), then you can expand this joining to bands, doing projects as a vocalist etc!
  40. 2 likes
    When you first start singing and learning about technique and stuff, there's a lot to think about. Scales can be a good way to start and especially if you get yourself an inspiring teacher who can show you easy and fun ways to practice, that will help you get started. The most important thing though, is that you start changing your mindset. If you start believing that you CAN sing and that you WILL sound good, it WILL happen. You might not sound like you want to sound at first but don't worry, you'll get there. The most important thing is for you to believe that one day you will sound good! That will also help your subconscious to steer you in the right direction towards your goals. And remember to enjoy singing
  41. 2 likes
    Most instruments are out of tune before you try using them. Don't be afraid to sound bad. You have to learn how to tune your instrument. Stop judging yourself so harshly. You do it quietly, but you have to do it louder. Go somewhere you can be alone if you need to. When I started, I would do 30 minutes of scales in my car everyday.
  42. 2 likes
    When I saw the title "to scared to sing" how did I just know before ever reading this topic that this was a new member to the forum and new to singing then? Sining scales is a vey basic exersise for beginers and is a must! of cource people have not a clue what you are doing and will think you are making a fool of your self because they dont know anything about this craftmans ship, the bottom line is dont sing scales in public do it where no one can hear you and record it and have it ready for review Regarding expencive singing lessons; I am sure there will be a teacher that will post hear not before long offering there services for an online training program PS where do you live?
  43. 2 likes
    Well I learned from proper support and balancing the registers through strengthening each one. No need for anything else but a good teacher with good ears that's sings his ass off. We did solid old school bel canto training. The lineage is me, my coach, Arrigo Pola. I haven't heard any good singers/teachers that learned from a straw, but if you know one let me know.
  44. 2 likes
    My advice is learn learn about registers and listen to your voice when you sing. Do your vowels sound like the vowels you are singing. To much ah(as in cat) or ah as mine can be avoided by a real uh vowel. Which has a deeper sound in general. Don't go messing with lowering your larynx or palate that kind of "trying to control " will just make you sound strange. Singing ah and ah(cat) to high in the voice usually mixes the registers. Which makes it unbalanced and ugly
  45. 1 like
    So far, everytime I listen to an example from someone that says they don't modify their vowels on higher notes, I can immediately hear them modify their vowels. It's not always a conscious thing for the singer to do. I think it helps to gain even more control when you are conscious of it, but I've come across a fair share who had no idea they were doing it because they were focused on other things to achieve the same result (which ultimately was a modified/shaded vowel). I've also had a student or two who could'nt feel resonant placement at all, and had to get very technical with muscle placement in order to achieve results. Again, it wasn't that they weren't modifying their vowels, but rather that they had to focus on tongue placement (among a few other lesser muscle placements) to get the ease of singing they needed in higher notes.
  46. 1 like
    Oh no I would not agree with that, if you use the most effective shape to sing, it becomes considerably easier (you will still have to support really well). What I meant is that on classical the idea is to do so in way that works with the music, similar to what I said on the video about the vowel transition, if you just keep your voice all lifted you don´t have to do anything, but that is not going to sound very appealing on the low range (aesthetics). By vanilla I mean adjusting the vowels to match the quality you are doing. If you try to go for a mismatch right away, its going to be really complicated to handle it all, it takes some time to get used to the coordination. One guy that does this very well is Myles Kennedy.
  47. 1 like
    Yes I understand F1 and F2 for different vowels are not fixed they depend on vocal tract size (a chipmunk's vocal tract is obviously smaller than a human's) and can also be modulated somewhat. Still I think my explanation is good enough for most people. They don't wanna know all the details they just want a simple explanation that makes sense. The main point I wanted to get across is that vowel tuning is real.
  48. 1 like
    It is because of the focus of their business. The books are not meant to offer you everything you need to train yourself. They are specifically designed in a way that you feel the need to train with one of their certified coaches. Thus, they create a demand for CVT coaches. And the cool thing about that business idea is that they also are the only ones who can "supply" CVT coaches because you need to take their course in Denmark to become a CVT coach. Of course there will be some students who are able to train effectively with what they offer in the book.
  49. 1 like
    Let's put it like this: you can only "lean into the sound" if your vocal tract is narrow enough to provide a resistance. It is the resistance of the vocal tract you "lean on". I think Rob now has specific excercises for resistance training in his course. Here is also a good video by Felipe which is basically on the same topic. He uses vocal fry to get you into the "narrow" position, which is also a good method, because fry is basically a position where the resistance by the vocal tract is so strong that the folds cannot vibrate fully anymore but just pop open in short intervals.
  50. 1 like
    A very generous response from Draven. Nice. Thanks for your help Draven. Jeanette, I listened to "Hallelujah". It is apparently clear that you have a lovely voice with great potential. Two things: 1). Smule is a fun tool, really a toy to use for singing. With your passion for singing, you should step up and learn how to make a better production to feature your singing. I recommend one of the "everything you need" recording kits found at our The Vocal Gear Store. click on Recording. See the Focusrite kit. 2). You voice is pretty, but no doubt you could benefit from more musculature and strength. That would come from belt or TA ( a muscle ), strengthening workouts.