Robert Lunte

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Robert Lunte last won the day on December 12

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About Robert Lunte

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    http://www.TheVocalistStudio.com

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  1. Merry Christmas - Carol of The Bells

    cool.
  2. Stronger Head Voice

    Everyone understands your problem Noah. Noah, a word of advise... don't look for "tips". Tips don't make you a better singer and you don't need "tips" because you purchased my training program which is 170 lectures and over 300 training files that tell you and show you EXACTLY what you need to do. Don't look for short-cuts Noah... you have to practice. To build the head voice begin by learning how to get there with bridging techniques... "Lift up / Pull Back" in your TVS program. Then master the onsets that are in your training program, they are used to isolate muscle strengthening ... The following onsets are good for head voice work. - Attack & Release - Dampen & Release - Messa di Voce - Contract & Release - Quack & Release TRAIN ALL OF THEM! Coach Robert & Our Team
  3. Judas Priest Victim of changes

    Super cool choice of song. The early Judas Priest stuff was a big inspiration for me early on. You can learn a lot about singing and grow strong from singing over Rob Halford tracks. Anyways, I listened to your file for about a minute, it needs work. Could be a lot better. I can give you more insights and suggestions on how to fix the problems if you pay for the review service. It's $20. Otherwise, good luck to you...
  4. Stronger Head Voice

    Hi Noah, great to see you in here. I'm in the studio mixing today, so Ill get to this tonight or tomorrow.
  5. Tesseract vocal cover w/sob

    Exactly... it is part of the foundation for all singing. It is up there with twang, onsets and vowels as one of the most important things to be aware of and train. @Draven Grey offers a great example of it in this performance. Straw buzzing and other semi-occluded phonations should all have a touch of sob in them to get more out of it. They kind of put the voice in that position naturally, but its not as profound if you aren't conscious of it, which you should be. Yep, I am really impressed by both products as well. There are products that I will recommend because they are good and then there are a smaller group of products I will recommend because I am sincerely passionate about it. Aston's mics and reflection filter are one such product. I have recently have the opportunity to meet the founder and owner, James Young on a skype call. Great guy... we'll likely be doing more work together in the future ... more on that later. I have been recording on this mic for hours in the last few days in preparation to mix some covers and more originals in the studio today. I head out to www.synergynw.com , in about two hours to mix tracks recorded on the Aston Origin and their filter. ... I want a t-shirt!... their logo is also super cool. Great job Draven... Stepping up and nailing that in one take shows your metal, no pun intended. I knew you could do it... and it was great meeting you in person. Even more fun and productive working with you in preparation for our Vocal Athlete Intensive in Seattle in May 2018. Draven and I will be offering 6 days of intense training in Seattle for a limited group of 20 people in May. Let us know if you are interested in learning more.
  6. Echo on the performance

    No, do not add delay or "echo" to your practicing, but it is ok to do so when you are working on your songs. Do it lightly. Set the rate of the delay to the tempo of the song as well so that it adds an additional element to the pulse and groove of the song. If you set the delay to a tempo that does not fit the song, it can create noise. Delay is a rhythmic entity, so use it as such. If your quarter beats are 100 BPM ( beats per minute ) , then it is advisable to set the delay rate at 100 BPM. Now your delay is not conflicting with your song and actually adding to the groove. Anyways, don't use it when practicing. When practicing, just use a little bit of reverb, thats fine.
  7. Emotional Responses to Certain Musical Things?

    Totally. For every great, legendary singer , there was a kick ass band behind them.
  8. Emotional Responses to Certain Musical Things?

    Geoff , if You feel it, the listener will surely feel it.
  9. Alexander Kariotis Podcast & Vowel Modification

    Steve the scope of the article is only limited by your imagination and available energy to put into it. Do whatever you want to do. If you would like to invite Barbara and Dr. Patti Peterson to join in, that would also be great. Here is the link to where the articles are published: http://www.themodernvocalistworld.com/index.php?/articles.html/article/ Why don't we speak this week on the phone... its time for us to catch up.
  10. Alexander Kariotis Podcast & Vowel Modification

    I have read this a several times now and I just have to chime in. This is not true or how I remember our discussion. For starters, I already owned the Berton Coffin book prior to our very brief chat about it. It was recommended to me by Maestro Steven Fraser above, so I was already familiar with it and its premise. You did not introduce me to Berton Coffin. As I recall, we were talking about vowels and you mentioned "Berton Coffin" and I mentioned that I own the book. I recall you making the point that you have to practice the vowel routines in the book and make a commitment to it and it will come. That is all I recall from our discussion. The idea that I, "didn't seem to want to know and stopped trying... because I would mess up my technique"... is full of irony and unfounded. "I didn't seem to want to know"?... Really?! Have you forgot who your talking to? Why would I "not want to know"?... And if I didn't want to know, then why did I purchase the book, because... "I didn't want to know"?... it makes no sense. I did and do want to know, that is why I purchased the book when Steve recommended it to me and why I even asked you to explain it in more detail above, precisely because I DO want to know... Which BTW, you have not provided for us. Maybe its you that truly "does not know"... if you do, then let's hear your lesson on Berton Coffin. We are waiting. "Stopped trying"?... LOL, I never started "trying". I have never committed to training the Berton Coffin routines and have never claimed that I have... it is impossible for me to "stop trying" something, that I never started. Your accusation is Rubbish. "I said it would mess up my technique"? Thats why I purchased the book when Steve recommended it to me, right? Apart from the fact that I am the last person to not be open to new ideas and techniques. Are people on this forum really going to believe that I ( Robert Lunte ) was not interested in learning about effective vowel modification techniques? Just stop... give us a break. Absurd and completely unnecessary.
  11. Emotional Responses to Certain Musical Things?

    Cool post Geoff. The first thing that comes to mind is the resolution of certain notes to others inside of a set key. This is critical in creating tension and release in music. Click HERE >>> This is in every song. Sound color plays an equally important role. For example, one reason vocal distortion pulls you in, is because it communicates at a primitive level, as does good sobbing in singing. These sound colors mean something to us as a species and have for thousands of years. When you sing these sounds, it grabs the listener and creator equally. Yet still, some music gives us a memory or association to something we can connect to in the present or past. For this reason, I love 70s radio hits. This tune takes me back to an earlier time in my life and at the same time, I can connect to its message in the present, thinking of someone I loved that I lost. This list could become quite extensive... but this is my contribution.
  12. Alexander Kariotis Podcast & Vowel Modification

    Wow. We miss your posts Steve. can we repurpose your post as an article , gIving you author credits? what you been up to?
  13. Alexander Kariotis Podcast & Vowel Modification

    One thing I'm certain of is there is no "mode" where you can only use certain vowels. I agree, it doesn't make sense to me either. Dan, modifying vowels in this way is not bullshit? It is a legitimate, alternative option for the more narrowed positions. It couldn't be bullshit, because every great singer does it from time to time, including you. I would invite you to just view it as an alternative. Why would an occasional “ee” to “eh” modification be “bullshit”? Focusing on narrowed language vowels does have a lot of benefits I've noticed. You get a nice diction from it but it also has the effect of working your musculature a lot and it makes you stronger. I am a big advocate of it. Singer's should be aware of both techniques and their unique advantages. Nobody benefits by purposely trying to only do one or the other. Why be so rigid about this? One of my Vowel Modification Lectures. It is an explanation as to why we need vowel modification. That doesn't sound crazy, that is a good decent description of how to manage vowels and their resonance. I think most people understand this forumla. That is a formula for vowel modification, or the layman's formula for the physics of it. I like it, but it is definitely a vowel modification, resonance amplification formula. Excellent. Singing vowels become more multicolored in their auditory perception, the higher they are in frequency. The lower they are, the more singular the color seems to be perceived. The Berton Coffin? Ya, it seems a reach to do it alone without a coach. I think Maestro Steve Fraser understands it. You guys remember Steve? @Steven Fraser. I don't cite who my teachers were very often. I had great, legendary teachers as well. Including Steve above... But It never occurred to me to speak of it so often, other than a page on my web site. I feel like I want to focus or highlight what I'm doing. My former voice teachers are not a big thing that defines my credibility. I suppose they add something to it, but when I think of my credentials, who I worked with,,, at this stage of my career, is a side consideration with marginal weight toward my credibility. Great posts guys.
  14. Alexander Kariotis Podcast & Vowel Modification

    I am not certain, but I think that belt and edge are the same thing, but 'belt' is an older term that was replaced with 'edge'. Educated guess. This is a really good point Jon. I completely agree. A CVI mode should not HAVE to be one vowel color region... they cetainly have preferred or easier vowels per mode, but for sure, you would not and should not think that you can't or shouldn't apply all vowels to every mode. Good observation.
  15. Alexander Kariotis Podcast & Vowel Modification

    Interesting insights, thanks Jens. I never have, nor do I feel that CVT is the end all of all. Its just another viable method that allows us to make sense of things at least. Its helpful, but has some short-comings if you look for it. Still would like to see the video. Agreed, I miss Martin's contributions. @Martin H, we would enjoy having you chime in again.