VideoHere

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VideoHere last won the day on January 11

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  1. I still use a few of those Roger Kain excercises, especially the stacatto ones for the lower core muscles. He talked his own unique language a lot of times on that CD and sometimes that made things a little confusing (looking back at it now.).
  2. Based on what you wrote here, I'd like to suggest you take a step back. So much of your singing is dependant on the mind and your mindset, your attitude, your will, your belief. You need the mind to communicate to your vocal instrument your vocal intentions. This is critical to becoming a good singer. If you are as afraid as you are describing here, (that's very fearful) my suggestion would be to seek out a psychologist. You may have underlying mental conflicts perhaps unrelated to singing that produce the fear and singing is just a trigger of those fears.
  3. It's about developing a balance between subglottal pressure (which varies) and vocal fold adduction (which also varies). For example, a simple change between vowels may require a change in support. Sometimes you won't need that much support, and other times it is really needed. Much has to do with what you are singing and how you are envisioning sounding. When you are supporting (actively controlling the ascent of the diaphragm), and adducting the folds in a balance there is a feeling of suspension. There is little sensation of emptying out or of a deflation sensation.
  4. Erik, I think a large part of it is also that the record companies saught soaring Tenors to give record contracts to. They new the stratosperic money notes would excite audiences rather than big heavy baritone voices. You look at the top Rock guys back when and they were almost always Tenors. I doubt if this was just a coincidence.
  5. Rob, Speaking for myself, I can easily recall my struggles..LOL!!! I don't think I could forget them if I wanted to. But those struggles get superseded by new struggles and some struggles remain struggles, you just get better at working with them...LOL!!! When you stop struggling, I think you are only kidding yourself. There is so, so much to learn.....
  6. Great post Kevin.. Everyone, all great advice. May I just say, you cannot be afraid to work the voice. If you want a rich, thick, chesty voice, you must learn how to breathe and support so the (varying) pressure is controlled. You learn to lay or lean against the vocal folds in varying degrees. Sometimes I see singers take this "light and right" approach and misinterpret it totally, and they end up playing around too light and nothing gets worked out or developed. If you don't send enough to the voice it just will not play. Like an underpowered trumpet or sax. There is requisite energy needed..sometimes quite a bit of it, to acheive a certain sound or tonal color. Just to give perspective (not to argue) I personally am not a proponent of "light and right." Because you still will get to a point where you will need to swell and lean against those vocal folds.....messa di voce. you have to know what it feels like to really work under varying fold adduction. In fact, light and right (just my opinion) should be the last thing you need to get good at.
  7. Got to meet Phil Ehart from Kansas. Was hoping to meet Steve Walsh, but he doesn't like to speak after a show and I cannot blame him. Phil Ehart was really tired and you could tell he wasn't up for much conversation....naturally.
  8. Got a sample you can send over?
  9. Rob, I (used to) agree with you. But trust me.... There is such a thing as being star struck and you could find yourself in that situation for sure..lol!!!.
  10. It's been awhile since I posted another jaw dropping vocal masterpiece. The younger guys probably missed this artist. Get acquainted with the late Steve Marriott!
  11. Well, if you really wanted to revert back to an airy, high falsetto (assuming that's what you had), you'd probably have to let the CT muscles revert back to their underdeveloped state. But wouldn't it be better to work on your high range with your adducted voice production? Can you send us video sample of an artist whose sound production you're after? Let us hear what sound ideal you're envisioning. Airy singing can damage your voice over time. Ultimately, you want to be able to adduct the vocal folds from the lightest seal, to a solid compressed one (when called for). An adducted vocal production is a much healthier, and safer way to sing. Send us a LIVE YT video and tell us where on the video to listen.
  12. Folks, This is not meant to be mean or to poke fun at singers. In this case it just happens to be Bobby Kimball of Toto fame. It's just a video that points out that even the greats have off nights and that we need to be understanding of it in ourselves and in others. This section is just plain challenging for any vocalist, especially in a full TA dominant production. As you can hear, Bobby is just unable to get those notes on that day (1:25 to 1:35). If you try to put yourself in his shoes you have to just bounce off of it like it never happened and move on. I know he's had hearing issues as well lately. As they say, the show must go on. I know for myself, I need work in this area where after the show I'm not beating myself up over some mistake.
  13. LOL!!! For a male singer covering Michael Jackson, Steve Perry, Freddie Mercury and Billy Joel? Better be close, or you're gonna hear it.
  14. I was in playing at a bar and I had no Idea Lloyd Price was in the place. His lady friend approached me and asked if I knew this tune "Personality" and would I sing it. I said I did, and I did and she came up to me after the set and said Lloyd liked your voice. Would you like to meet him? And of course I said yes and hung out with him between sets. For those of you who might have never heard of Lloyd price: