VideoHere

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VideoHere last won the day on January 11

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  1. Mat I just say this is really not a definitive truth. Many other things can contribute to a raspy voice. Acid reflux, allergies, poor or improper speaking habits, diet, smoking, heredity....... And nodules can come about from as little as one traumatic event like a screaming match. You don't have to be a singer to develop nodules or polyps.
  2. I cannot agree more with this. That Caruso scale did a lot for me. But again, you have to mentally go there and the shaping follows. Great post Benny as always.
  3. All of the above are a nice recipe for trouble. Convince yourself this was a coincidence.
  4. Awesome response MD. Just wish those first few videos could be shown....He attacked.....he was way out of line. If this had been a corporate environment he would have been fired in a heartbeat. I was controversial at times, but I never attacked, never disrespected.
  5. And then there's those of us who put breath management and support at the top of the list for the magic. Everyone has their own way of looking at it. All valid. You have to do what's right for you. But as Benny said, so much is about the controlled exhale which is counterintuitive for you and your body.
  6. 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.).
  7. 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.
  8. 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.
  9. 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.
  10. 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.....
  11. 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.
  12. 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.
  13. Got a sample you can send over?