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ronws last won the day on October 20 2016

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About ronws

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  • Birthday 03/19/1964
  1. It is best to be well rested for singing but that differs for various people. Some, like me, can raise the roof first thing in the morning. Others do better halfway through the day. You don't have to take the day off just because you fell asleep on the bus, Unless you are looking for a reason not to practice. If the latter is the case, then you will find another reason to not practice. Next time, it will not be a cat nap on the bus, it will be what Hillary said, or Donald said. Or your shoelace loosened. Or you had to clean the cat's litter box. Instead, find a time to practice and follow that. The only time I would suggest not practicing or singing anything is when you have a cold or flu, something that is affecting your breathing or clogging up your sinuses.
  2. This is really good. You started out shaky and then found a good stride about halfway through. Here is how to solve the shakiness. Quit speaking the words. Sing them. That means staying with the vowel sounds that are working for you on the chorus and the bridges when you are doing the main verses. That is, sing the melody line, rather than reciting prose in however you would normally speak English. For example, your pronunciation of "through" has an oo sound that that is affecting the note. Relax that back to more of an uh or short oo sound. Here is a little trick you can try. Pick a vowel shape like ee. Then sing and hold a note wherever you like and articulate the lip movements for the letters a, b, c, d, and e, with minimal to no movement of the tongue. Record that and listen. And i bet you will hear those letters even while you were maintaining one vowel shape. You have to sing differently from how you speak. This song is absolutely perfect for you because it sounds good in your voice. It is also a good song for you because the melody ranges so far and the vocal style ranges from an almost choir-like dirge to a rock scream sound. And it will also serve as a litmus test for your improvement. Keep doing this song at different stages to gauge your changes.
  3. Quite possibly. Someone had mentioned in an interview, and I cannot remember who said it and they may have only made an observation without knowing why, that singers tend to be "barrel-chested." I don't know how accurate that is but I do know that proper management of breath both requires and may cause changes in body alignment and maybe some muscle development, at least of lean muscle mass, in the lower thoracic. Just a theory, no studies. Anyone could easily prove me wrong. What do notice with time is once you get past a certain age, your body changes. I used to be able go to a buffet and scare a restaurant manager into cold sweats. Now, I can eat an advocado and gain three pounds.
  4. I would say it is not a matter of drills. And other than general conditioning any singer might engage to be able to sing for an hour or so, it is a matter of teaching yourself to NOT sing over the other instruments. Which means learning how to adjust your hearing from using IEMs or any other monitoring system. I already know how to sing acoustically in a room. But singing with ear monitor or even a stage wedge or headphones, that is a different perspective because now you hearing it in your ears instead of just feeling the buzzes in your body. You need a balance of gain for your voice against that of the band. The main reason singers, even those who have training, get injured or worn out in live situations and band events is because they are pushing too hard in order to compete with the volume of the other instruments. My favored guitar is my Hondo Flying V, going through my Roland GS-6 processor and jacked into my Fender 85 combo amp. The amp is rated for 200 watts rms. That is more than loud enough for most average night club venues. It's got a 60 lb magnet in the 15" speaker and can move a lot of air. A drum kit, even without mics into a pa, can generate 90 dB of sound loudness. On average, the kick drum is 22 to 24 inches, that is moving a lot of air. Bass guitar, making notes at 120 Hz and lower, has omnipresent volume because the nature of the note moves a lot of air and the sound is everywhere. Your vocal folds diameter is no bigger than your thumb to first knuckle and can be smaller than that. And the thickness averages the thickness of a fingernail, more or less. So, your instrument is actually smaller than your thumb. And is competing against amplified instruments that are also physically bigger. YOU NEED AMPLIFICATION. And that is a huge reason to follow Robert Lunte's advice about practicing with a hot mic in hand. You simply have to get used to how you sound coming through monitors and mains, especially against other instruments. And if you can't hear, turn it up. Also, with IEM, you will need to adjust eq of your voice and that of the rest of the band so that your voice has prominence. That is the way to do it, not really any choice. Anyone who disagrees with that is simply wrong and no amount of chest-beating, tree-swinging, banana-stealing, and shrieking is going to change that.
  5. You must be a victim of socialized medicine, like Obamacare, which is forcing some insurance companies to fold and others to pull out of markets, leaving a monopoly for single insurer throughout the western states. Thanks, Obama ... The reason I say that is if you had a good doctor who was not hampered by govt guidelines on what he or she can say or do, they would be able to give you a little more information. But the problem with socialists, such as Obama, is that they are not capable of adding one plus one and having it equal two. They simply cannot do it, it is not in their ability, it is like adopting that philosophy costs you some brain cells and actually changes your DNA to match. Expecting a socialist to perform 1+1=2 correctly is like expecting my dog, who has not been to medical school, to perform open heat surgery and have the patient live well. Just not gonna happen ... But I digress. Also, while this may be a forum of singers and a few of us geeks have learned a few points of anatomy. pretty much absolutely none of us is medically qualified in any form or fashion outside of my first aid merit badge in boy scouts and later, my CPR training card when I was a teacher. But because your doctor, trained and paid by Obamacare, is so crappy, and why should he or she be better, they already have a guaranteed reimbursement thanks to my tax dollars? Do they even know what false vocal folds are? Or is it just a matter of paying a fee and swearing allegiance to Satan to get a license to practice medicine? Is there, like, any testing for these people? How could they leave a patient like you with questions? I mean seriously. They should have taken care of you to the level that we could ask you questions instead of you asking us, a bunch of singers, none of whom are specialized in internal medicine. Again, thanks Obama .... The false vocal folds are a misnomer. They are not vibrating folds or tissue in any regard, whatsoever. They are membranes that are a bump above the true vocal folds and their main job is to release mucus onto the folds to keep the folds supple and pliant and not dry out. Now, of course, the size of FVF varies in each person, as does any structure, based on genetics. Some guys are going to have FVF that are more prominent and intrude upon the airway when producing sound. Like Louis Armstrong. It is a genetic mutation and Louis did not have to do or train anything to get that sound. Others, like myself, have smaller protusions than normal, barely there. So, I can squeeze all I want to to "engage the FVF" and just not get it, though I tried twice and hurt myself twice and gave myself partial laryngitis, twice. I have become just barely smarter than that since then. If someone has some prominent FVF then they will have a natural rattle or rasp that seems effortless because, well, it is. But you will find many a person, including singing teachers who will take your money talk about FVF distortion like it is something that can be trained. Very few teachers give a nod to genetic and structural differences. Why are you still hurting? Well that depends. Have you followed the directions you were given? Really, honestly? I remember the wisdom of Dr House, MD, (as played by actor Hugh Laurie.) - "Patients lie." Let's say whatever doctor you went to was good in spite of all odds. Have you followed the regimen given for recovery? Are you just being impatient? Have you gone back for a follow-up or to show that you are still experiencing symptoms? Point being, can they help you better than I can, which is not very much, albeit.
  6. Just agreeing with G. And yeah, the only challenge, as it were, is with yourself and not to put pressure on yourself. And also, remember, go back and listen to some of your earlier sound files so that you can also hear how you have improved. Which gives the inspiration and confirmation that you will improve more. It may not always be fast or overnight, but progress does happen. Then, one day, you look back and go, wow, I had this voice? Who knew? Well, you always had the voice, you just learned how to unleash it.
  7. Awesome work. And you have a silky, beautiful voice. And having built such a strong and consistent foundation, you will be at C5 soon enough.
  8. And your progress is following the curve of what mine was. I developed huge power and volume up top and the finer control, when needed, came later. And true, it depends on style or genre of music as to how much softer, finer passages are needed. As long as what you can do is repeatable and does not result in loss of voice or pain. Notice I did nt say fatigue. Anything, including singing, can be fatiguing after a while because it is involving the use of tissues and muscles, etcetera, the body corporeal. With practice and the actual training effect on muscles, down to a certain size, it becomes less fatiguing especially if staying within an expected limited of vocal usage specifically for singing. For beginners, I would suggest no more than 3 hours total in a day. But that's just my amateur idea. But I do know a smidgeon about anatomy and mainly a little bit about how musculature works because I used to lift weights. I could butterfly 110 lb (50 kg) free-weights, or 135 lbs (65 or 70 kg) on machine. Muscles, when challenged with a workload greater than normal, tear down and re-build bigger, to handle the increased work load. You don't grow more muscle tissue, what you have tears down and re-builds bigger. But if the muscle, instead, is now being tasked to complete the same work load but more often or for longer durations of time, then it re-builds the same size but more dense. The muscle cell then remains the same size but its material gets thicker. You can see this effect on fingertips when you learn to play guitar. Your finger developes a callus. The skin of the fingertip has not grown bigger, it has grown more dense. Muscles do that, too, to handle the workload expected. In fact, a vocal nodule is the same thing. One point or another on the meeting surfaces of the folds that suffers repeated collisions, similar to how your your fingertip collides with a string on a guitar, rebuilds itself in that area thicker, to withstand repeated collisions and, in so doing, it is protecting the rest of the tissue and ligaments inside. Nodule is not a cancer, it is a callus. And it can have an effect on the sound produced because it is thicker than the surrounding tissue and may not vibrate as fast as surrounding tissue. How do you get rid of nodules or any callus? By not doing what brought that on. A guitar player who quits playing guitar will eventually lose the calluses. Because epthileal tissue replaces itself all the time. You are literally not the physical person you were seven years ago. With some activities you can reduce or avoid calluses by wearing gloves or other protective equipment, the main idea being to avoid the collisions of tissue with tissue or some other substance. I don't think one can say that any training system will prevent calluses. But a training system like 4 Pillars goes a long way because it teaches you how to sing properly without damaging yourself, in a healthy way designed to keep you singing strong and loud and expressive for the next thirty or forty years. You can be the next John Bush. When you are using your body in a proper manner, less damage occurs. Now, you can go and be a rock star, where the pitfalls and dangers are still there. Being a rock star is a job, like any other job. Only, it's like an intermittent salary job, more like a commissions-only job. The exception being union musicians working in studios. but their pay is hourly and they are guaranteed three-hour blocks. But it is a job with difficult work environments. Stages may look glamorous but can be filled with danger. Pieces put together improperly. Smoke machine output obscures steps and obstacles and down you go. That's another thing. What's in the smoke machine? Vegetable oil, like a vaping tool? You will live. CO2? That is going to dry out your voice and make you sleepy. You know why Van Halen put the m&m thing in their riders? I get this directly from reading Roth's memoirs, "Crazy From the Heat." He liked to do all those acrobatic karate moves. Slight bit of history, he had a weak bone condition as a child and had to wear metal braces from foot to shin bone until he was about 11 years old. Once the braces came off, he started studying kenpo karate, in which he holds a black belt. And also, the japanese sword fighting. In fact, he lives in Japan part of the time. So, he likes to do the more acrobatic martial arts move as part of his show. And union rules in some cities require the use of local union workers to build stuff. And they would consistently NOT build the stage to his spec, Weak spots that would twist his ankle. Or build it in a venue with a low ceiling and not say anything. One show, David started with the jumping leg split off the drum platform and cracked his noggin on the ceiling. Well the thing about contracts for tours, if either party fails to complete the contract, penalties are awarded. So, if tour management and locals failed to even exclude the proscribed m&m's, Van Halen did not have to pay them. This has the effect of teaching tour managers and union locals to read the contract carefully and do exactly what it says, including stage construction. But you are also on the other side of the contract. You have to appear and perform on the assigned show dates and any others that are added as the tour goes on. Failure to appear involves a penalty. Either in the form of not receiving the performance fee from that night or some decided penalty amount from the whole amount of compensation. So, there you are, 6 months into a 15 month tour, trying to sleep on a tour bus bouncing down the road, stretch in a bunk with the drummer's stinky feet about foot from your nose. You are at the mercy of whatever food you can find at truck stops, when you are usually busy making a bee line for the bathroom because you do not want to drop a deuce on the tour bus because that tank is NOT vented. You have to get up early to do a radio interview because fans like that and it invites them to spend some hard-earned money to come to your show. The more press you get, usually the better the sales numbers in albums, show tickets, and merch. In fact, side rant impending: every once in a while, people have to rag on Geoff Tate and say how his voice went to crap. And they usually link in a vid where he was doing a radio show interview and sang a song and was sounding rough. But if you listen carefully to the interview, they came into town the day before and did the show the night before. Left the stage approximately midnight. So, he gets back to the hotel to take a shower, change clothes, pack his stuff and check out for prep to ride to the next town. Get something to eat because it is been more than 8 hours since he had anything to eat. And then show up at the radio station about 5:45 am to prep for the interview. So, he has not been to bed since sometime the previous morning. He has been up and about for about 20 hours or more. And is singing a song because they begged him to do so. And armchair or computer desk experts point to that as proof. That could be you. So, training with 4 P is going to give you endurance and a methodology you will need to keep with you in those physically adverse conditions. You are on the right path with the right system and I know so because I hear Robert singing and his heroic sound fills any room. You also have one of those heroic voices and will go far. Just watch out for low ceilings and brown m&m's.
  9. So, I checked out the link. Pretty graphics, funky music and no explanation. Just a link to pay for a subscription with no idea what one is buying. Perhaps a little more description and testimonials would get more people interested.
  10. Man, you are getting a lot of volume up there, which is a good step, I think. And those are the right kind of songs to start with, too. As time goes by and you become more acclimated to that part of your range, your expression will vary. Right now, it's like a long and loud note that changes pitch during the melody. Which I think is okay, for training. Because I can hear you have pretty good vowels and your articulation is nice and easy, allowing the note to go forth. Right now, you have volume that could crack a mountain and I know that is a delicious feeling. And 30 years from now, when you are still able to do that, it will be delicious, then, too. Keep up the good work.
  11. Definitely stepping in the right direction. Now you are not crashing end notes on the siren, which I think is a great improvement. And nice to hear your progress applied to "Black Hole Sun." That song sounds good in your voice and you should keep it as both a song to have in your "set list" and as a benchmark to measure your progress. In the end, even as good as your sirens get, the song is the thing.
  12. Every person I have seen, objectively, that has either had lessons with Robert or used his program successfully has benefited greatly. Not just singers who started with a great sound and improved but others who had some problems to clear up and did so. Even if it involved the quintessential tibetan monk thing of emptying your teacup mind of the tea of preconceptions you have in order to receive the new tea of enlightenment that brings the understanding you were looking for. Someone could say, well, you have made these gains because you practiced and trained with dedication and consistency and that is true and helpful. It is even more helpful when you have the right materials and content to explain concepts and someone who is able to communicate these effectively. And that is Robert Lunte and the 4 Pillars of Singing. And, to me, the gigantic size of content, while more than pretty much another system you can get for the price or less,is great, what is more important is how effective it is. Any person could create sound files. But to organize it meaningfully is another skill. As well as the thing singular to 4P that I am not aware of in other programs, though I have not really studied those other programs, the concept of workflow. How many times does a student say, great, I have all this stuff, what do I study and in what order? Because some people do need that. Others, please don't take offense, but I have to deal with this in my job, in different things but same concept. It is one thing to say put on socks and shoes and then tie shoes. You will have students and people that don't know what order of events to take. So, first, put on the socks, left foot first, right foot second. Then shoes. Then tie the shoes. Then they finish that and tell me they have no pants on. My fault, I did not start early enough. (are you telling me, Ron, that you have to tell guys how to clean themselves in the bathroom? Yes, and sometimes, literally, and that is another story ...) So, the modern 4P has the advantage of workflow. And I think the most important work of onsets. And I am willing to bet that the dedicated work schedule combined with onsets development is what is making all parts of the range more accessible and consistent. And knowing what to work on and in what order to work it. I write these things to applaud, of course, Robert's dedicated work but also yours, Bevin. A teacher can only do so much. The student must work, also. And I am willing to bet that any physical condition real or imagined pales in comparison to the mental acuity and flexibiilty you have had to truly evolve and release the voice that is within you. Robert does not have videos where he tells you how to sing like a famous singer, or sound like them. He teaches you so that you will be the next iconic and famous singer. So, what is the background or creds of a good teacher? I think it is not as easy as pointing to a piece of paper or even past history. It would not matter if Robert had done nothing else in life but sing. He has done many things. What matters is that he is good at this, now. For example, I have other skills and accomplishments outside of singing. I have been doing electrical work since 1983, studying electricity and physics and math since 1975. I have a master electrician license in Texas. I am operations manager for an electrical contractor. I have studied 6 martial arts styles. Of those, I have formal class instruction on three of them, Tae Kwon Do, Aiki-jujutsu, Kenpo Karate. (It started with Kenpo in 1977.) I have received informal training from a friend who was a SEAL. I have received formal and informal training in firearms, mostly revolver and shotgun and basic competence in long gun or rifle. I once had a special permit to carry a gun and my last re-qualification at the range at 50' was 145 points out of 150, shooting 30 rounds. 2 in the head, 3 in the heart. That earned me a master marksman pin on handgun. The instructor used his sight glass to follow the dirt puffs behind the target because I was going through the same holes. Smith and Wesson .357 Magnum, Model 19 k-frame with ivory overgrips and shooting 125 grain .38 ammo. It weighed a little over 3 pounds, which actually helps dampen the re-coil. I have been a bodyguard and bouncer, armed and unarmed. I once was bodyguard to Natalie Cole for a show in Dallas. Bodyguard to the son of the Shah of Iran. (He had business in Dallas. Sometimes the best deterrent is a guard like me, 6' 6", armed to the teeth with weaponry including hands and feet.) Point of all this is to show that having these other interests and abilities does not make me less of a singer. Nor would have concentrating only on singing and nothing else in life necessarily make me a better singer. And so, for Robert, even if he did not spend the last 20 or 25 years singing for a famous band or two, or have loads of high-selling albums, or has had other careers does not prevent him from being the successful and effective teacher that he is now. This is thing is his skill set. The proof is in the pudding. So, not only has he done well in providing the thing you needed, you have done well in choosing it and working with it and I can only see you being awesome and the only limits are those that you place upon yourself. Yes, it helps and may be a superficial selling point, icing on the cake, as it were, that Robert sings well on everything he does and he could do that without being a teacher, although being a teacher causes the teacher to learn as much as does the student. And I know because I have also been a teacher, informally and formally, teaching electrical trade skills. But Robert being an effective teacher is a separate skill set from being a singer. It is a different skill set than having all the content and materials he has, even though they are comprehensive, extensive, and helpful. It still comes down to the talent and skill of Robert, in written and spoken word, to communicate. Again, brava to you, Beven, and bravo to Robert for the dedicated work you both do.
  13. Awesome. Please tell her it was awesome. She followed the line like a laser. Every note right in the zone.
  14. good advice you give yourself. Yes, I think it is possible to get inflammation from yelling too much and you must learn to control that. Taking care of the voice requires mental self-discipline, the most difficult thing of all.
  15. To quote Mr. Roth, "you do the best with what you've got." We all have challenges, so find a way.