Phil Perry

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About Phil Perry

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  1. And there it is. Great advice. I've had horrible "morning voice" since forever. Interestingly, the better my technique gets, the less "morning voice" becomes an issue.
  2. What was the advice against humming?
  3. There are differences obviously but I try to keep them as closely related as I can. When things aren't clicking I always go back to a hum and then restart from there. Humming has always been a very good indicator of where I'm at in my warmup. If I can hum with support but with a closed mouth through my entire range with no glitches and with different volume levels, then I'm usually good to go.
  4. Great topic! I tend to splat whenever possible (not a good thing). So "A"as in Cat is waaaaay my worst.
  5. Good question. Ru Paul?
  6. Lol. I saw these guys live. Singer Jim Gillette had a vocal solo. Smashed a crystal glass with his voice as part of it. Hilarious and horrible. But worth seeing.
  7. Yes. Everything is possible with practice.
  8. I like this guys voice a lot too. I'm not qualified to discuss specific technique but I've seen some live clips where he's pulling this off pretty handily. That wasn't super recent but within the last 7-8 years. Total Zepplin ripoff but fine by me cuz it sounds good. I actually think the guitar solo is my favorite part of this tune.
  9. Over the last couple years I've fallen into a fairly bizarre singing routine. A typical month consists of 3 weeks hitting it hard. 2-5 hours a day. 5-7 days a week. Then anywhere from 3-7 days of no singing. During that stretch of no singing I may hum a little but mostly just visualize. Lay down with earbuds in and go through my practice songs just imagining singing them perfectly. Sometimes with mouth movement but no sound. Whats strange is that usually when I come back from the break it feels like everything gets one very noticeable notch better/easier. More second nature. I'm not sure if this is the best way but it's been working for me.
  10. Running or even a long walk almost does the same as warming up for me. And, I feel your pain. For the last couple years I've been practicing on a freeway overpass over the 101 freeway in LA. Actually works perfect. The noise drowns me out to anyone not on the walkway so I can feel free to go for stuff and sound like absolute crap and no one will ever know.
  11. I wanna elaborate on the nervous energy part of this too. At the risk of sounding like a metaphysical hippy dip ;) I find it helpful to not try to control the fear. Realize it's energy. Don't ignore it or try to block it out. Let it pass through you and ride the wave. That's what I mean about harnessing it. Use it to your advantage. Be a part of the energy. Maybe it's all a mental trick but I do believe in the energy of shared experience. It can be very powerful positively and negatively. Depends on your perspective. And only you are in charge of your perspective. End granola rant.
  12. Sure, technique and consistency are a big part of this. But not all of it. You have to have the right mental attitude. No one in the audience knows any better than you. Then lose yourself. Get lost when you perform. If you're nervous (which is totally normal) you have to get to the point where you're not scared of failure. And I agree with the harnessing of energy. Take those nerves/energy and channel it to your benefit. Much easier when you don't a shit what people are thinking. I have had some unreal bloopers and crumbling of technique on stage. You know what, it didn't matter. The night ended, I went to bed and woke up the next morning fine. Oh well. It'll be better next time. Point is, I tried. And didn't hate myself for failing.
  13. Exactly! And that's why, in my very humble opinion, visualization and mind body connection is ultimately as important as any technique. Especially if you want to be the kind of singer that truly connects to people through their music/singing.
  14. Agreed. To be honest, it all felt very unnatural to me at first. It takes a long time to figure out how to achieve that sound everywhere and without strain. Then it takes a long time to do it consistently and make it sound the way you imagine. But for me it took (and is taking) the longest time trying to figure out how to emote and be one with a sound that is inherently unnatural.