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JonJon last won the day on December 11

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  1. Stronger Head Voice

    I used a lot of sirens on different vowels, but there r lots of different exercises out there. Play around and have fun
  2. Stronger Head Voice

    ill give u a short answer. the falsetto means the vocal cords are mostly open. You have the level of strength and skill to close the vocal cords to make good notes up to f4 which is, as you said, chest voice. Thats basically the same voice you speak in so you are pretty well trained in configuring and using your voice that way BUT, that type of setup will only go so high and then its starts getting really tight and strained, right?? I think most people, including me, start off that exact way. I was the same, I had chest voice which went to a certain note and then choked out and then i had falsetto in essence, you need to learn how to sing in head voice. You can take that falsetto and work with it to make it brighter, tighter and more focused and eventually you end up with a legit head voice. You are going to feel most of the vibration etc ABOVE the lower throat. In other words you wont be feeling the same sensations as in a strong chest voice. You might feel it buzzing up in the nose some, or up on the hard or soft palates (roof of the mouth) or behind the eyes or on the upper back of the throat or who knows where, somewhere in the head area lol. Good vowels to play around with are 'ee's and "oo"s. if you can take a nice "ee" or 'oo" and maybe add a bit more compression to it and get it nice and buzzy and bright, then you are probably getting into good headvoice. Then its a matter of learning to connect ("bridge") the chest and headvoices together. I struggled like heck to bridge, mainly because I didnt have a headvoice yet. once I felt a good headvoice for the first time, I bridged down into chest voice like 3 seconds later lol I was trying to sing this certain rock song. I was straining to get higher, but stuck at a certain point in chest voice. Then id sing that part in falsetto but it didnt sound right. So that was my thought process. 1) chest voice wont go that high and 2) falsetto doesnt sound right so the magic answer was: THERE MUST BE SOMETHING ELSE. That something else is correct headvoice ------------------- As far as trying to keep pushing chest voice higher. Ok, in general as u continue to get better etc, yes, your chest voice can be developed higher. BUT, thats not a substitute for learning how to sing in a good headvoice. ESPECIALLY if you are already sort of straining and getting stuck and choked at a certain point in your chest voice.....straining even harder wont help. instead of straining harder youll have to learn how to let the sound move up out of your lower throat only and move up higher more onto the roof off the mouth etc as I described above. The sound may also feel as if it moves "back" into the back of the head as you sing higher notes. Just squeezing chest harder and harder wont work if you are yelling to try to go higher, then you need to do the opposite instead. Instead of spreading the sound out really big and wide (splatting) and losing control, you need to keep the sound tighter and more focused and let the feel of vibration move out of the throat and higher into the mouth/nose/roof of mouth etc You mention F4. Generally an average male tenor type of voice will start feeling sort of tight etc as he starts getting into the sort of d4-d#4-e4 area. Sounds like thats about right for you and then you sort of lean into it and strain and squeeze it u to f4 but then that strategy runs out of steam. Instead, as you start to get into that d4e4 area, start letting the sound move out of your throat and up higher as I describe above Peace, JJ
  3. yeah thats interesting and i vaguely remember it....the interesting part is that I CANT whistle by blowing out lol, ive always whistled by sucking air in
  4. well yeah I guess there is the source/filter idea so this would just be providing the source at a certain frequency so we can then learn to tune the filter i can think of several great applications and exercises
  5. im starting to picture a tiny old radio speaker taped onto the bottom of a toilet paper tube lol
  6. yeah, thats to measure and display the harmonics blah blah. Im talking about an actual device to PRODUCE the manually put a sound wave into the mouth, which you then manually shape/tune. Like you shoot a c5 into your mouth and then you shape and tune it for max loudness or whatever. Evidently Berton Coffin had a small organ hooked up somehow It strikes me as similar to how a guitar talkbox works. You hook a special speaker/driver up to your guitar amp that has a plastic tube coming up into your mouth. You then shape your mouth to make different vowels etc...which are then picked up with a microphone and next thing you know you are famous. (if u r Peter Frampton) But evidently the device could be good for experimenting with different tuning skills etc without adding hours of extra wear on the cords themselves since there wont actually be air passing thru them. The device is producing the sound
  7. ok, you arent referring to a spectrograph (like voce vista) are you? all i get when googling for spectrometer is a device to measure light
  8. Was doing some reading today and ran across a blog by a student of Berton Coffin (original blog post) Evidently Berton had a sort of home made device he used to more or less blow a tone into the students mouth and then the student practiced shaping the vocal tract until the tone resonated the loudest etc Sounds really cool and I can see some nice applications for it. is there anything like that commercially available or is there any other easy way to get something like that going?? On the blog post, Lloyd Hansen said he had a tuner hooked up to a small 2 or 3 inch speaker and he just held the speaker up to his mouth etc. I think he called it a "vowel mirror" but he also might have called it an Echophone. any ideas?? Thanks, JJ
  9. Tesseract vocal cover w/sob

    yep, sob/cry is a cornerstone method, no doubt
  10. Alexander Kariotis Podcast & Vowel Modification

    lol....timely video posted
  11. Alexander Kariotis Podcast & Vowel Modification

    this is the crux of the matter. U gotta find the sounds you want. Some of them you wont even be able to get until you train a lot more etc. But you gotta find them and then re-find them a few thousand times until you really got em grooved. I have FOUND lot of cool stuff while experimenting at work but probably half of it gets forgotten and then when I go to record it sometimes get into a thing like "wow, why cant I sing like I can sing in the car?". The major thing for me lately is changing how I feel the placement of the resonance. for instance I used to really think of the sound going more up and down. like chest is down here, head is up there. I still do think of things moving sort of diagonally like from mouth resonance up diagonally and back up into the soft palate but lately ive really realized that a lot of stuff just want to go straight back. Thats why I related to what u said about resonant anchoring. It all gets pretty metaphysical and zen like lol. There are so many sensation involved with resonance and air pressure. Lately I have really felt to find a spot usually near the back of the throat and anchor (using imagination lol) and from that spot push the air pressure straight backwards I had tried numerous times to get this phrase that I love from this song: "If im standing in the crowd you know I STILL feel so alone" its mellow then it jumps to that nice screechy e5. I kept trying this and that, usually trying to make the sound by going "up". when I finally got it, it was by going "back" Dude is such a great singer and guitar player So now I am feeling singing on more of a horizontal and sometimes diagonal "up and back". The only really straight "up" might be if im in chest voice and I want to belt but I want to stay chesty and go up into the mask. But thats a new one to me because 99% of my singing hasnt used the mask lol for whatever reason I leaned towards closing everything so now i sort of have to go back and start opening things back up and getting more belty like a strong David Coverdale or David Lee Roth thing. The coolest and most valuable sensations AFAIAC are when you are able to combine resonance. It always confused me about using the mask because we are told stuff like "go back, not up" as u go higher. Ok, thats great advice but then its like "well wait, how the heck do I use the mask if im going back?" So now ive sort of figured out how to spread the sound front to back so that some of the resonance goes into the mask while some goes back. Whether or not that technically whats ACTUALLY happening is not really important. Thats what it FEELS like. Another cool on is going up and back into high headvoice but keeping just a piece of the mouth resonance there too From singing Coverdale stuff some lately ive learned to really open up and do a strong belt BUT also allow some of the resonance to creep back towards the back of the head as sort of a release valve. of course doing all of that at work is one thing....getting it laid down on an original song is something totally different One main snag i am having right now is that I can do a nice high Bruce Dickinson type of vibe where there is still some small amount of TA. But then I have a few more notes above that but I cant gracefully get into them. Maybe that is going into a more pure CT type of thing but its a pretty abrupt change in tone etc. Then again I havent practiced it much. Im assuming it just a matter of finding how to get into those notes and then doing it a few thousand times. Its like "how to get a good rock tone when you have to let go of the squeeze". I have probably already answered myself earlier...the answer is probably along the lines of above the folds compression...i:e: resonant anchoring and finding the right spot to sort of push into Peace, JJ
  12. Alexander Kariotis Podcast & Vowel Modification

    I notice in general you tend to keep a very level head in conversations (though you and I havent had too many because i was away from the forum a good while right after you got here)....that level head comes in handy and is appreciated because most of us here tend to be very opinionated as the ebb and flow of this thread shows lol. Everyone wants to force their own personal philosophy on the crowd hehe. That and the fact that its nearly impossible to discuss singing in text format makes it interesting lol most of the programs have a lot of overlap, which is fine because the physiology is the same for everyone. to me, T4PS and SS360 arent THAT far apart. The differences are more in the emphasis on this or that. KTVA seems to be the oddball of the group and the least effective (one dimensional) program IMO. That being said I guess he has (finally) revamped his program and is going to some sort of subscription based thing. The program I bought had a real 1998 vibe to it lol Overall id say T4PS is the best as far as a one stop shop program. KTVA and SS360 dont really give in depth techie info And even at that, there are things ive learned from random youtube vids that really help. Sometimes its one little key at the right time that helps.
  13. a more recent one. really strong imagery. A slow build up to a peak at 2:08ish and then the really dreamy western cowboy movie sounding vocals what does it evoke? hard to say. maybe mildly depressing but mostly you just get deep in thought. Dude is a crazy good singer but I dont understand how he hasnt blown out his voice yet with the crazy high belting. He goes to the ragged edge
  14. well that against the monotonous hypnotizing drums. You keep sort of waiting for a change in the drums but it doesnt really come and you start to lose track of time a bit
  15. Alexander Kariotis Podcast & Vowel Modification

    lol I hope thats not really directed at me brother I paid for the KTVA program in 2015. I paid for T4PS in 2016 and paid for a lifetime sub to the review forum. Then later I paid for Kevin Richards 2 programs he offers for $50. In 2017 I paid for SS360 Later I paid for Mastering Mix Thats probably close to $1000 just for singing programs. I dont mind because im a committed student of the game. If I thought CVT was worth it, Id pay for it too. We wont go into the guitar programs ive bought...still wanting to get better while coming up on 30 years playing. We wont go into probably another $1k on EZ Drummer software and expansion packs. Or the 3 electrics, 1 bass, 1 12 string acoustic ive bought in the last 3 years. If you want to see me as someone looking for free handouts, be my guest Ive put in tons of consistent vocal training and experimentation, too much at times. Ive got pretty strong singing, musical, writing, and mixing/producing chops. Not TOO many people can say that. I sort of feel like I have the right to express my opinion on musical matters as I find them if I strike you as someone out looking for magic tips, feel free to keep believing it