Draven Grey

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Draven Grey last won the day on April 23

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About Draven Grey

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  1. I posted what I thought of the video you posted: As for immune boosters, I mentioned the herbal ones I use such as Yin Chiao, Zong Gan Ling, and Sinus Take Care. For Yin Chiao, I suggest looking up suggested dosage, rather than following what's on the bottle. What's on the bottle is usually preventative, not nearly as much or often as you would take it when fighting something off.
  2. I studied accupressure for years. This works to a degree, and only because it cuts off nerve response and bloodflow to specific muscle groups, allowing them to relax and swelling to go down. It's great for tension headaches too. Even more effective, or perhaps in conjunction, is doing Ingo Titze's straw exercises. However, I also suggest immune boosters, especially herbal because they are mroe gentle and you process them like food; warm salt water gargles; nasal rinses and more. Here's my quick run-down of things to do:
  3. His videos are okay. Lots to ponder. But a lot of what he teaches doesn't apply to contemporary voice or get the results that Robert does. "Appoggio" directly translates to lean, prop, bolster, support, and the like. Simply knowing the full meaning of the word in Italian helps better imagine how to use it. The idea can help you quickly get better support while training through Robert's breathing and training exercises and learning how to do it betetr and more naturally.
  4. It's not really tightening, it's leaning in and out. It has a similar feel and function to the push downward, but the mentality of it changes the structure enough that it tends to stablilize more and not put undue pressure on the pelvic floor. When I want to get really loud, I still push down, but even then I think about it differently than I used to and mentally push more into the abs than I do downward. Either way, you end up moving the diaphram much more slowly and controlled than ignoring the abdominal pressure altogether. I don't think it's contrary to the way TFPOS teaches it, I think it's complimentary. In many ways, it's a matter of semantics. But I think it's a crucial distinction of semantics for a better visualization and thus better support when a student is simply just pushing as hard as they can downward. See the video below. I don't like Trimble's vocal style, and there are many things he's doing to the contrary of contemporary singing. But this way of achieving breath support is someting to consider when learning Robert's method. Again, not cnotrary to, but to help adjust your sensations, visualization, and technique to achieve the end result faster. I teach a few things differently than Robert, but again, not to the contrary. For instance, I have my students use a stirring straw for warmups, cool downs, and even when trying to get the sensation of tuning the formant, proper pressure balance, and relaxation of compression. IT's just another way to achieve the same sensation that has helped my students learn the TVS methodology faster.
  5. I'm glad I brought you here! I'm glad to help however I can! I often go full appoggio, but it's not always necessary. There are definitely softer parts of songs. However, even on softer parts, proper respiratory balance is a must for longevity and consistency. I use extrinsic anchoring a lot too, but I'm training to rely more on intrinsic anchoring (especially in embouchure, since my tendency is to open vertically on higher notes which isn't the most pleasant sound, haha!). As for "the push" for volume. I have a couple of students who are Yoga teachers and refused to do it that way. I had to search for a better way, especially given their explanation of the horrible things that can do to the pelvic floor and your internal organs. Now I teach to pull in or tighten the stomach slightly when breathing in to the kidneys or lwoer, which causes the air to expand the obliques instead. Then when colume is needed, "lean the ladder" the other way. In other words, lean into the abs, even while keeping the slightly tightened. It makes the lungs work more like bellows, and give much more diaphramal control than breathing with the stomach out and pushing down for volume/support.
  6. I would put respiratory support at a 5 out of 5. Different techniques require a bit different of a balance (glottal and subglottal pressure), but havign the "external" or "third-party" support effecting glottal closure without having to directly squeeze down on the glottis helps immensely. As an example. The last 20-minute set I did on television, I decided I didn't want to be loud, so I backed off in repiratory support. The room was small, I could easily clip the mics, and I wanted to play it safe. Normally, I can sing 2 to 3 hours at full volume before I get tired and need a break. Without the good rspiratory support to help me through it, I barely made it to the end of our last song. In fact, even 15 minutes in I starting struggling. The rest of my phonation package was worn out very quickly simply from not having that extra help from appoggio.
  7. That similar to what I use. The one I have is electronic, with a small hot plate on the inside where the water sits. The idea is the same though. I use it for at least 10 minutes to superhydrate the vocal folds. Works well when I'm ill too. Warm salt water gargles help releave swelling in the throat too. I also use "Singer's Saving GRace" throat spray, which is the best I've found out of athe handful of them I've used. You want to pamper your voice a bit as you rebuild it and bring any swelling down.
  8. If your larynx isn't anchoring, then you are likely singing from the throat rather than a more relaxed placement into the soft palate. I could be wrong, but based upon what you said, I believe that is the issue. Try making a "G" sound. Where you feel that hit on the roof of your mouth is where you want to point all of your vowels. You can try speaking lyrics into that same spot to get a feel for good placement for singing. Balance that with raising the soft palate. Notes go deeper into the soft palate as they go higher in pitch. Then try placing your finger just under your larynx. When you start singing, the larynx should raise up a bit. Try to hold it in that position as you sing up an octave and back down. Also, place a finger on your bottom lip, then try to project your voice up and over it. Lastly, smile a bit. More correctly, learn a proper horizontal embouchure to support all of the above. Once you have a feel for moving the resonance and pressure of the voice along the soft palate, and letting the soft palate do all the work for you, then there are a few more things that might help as well. Since I don't know how you currently sing, it's difficult for me to know if the above will correct the issue. It will help, but I would need to know more about your ability to sing in head voice, bridging and connecting the voice, and a few other things that I can usually only tell in a lesson. Apart from taking lessons with me or Robert Lunte (whose videos you should look up on YouTube), or taking his Four Pillars of Singing Course linked here on this website, there's one other amazing exercise I can think of that usually gets immediate results. Try to relax while doing what's in the video below. This exercise is good for warming up, cooling down, gaining your voice back, and especially for learning to place and tune the voice correctly.
  9. I was hoping you would self-diagnose a bit with those and choose what you needed. I didn't know you would go all out, haha! Nasal rinses clear out allergens and help prevent postnasal drip, which is often the first cause of a groggy voice, especially after a cold. H2O2 in the ear can help kill internal infections of the ear and upper respitory system, as well as liquidate ear wax and help bring down swelling. Zyrtec or Allegra also addresses post-nasal drip due to allergens. Yin Chaio, Sinus Take Care, and the like were to help clear up whatever was left of your cold while also boosting the immune system. If your throat is sore, then salt water gargles will help address athat symptom. Antibiotics are useless unless you have a bacterial infection, and if you do or don't is something really only a doctor would be able to tell you. I mentioned all of the above because you said you have a heavy cold, and yet you say you have no congestions, no runny nose, or the like. Is it a chest cold? A good herbal expectorant and a personal steam inhaler can help with that, but once a cold is that deep you usually need a doctor to help. There have been a couple of times I didn't catch it fast enough and ended up having to take steroisds to clear up my lungs. We are not doctors here and can only make siuggestions based upon what you've said. If you feel it's a major issue, then find a doctor you trust to help you figure out what to do.
  10. What I would normally have my students do: Regular Nasal Rinses with a Netti Pot or similar. You may have to lay down on each side and blow your nose to completely drain afterwards. If possible, clean your ears every few days with Hydrogen Peroxide. If you can, pour a little into one ear at a time, let it bubble and warm up for a while before draining and doing the other ear. If you have something rpeventing you from putting liquid into your ears, then at least soak a cotten swab with H2O2 and clean. Zytec, Allegra, or a similar allergy med, NOT a decongestant. Chinese Herbal Remedy or similar. Straw Exercises, below...
  11. There are a few things that could cause this, but I need a little more information. Is it choking off notes or just fatigue from over-flexing muscles? When you sing, do you feel it mostly in your throat or more on your soft palate or hard palate where the throat is relaxed? Does your larynx raise and lock into a specific positionwhen you sing or do you try to force it down?
  12. Try not to eat within a few hours of singing. The problem, which you might hear many uberfamous masterclasses talk about, is that you get hungry in the middle of the set. Billy Joel has a hilarious section of his masterclass where he talks about singing Piano Man while htinking about hamburgers. Drink plenty of water, and maybe even use a personal steam inhaler, which is the most amazing singers secret weapon besides the throat spray "Singer's Saving Grace". If it's not just when gigging, then salt water gargles and nasal rinses.
  13. If you would like to post an opportunity like this, feel free to post on the forum here: http://www.themodernvocalistworld.com/forum/15-seeking-vocalist-vocalist-available/
  14. That's not even the half of it. He sounds like I made him up. He survived pediatric sarcoma (very rare to survive), has carried the Olympic torch, fought a mountain lion with a bow staff, and the list goes on. Now he runs the world's largest poetry podcast...well, the more I write, the more he sounds like a work of fiction. I'm honored to have him as a business partner and bass player. His story speaks to being able to do whatever you put your mind to. Maybe I'll push him to write an autobiography. He's an author too, haha!
  15. @woogie Welcome! Yes, it's a bit too deep for a GP, but they can refer you to an ENT, which is likely the way your insurance wants you to do it. Kevin is right, there is usually therapy and ways of training your voice back to health, even in some of the worst case scenarios. One of my best friends used to tour the world with Opera. He fractured his larynx in martial arts, and the ENT told him he would never sing again. Thankfully, two of the world's top vocal teachers were there too and told the ENT he was full of it. It took 6 months, but he was able to get his singing voice back. It's a bit different than before, but since then he's made the western Music Hall of fame, performed every night for two years straight, and has released several albums. Each situation is unique, but I've rarely seen a situation where you're injured beyond repair.