Draven Grey

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Draven Grey last won the day on April 29

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About Draven Grey

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  • Birthday May 21

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    www.rocksinginglessons.com

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  1. Getting people to sing

    Untrained and comfortable for most men? I would keep the high note under middle-C. Most men's bridge into head voice is around E4, so it can help to stay below that by a couple of notes. However, most men will adjust their voice an octave lower automatically, if your singing too high for them when leading them in song. And since you're asking about women too, know that A woman's bridge is around and A4. Speaking from experience: I led people in song for many many years, and everyone seemed comfortable when I primarily kept my melody range from G3 to G4.
  2. Every vocal group "live performance" televised during that time period was pre-recorded and then lip-synced when they didn't have close mics, and even many times when they did. It was common practice, especially the shows the 5th Dimension were on, like Soul Train. It may not be the original/album performance. Most record-label artists record multiple versions of each song to use for different purposes. That said, if she were singing live, which she's not in that video, the mouth position you're seeing is called embouchure. Horizontal embouchure helps lift the voice to the soft palate better. Vertical embouchure can be narrowed for holding more curbing resonance and expanded for more edging resonance and/or projection (e.g. creating a megaphone like projection effect with the mouth shape). In this video, she over-exaggerates her vertical embouchure. Since it's not creating the horrible super-edging acoustics, splatted vowels, and/or extreme pushing and tension that doing such a thing creates when singing with her particular resonant placement, that alone is enough for me to believe it's not live. Being a recording and sound engineer for decades, and knowing exactly how they filmed "live performances" like this one in the mid 70's, gives me plenty of other reasons too.
  3. We're sold out! However, some of our sponsors are still offering full-week and 2-day registration options. Contact me or Robert if you're interested!
  4. Opinion on my singing

    Making more use of Sob vocal mode on higher notes will help you sing those notes without pushing or having to get loud. Also adding more curbing acoustics in general will relieve extra tension because you won't be compressing as much as you currently are. Another thing that may help is a type of Messa di Voce, but I actually adapted it from Contract & Release. On those high notes, sing it in light-mass but resonant head voice at first (reinforced falsetto, if you can), then turn on the TA only enough to be in a stable mixed resonance. Once you're there, amplify forward vowel resonance while opening your vertical embouchure a bit more to tilt the voice a bit forward (a bit twang, a bit edging, a bit vowel modification to /a/). This process put you into a belt vocal mode by stepping you through sob and a little dampening before adding twang. The end result is a solid belt sound color without needing to be loud or add extra tension.
  5. Only one day left to register!! There's only one day left to register for the Vocal Athlete Intensive! That means only one day to get your RØDELink wireless mic, Direct Sound headphones, and thousands of $$$ worth of vocal training! There are still a few 2-day spots left as well: A power packed foundations on Monday and Tuesday, to demystify your singing and truly take your voice to the next level; or a TVS Student special for Wednesday and Thursday, where you solidify your training routine, learn more about vocal effects, join us for a special presentation by RØDE Microphones, visit Ann Wilson's studio with us to learn about recording, and spend an evening with us singing Karaoke! All that and a special presentation about performance on Friday by the Director of Karaoke Works Championships USA, Joshua Baron, joined by two world Champions! What's holding you back? Is there anything we can help with? REGISTER NOW! https://vocalathleteintensive.com/register/ Need a discount for the week? Just enter this promotional code: VAI-Partner-Referral ***TVS Student? Take note.*** Message us and let me know if you're interested in the 2-day TVS Student registration. We have a special promotional code, just for you. ****** Vocal Athlete Intensive is sponsored by: RØDE Microphones Direct Sound Headphones American Music Karaoke World Championships USA We hope to see you next week! Until then, please enjoy the attached images of the European Masterclasses that have been leading up to the Vocal Athlete Intensive.
  6. In this Quick Answer, I talk about how to train to build consistency in your singing voice. Besides an important exercise, I also address the main questions that came up from my last videos about finding your voice and avoiding voice fatigue, bringing it all together.
  7. Finding Your Voice - a quick answer

    I'll make my next video put these last two together with a solid exercise and a bit more of an explanation of how they work together. Consequently, changing your vowel anchor also changes your annunciation/accent a bi (which I believe I mentioned too). And as I said in the video, it tends to move other muscle groups, such as dampening or tilt of the larynx, without having to directly control them - thus changing the character of the voice, not just tonality.
  8. Finding Your Voice - a quick answer

    @MDEW, I'm talking about a lot more than just tonality. While you can change tonality this way, I was talking about choosing the underlining sound color of your voice, *including consistency across your range, by anchoring your vowels to one spot -- finding a sound color you like in general, and then forming all of your vowels in that single spot on the soft palate. You will still experience the pressure of the voice moving deeper into the soft palate and adding curbing overtones, but you want to stay tethered/anchored to the chosen vowel resonance anchor spot regardless of the other acoustics and physical modes happening with it. This will keep you consistent in "your voice."
  9. Finding Your Voice - a quick answer

    Twang is a vocal mode (physical structure + acoustics) where the glottis closes and tilts forward, adding more edging acoustics (simply put). What I'm talking about here, although at a very basic level in order to keep it quick, is that resonance sits along the soft palate helps add edging or curbing acoustics to the voice. The tongue helps move resonance, and thus acoustic overtones, across the soft palate - or hold it in place, at least in part, like I mentioned about "vowel anchoring." Extreme edging or extreme vocal twang causes Quack vocal mode, which is different than nasal. Edging acoustics in general sound be described as resonating more at the front of the mouth/soft-palate - Quack would be more hard palate focused. Nasal sounds tend to originate at the back of the mouth and then up and into the sinus cavities, much like you feel when humming on an "ng" sound. I plan to do a few more videos soon concerning the acoustics and tension of the voice, such as sobbing for higher notes, stabilizing lower notes, and even one on emoting. Then I have a few planned for grit and screaming distortions. I wore the hat because the sun was out. You should've seen how washed out everything looked from how bright it was before I added a filter! The goggles are on the hat because I like them and my production group, The Silent Still, has ties into neo-Victorian stories and the Steampunk community, so they are part of the wardrobe I've built up over the years. Thankfully, I moved away from the crocodiles years ago.
  10. A small vocal tip with huge benefits. My last video was about vowel anchoring and "up and over" to avoid vocal fatigue. This one is about finding "your voice" by choosing where that vowel anchor sits along the soft palate.
  11. How do i recover my voice from damage?

    You should see an ENT doctor to see if you actually have any injury.
  12. Is it possible to sing despite vocal nodules?

    Women are more prone to get them, but men get them too. However, as you said, it can take quite a bit of wear and tear on the voice to cause them. And only a proper medical professional can tell someone if they actually have them or not. Also, many will go away on their own simply buy beginning to use better singing and speaking techniques. Hoarseness can be caused by a very wide variety of things, from post-nasal drip and allergies, to overuse, pushing too much, overblowing acoustics, acid reflux, coughing, bad breathing or phonation techniques in general, eating spicy or lactose rich foods, a virus, alcohol consumption, dryness (which has its own long list of possible causes), or a number of other things.
  13. Avoiding Vocal Fatigue - a quick answer

    You won't experience the buzz in your nose at all if you hold /ee/, /ih/, or any other vowel in the placement I mention in the video. Holding your nose would make absolutely no difference in the sound of your voice with that placement either. Placing further forward or further back along the soft palate will add more edging or curbing acoustics, but not nasality. Placing in the pharynx can definitely cause nasality though, as can Tracking on "n" or especially "ng." But buzzing on nasal consonants is not what I was talking about in this video.
  14. The straw exercise was developed by Ingo Titze, look him up. The appoggio technique I teach for breath support is the same as taught by Pavarotti (perhaps you've heard of him?) and many of the most famous classical singers and teachers in the world. As for the resonant position you're referring too from my last video post: soft palate resonance has been taught for centuries, and twang vocal mode, narrowing, "vowel register," "over the pencil," "brilliance," "vowel anchoring/tethering/modification," edging/curbing acoustic overtones as related to pitch and vowel placement, and several other closely related techniques or names of the same or similar function, assist in moving resonance up and forward, away from the throat, and to the middle to the front of the soft palate, as is taught in the most prestigious pedagogies in the world, especially when it concerns contemporary singing. Are you simply trying to pick a fight with me? I don't understand. Why try to disprove me about another subject on a completely unrelated post? Why try to point out how wrong I am at all, instead of seeking to understand? Why try to state my students have some sort of unpleasant nasal sound, when you clearly haven't heard them sing? Why say I teach wrong techniques when you clearly haven't had any lessons with me or studied TVS methodology? Why try to disprove anyone here by throwing out the terms "wrong technique" vs this elusive "correct procedure" you have yet to show any evidence you know yourself? Why choose to argue with everyone you've interacted with so far on this forum? If you simply want to pick a fight, you're in the wrong place. As a moderator, consider this a warning. If you want to discuss technique, then let's do so, and on the appropriate threads. I don't mind disagreements, but turn it into a discussion, not out throwing insults and disagreeing for the sake of disagreeing. - that's called trolling, which helps no one and contributes nothing. EDIT: I just realized what you mean by "pitcher" (picture) and apologize if the way I questioned it came across offensive in any way. I also think judging me based upon a stock photo should be added to the rest of what I said. On a more hilarious note, in some of the stock photos out there of "singers," they're singing into the wrong part of a condenser mic, and some even don't have their mic plugged in at all. Pretty funny.
  15. I teach this, and always do some version of it. It's a very effective 10 to 15 minute warmup.