Draven Grey

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Draven Grey last won the day on March 13

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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. So far, everytime I listen to an example from someone that says they don't modify their vowels on higher notes, I can immediately hear them modify their vowels. It's not always a conscious thing for the singer to do. I think it helps to gain even more control when you are conscious of it, but I've come across a fair share who had no idea they were doing it because they were focused on other things to achieve the same result (which ultimately was a modified/shaded vowel). I've also had a student or two who could'nt feel resonant placement at all, and had to get very technical with muscle placement in order to achieve results. Again, it wasn't that they weren't modifying their vowels, but rather that they had to focus on tongue placement (among a few other lesser muscle placements) to get the ease of singing they needed in higher notes.
  2. Wow, that list is extreme. I can think of a whole lot more less severe reasons for all three of the things listed - all the way down to it being the voice you've grown up with and may need speech therapy to change it, if you need to change it at all (plenty of pro singers are raspy, nasal, and healthy). Hoarseness? My first go to would be not staying on top of hydration or dealing with post-nasal drip. And if the reason for a raspy voice is nodules, you need to see an ENT, not take lessons. I have a hard time taking a list like this seriously when it immediately goes to the worst-case scenario as the cause. Stomach ache? Likely a hole in your stomach or you need your apendix taken out. Migraine? You have a brain tumor. Feeling tired? You have diabetes. Having a hard time breathing after working out? You're having a heart attack. Thankfully, ailments are often a lot more simple than that. If you had the more likely and much less severe causes listed too, it would be easier to take seriously. Also, what exactly does "certified vocal school" mean? Certified in what exactly? There are plenty of vocal schools without accredidation or certification of anything in particular that get real results. Maybe it should instead read "should take singing lessons with someone that has a proven track record of getting results."
  3. 1. Mixed resonance is very much part of Classical singing. I've had many classical student come to me with a beautiful mixed resonance a seemless and long transition between pure chest voice and pure/light-mass head voice. 2. There is no difference. It's not some mystical third register, it's the formant shift and trasition between chest and head registers. This is used in contemporary voice as well, but contemporary usually leans more into belting and twang than simply mixed resonance. 3. It is already part of it. If you listen closely to a classically well-trained student do a siren from chest to head voice, there is a very obvious fading out of the TA muscles as they get higher in pitch and the formant shifts further back. Perhaps your questions come from a misunderstanding of what it is. What do you think "mixed voice" is?
  4. 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.
  5. 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:
  6. I'm saying that if you train for coodination and strength, it will affect your entire voice range. Training in head voice and especially mixed resonance is a lot more difficult and involves a lot more muscle coordination and strength than in your chest voice, thus you will have gains across your entire voice much faster.
  7. A lot of the coordination and control you get for breath, musculature, placement, etc, while singer above the passagio, directly affects the same contrtol in your lower range. GRanted, the vocal cords can only get so loose before they're impossible to stablize anymore. But I've found training above the passagio makes singing in the lowest parts of range far easier for me and my students. You can still train in that range, but things are so loose that it can be difficult to make gains in coodination.
  8. I pointed him to the "Review My Singing" section of the forum so that any audio clip he posts for review and advice won't be deleted and him be pointed to that forum anyway.
  9. If you want a review/critique of your voice, it's a bit different than just discussing technique. There's a paid section of this forum for reviews, critique, and coaching. Regardless of if you know what head and chest registers are, what I said in my reply still applies. First, you need to learn to bridge and connect the voice registers (which I'm not saying you know or don't know how to do yet). Then train for better coordination and strength of your TA muscles (chest voice muscles), as singing above your bridge is essentially just head voice with TA muscles on. And also better vowel modification and dampening in order to relax twang and add weight to the voice. To note: When you sing higher notes, the note resonance should feel like it's moving deeper into the soft palate. You vowels need to modify a bit to follow that note in order to be more stable and rounded. This helps relax compression and twang as well. The soft palate needs to lift and the larynx slightly lower in order to add weight to the sound of the voice. However, if the TA muscles aren't engaged, you will likely still struggle to get the sound you want in your higher range. I mentioned TFPOS, which I think would help you tremendously. Even going through Robert's videos can help a lot to get you started in the right direction. The videos on my own site are currently only basic summaries, whereas Robert goes into a lot more detail. https://www.youtube.com/user/roblunte
  10. Without hearing you voice, I can only recommend so much. It sounds to me like you're not modifying vowels properly or making good use of dampening your larynx to add weight. Twang and brightness can be controlled, but often you need to train specific things to get that type of control. There are exercises that help you gain more control over glottal closure and tilt like twang. However, that doesn't address the very foundatgions of your voice. You need to learn what head and chest voices are and how to bridge and connect them into one voice. Otherwise, your higher notes wiill likely always sound twangy as you add volume or try to make them more consistent with your lower range. From there, you can learn how to add in the chest voice musculature (TA) for sound color, dampen the larynx to add weight, and modify your vowels to help sypport the notes you're trying to sing. Dive into The Four Pillars of Singing. You will be incredibly grateful that you did.
  11. If you can't afford to get the help of a teacher, then please consider the course I mentioned. It's dirt cheap for what you get from it. You won't find a course that's more comprehensive and effective, and you certainly won't find one like that for so little money. I would hate to see you sturggle for years to learn how to sing well, or worse, damage your voice, simply because you want to save money. Even the videos on my website can help point you in the right direction. But nothing beats taking that course if you can't afford one-on-one lessons.
  12. In the first example you gave, you're mostly changing how much vocal twang you're using - gottal closure and tilt. Think of Axl Rose as the more extreme version of twang being used in singing. But you're also bleeding the glottis - opening slightly to let more air through. In the second example, you're simply bleeding the glottis. Are you training with someone? I highly suggest you at least check out The Four Pillars of Singing, which was created by the owner of this forum. I'm happy to help you as well. A teacher could walk you through the sensaations, terminology, proper placement, understanding, strength, coordination, and other manipulations of the voice. You can only go so far trying to learn on your own, and will likely develop many bad habits along the way.
  13. This topic has been locked. We don't discuss Tristan here. You don't know the extent of what happened. He was banned, and that does not happen easily on this forum.
  14. Cool song! Your voice reminds me of the more famous male pop singers of the 80's. Your style of music is perfect for getting placement in movies and TV. That's a very viable and potentially very profitable career path and/or income stream. I'm curious. Your placement is very much on your throat until you make edgier vowels sounds or go up in pitch. For instance, the first word you pulled up and forward in the song was "make". But in general you didn't lift the voice to the soft palate unless you went to higher notes. It gives an interesting and unique sound to your voice, but also a bit inconsistent. Did you do that on purpose? I'm not saying it's bad, just unique. The singer for Disturbed did very similar placements for their cover of The Sound of Silence. I think working on keeping your vowels lifted more to the soft palate (possibly edged towards the hard palate) and away from speech vowels will make your voice more consistent in sound across the board. It would still go deeper into the soft palate as the pitch raises, but your tone, timbre, and breath support would be more consistent. The quickest way to tell the difference would be to smile (which naturally supports lifting of the voice) and also place a finger on your bottom lip and try to sing up and over it.
  15. I listened to Perfume. I tried Jar of Hearts, but it's hard to hear you over the other voice. You had an ear for pitch and a natural pleasant tone to your voice, but your fundamentals are all a bit off for singing. I'll get to that more in a minute. Yuo have a lot of great potential, and I can hear a great singing voice in there just waiting to be utilized in full. Please don't take my review as harsh. Text alone can feel that way very easily. My hope is to help you, not critisize you. You need to be training your voice. Not doing so is holding back a lot of your potential. I highly recommend starting with The Four Pillars of Singing and seeking a vocal coach with student success in the style you're going for. Not success as in career success necessarily, but in learning to sing that style well - contenporary rather than classical. There's only so much I can address in text without you having a coach or doing a lesson with me, Robert, or other coaches here. The first thing I hear is your placement is lending itself to more speech vowels than singing vowels. There are a couple of ways to get you started toward proper placement of singing vowels. Start by making a soft "K" sound while breathing in. That spot your tongue hits the roof of your mouth is where you want to point your vowels, letting the soft palate do most of the work for you. Higher notes will feel like they go deeper into the soft palate as well, and if it makes sense in text, you want to allow your vowels to shade back from that soft "K" spot, adding deeper vowels in the soft palate along with the deeper note (deeper in the soft palate, but higher in pitch). Besides willing them into the soft "K" spot, you can also bare your teeth, or smile. This helps naturally lift the voice. Additionally, when first starting to do this "lift" of the voice resonance and vowels, it may help to place a finger on your lower lip and try to make your voice go up and over it. This is called "over the pencil", as it's modified from putting a pencil between your teeth and sing up and over it with only vowels. Your TA (chest voice musculature) strength and breath support are a bit weak, which is a HUGE area holding back your voice. GRanted, without proper placement, trying to add these in will only get you yelling, rather than singing with more power. There are ways to strengthen these but it would likely take a lesson to really show you how, since you need get a proper feeling for the basics befroe we can truly help with adjustments. One thing you can do right now is bridging and connecting. This will help you gain better control over the musculature, placement, and movement of the voice. It's arguably the most important thing to learn for singing besides pitch. I talk mroe about that in the video below. To predicate my videos, I truly only put these out there to help people get a feel for proper sensations of the voice. There are things to do from there that make it even easier. For instance, instead of opening the jaw wide to help TA engagement, this is better for a more controlled vowel: raise the embouchure (lift and bite), narrow vertically, and push the tongue slightly forward into the bottom teeth (which gives extra support to the TA muscles). OPening the jaw may help you learn to turn on the TA muscles and sing higher notes, but narrowing is what allows you control from there.