Draven Grey

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Draven Grey last won the day on May 10

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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. I've never heard this song so light. Very cool! Watch your diphthongs in your accent. If you focus more on the main vowel to sing out, then pitch, accent, and timbre will lock in more often. Another thing to watch out for is anticipating the next note or over-relaxing at the ends of your phrases, both causing the note to fall. Again, that will start to go away when you focus on singing out your main vowels. What Robert mentioned, singing with a bit more weight, might also help stabilize the issues I mentioned.
  2. Have fun. We tried to help. Let me know when you're serious about getting feedback.
  3. I agree 100% with Robert. To be straight: You're yelling, not singing, especially on the verses. It doesn't have to be loud to be yelling. Yelling is a vocal configuration/mode. Sometimes you sing out some notes here and there, but it's very inconsistent in placement, timbre, support, and pitch. What's your goal in singing? Are you just doing this for fun and to sing at Karaoke bars? Or do you want to be taken seriously and sound professional? If it's the latter, then you need a coach and training routine. Hell, if it's the former, you would still benefit highly from training. You can't simply will yourself into being a good singer. If you think you're good now, start taking feedback seriously (from the audience, your friends, coaches like us, peers, etc), and see what others think. As a performer, it ultimately doesn't matter what you think about yourself, but rather what your audience thinks about you. You can become a MUCH better singer than you are now, but it likely won't happen until you listen to others' feedback and start correctly training proven techniques.
  4. I watched it several times this week and have yet to find anything to critique or help with. This is amazing! The only thing I oculd offer constructive criticism on is your performance. I coached bands (signed and unsigned) across the world in their performance and career for many years. You lose yourself in the music quite often, which is absolutely perfect. When you lose yourself, you give the audience permission to do the same. Work on your actions following the lyrics rather than anticipating them. For instance, before you sang "It's the only thing that's in my mind", you pointed to your head and had already lowered your hand by the time you sang the line. The emotional impact from the visual can greatly enhance the performance when in sync. This can also be expressed by letting your entire body flow with the music. HOWEVER, I still felt the song, it didn't take away from it at all.
  5. I wish it was that easy. Some people do seem gifted, and excel even more with training. Most of us have to train in the hopes of sounding gifted. I've been singing professionally since I was 15, and don't think I even sang fully in key for several years. I don't think I truly had a good singing voice until I was well into my 30's and started to take training seriously. Everything before that I'm guessing was good song-writing, passion, and pure determination. I can't even listen to the stuff I sang 10 years ago without cringing.
  6. It's not terrible, it's not good, but that doesn't matter. Anyone can learn to sing. You need to decide if you want to because you want to, not based upon how you currently sound. Get a pitch training app to get you started. A big part of the problem though is that you're not actually singing, but rather trying to use speech vowels with pitch. Like I Said before, anyone can learn to sing. Do you want to? If you base your decision on whether or not you sound good before even learning how to do it, then you're going to have a very frustrating pursuit of anything.
  7. 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.
  8. 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:
  9. 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.
  10. 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.
  11. Can you pick one song for us to review your voice on? Most of us, if not all of the coaches here, don't have time to go through 5 songs. I was going to try, but had to keep pushinng it back in my schedule.
  12. 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.
  13. 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.
  14. 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.
  15. 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.