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Found 49 results

  1. Was doing some reading today and ran across a blog by a student of Berton Coffin (original blog post) https://lloydwhanson.com/formants-made-easy/placement-versus-formant-tuning-using-vowel-mirror/ 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
  2. Resonate assistance

    Hey all. Just curious if any research has been done on methods to assist resonation that would then increase nonassisted vocal range? More specifically mechanically. For example, if i place a headset on my throat will my vocal corda ability to vibrate change? Or if i practiced with helium would the workout change my ability to sing higher without helium?
  3. Hey guys. Any suggestions on how to clean up my chest and head? It feels and sounds like extra thick vibrations toned in with my notes. Almost like i have half my chords workibg and the rest kinda just adding flapping flavour. I can hit clean chest/head notes but usually just when hitting notes/chords. Not when singing songs. My falsetto is clean though and has none of this extra beef. Thanks. Rich.
  4. Sorry about word timing... Still not sure how to swing the beats on this old song ... to make it more lively ... need to sing it for a wedding! Any suggestions for improvement would be so great, i.e. mixed voice, head voice, & chest voice form a coherent one voice? Love & peace
  5. Hello, I have been learning the various voice registers & applying to this song. Any suggestions on where to improve would be greatly appreciated, i.e. Do it sounds like one voice? or not yet? Love & peace
  6. Something I have been thinking on lately. I really see good basic, supported, open throat singing as the real basis for good rock singing. I see a guy like Paul Rodgers being almost the ideal base model. Learn that base and THEN add on or go into other directions such as Plant/Cornell As far as actual difficulty or skill level of various classic rock/metal singers, I see it sort of as follows starting from "easiest" to hardest: (of course, ALL of these guys are great and all of it is hard to get close to!) Paul Rogers-----> Robert Plant, Chris Cornell, Rob Halford, Geoff Tate-----> Bruce Dickinson, Dio My reasoning: Paul Rogers has a great tone and in general he "just sings". He doesnt go out of his way to do anything fancy or overly impressive, yet he does sing with a nice tone through a decent range Plant, Cornell, Halford, Tate. These guys are more varied and may generally have a higher tessitura etc, but some of it isnt THAT hard to sing because it gets into a released type of headvoice sound. Some if it can be emulated without a ton of physical effort Dickinson/Dio. Okay, these guys can be ridiculously hard to emulate. IMO you have to actually have the strength built to sing like these guys. ESPECIALLY Dio. This is like bench pressing 315 lbs. Reading a book or finding a "trick" wont get you to bench 315. You have to put in the time and work up to it ITS HARD TO FIND DECENT COVERS OF DIO, EVEN FROM OTHER PROS!!! That says a lot Some of Dios songs are in a higher range than what u might think....yet he still has that beefiness and somewhat "round" tone. You can tell there is a lot of support. Yet when u see him on live clips it doesnt seem that hard for him. Of course by the time any of us heard of him he was at least up into his 30s with a lot of mileage under his belt so he had that technique and strength down solid So that leads me to this video where the guy shows 2 approaches to singing "Rainbow in the Dark" To my ears, the first version is way closer to Dio. The 2nd version isnt that close So this is the hard part. Can one get that sound WITHOUT the really strong supported style?? Like the guy in the vid said, he was exhausted by the time he got to the 2nd verse etc. Is it then just a matter of one having to build that strength over time?? Here are a couple of covers by guys that do GREAT covers....but they dont get that close to Dio IMO. to my ear, both of these are a little "lighter" than Dio. So therein lies the dilemma. How to get that powerful compressed sound yet stay sort of "round" yet also still be light enough to sing into decent higher range?? Even good old Ken, who promotes strongly supported singing etc....sounds rather strained while attempting the Dio stuff. Doesnt really sound like Dio at all and this guy. Great singer, huge range etc. 2.4 million subs. Doesnt sound anything like Dio though Felipe gets pretty close, which is impressive since he has to fight his natural accent and sing a second language etc. Felipe's tone is pretty warm generally too AFAIK Jorn is about as close as ive heard and even then there are some slight differences. Jorn seems a tiny bit scratchier whereas Dio could be really clean while still sounding huge So was Dio just a mutant or did he just build great strength and control over time? here he is live. assuming this vocal is indeed live lol Im seeing him using decent support and lots of resonance. In other words it seems as if he is pushing a lot of air up with a generally open throat....letting that air find good resonance up in the head etc, as opposed to physically trying to squeeze with the throat. of course I may be totally wrong lol His speaking voice already had that sort of warm round tone to it so maybe he just got lucky and learned to sing with power with his natural round tone Anyone have any ideas or want to discuss?? Peace, JJ
  7. Wind Beneath My Wings

    https://www.smule.com/recording/bette-midler-wind-beneath-my-wings/1088277799_1483226920 This is a warts and all presentation of my singing. I tried a different intro to Bette Midler. Be interested to know whether you guys think that is works. I was going to re-record correcting any vocal errors but i feel to get the best from a review I need to show where I'm actually going wrong as well as the well-executed parts currently I have quite a poorly chest. Any thoughts on speeding recovery? Thanks guys.
  8. Control Master

    I had mentioned this singer "Chris Stapleton" in another thread. Thought I'd share this video/song he recently published. I was really struck by the numerous examples of solid vocal athleticism that arise in this performance. I try not to overanalyze every good vocal too often, cuz sometimes I loose the "soul" of the song in my ear from all of the deconstruction I use to understand the vocal. Couldn't resist on this one. Still "hearing the soul" to date. I've tagged all the key words that I believe I recognize "done well" in this composition. Personally, I'm most impressed with his mastery over what I would assume are the critical configurations which bring great resonance with comparatively low level respiration. I'm convinced that, with the best possible formant, combined with the strength support of skilled appoggio, the "illusion" of a belt is created. He is singing at a relatively low volume yet, the intensity of his voice is sustained. The same nuance is applied to his vocal distortion, which he employs mostly in the higher notes. Those are my impressions.
  9. Dear all, It has been a while that I have visited this forum. I have been very busy with my studies—having completed my BA in Musicology and currently finalising my MA in Applied Musicology. I did keep on working on my singing, however. Yesterday, “The Music of the Night,” a song that I auditioned with at the Conservatory of Rotterdam over a decade ago and that I had used for my singing lessons with many different teachers, was one I had never actually performed—until now! Indeed, there appears to be balancing issues with volume between me and the piano. On the other hand, I asked several attendees whether they felt there were problems with it, but they all did not notice them live. While I do think we could work on balancing our instruments, I believe the recording is augmenting the issue quite a bit. I am really satisfied with the performance—especially my acting abilities, intonation, enunciation, and stage presence. I could be more confident with the fermata notes just doing them as long as I want, rather than thinking I might do them too long (I think the “soul”-note [2:32] is great, the “be”-note [3:44] is just about right, the ”night”-note [5:20] is executed pretty well, but could easily be five seconds longer). I could also definitely stabilise and pronounce my “ring” more. Manolito Mystiq
  10. It has been a while since I have presented anything. I still have not found time for true practice but I have improved since receiving the FOUR PILLARS OF SINGING. Any tips would be appreciated. Thanks
  11. Wade In The Water (Smule)

    https://www.smule.com/recording/eva-cassidy-wade-in-the-water/830708093_1214803719
  12. Hi Folks, I came across this video on youtube that advocates a support based singing technique(based on what I understood) that can eliminate vowel modification. Can folks please weigh in on how this works? Is it possible for a tenor to sing upto B4 using this technique and get a dark colored sound without vowel modification? Can someone tell me what is the physical sensation that best in your mind describes, "leaning into the sound". Thank you..
  13. Hey guys I'm just learning how to sing. I noticed that you can sing the same note but you can sing it with a different tone. What is this called? Listen to the recording I have below and you'll get a better idea of what I'm talking about. Idk what the "technical" term is for what I'm doing but I'm curious what it is. Also which tone is the "correct" technique? The louder one feels like I'm "pushing" the note and it projects better/sounds louder. However it adds these "buzzy" overtones to the sound. I'm not sure if that's good or bad. The harmonics that it adds are around 3k-6k. It also feels like the note is resonating higher up in my throat. The other one is a softer tone that comes off much more like a sine wave and feels a bit more natural. However it lacks that punch/clarity in the 3k-6k range. It also feels like it's resonating lower in my throat than the other tone. https://clyp.it/4dauhb35 EDIT: I also noticed that some notes it's harder for me to "vary" the intensity of the notes. Listen to this recording and you'll understand what I'm talking about. What would you call this? https://clyp.it/cwaidpfi
  14. I have a consistent issue that I definitely need to figure out how to fix... My voice isn't that loud to begin with, but the tone of my voice seems to be in a place where it just disappears into ambient noise. It doesn't carry over it like most other people's voices do. When I am in a loud environment (even just a place like a bar or restaurant with a lot of ambient noise), my voice does not carry at all and I find myself trying to speak louder to compensate. Which, obviously, is not healthy. The bigger problem comes in when I'm trying to SING. Without monitors it's just bad. Even WITH monitors, if the vocals aren't turned up pretty loudly in it, I don't sing as well. I unconsciously try to sing louder (because I can't hear myself well enough) which results in a not-ideal vocal sound, my range disappears, and I end up being a bit pitchy as well. In the moment, I don't particularly feel like I'm tense or straining in any way, although I am very much aware that I can't hit half the notes I usually can and I am aware that I don't sound quite normal. When I listen back, it clearly sounds like I'm trying to be louder, not quite like I'm yelling but in that direction. What is the core issue here, and how might I go about fixing it? I need to be able to hear myself better, and of course having a better monitor setup will help. But I really need to be able to hear my voice over simple ambient noise so that even in a less-than-ideal monitor setup, I can still sing well. And I have no idea what the true problem is that's causing all of this. Help!
  15. what is the most easiest ways to develop mixed voice..and and what do i do to get resonance,neutral larynx and breath support?..my vocal range atm is a2-g#4..and head voice goes up to f5 i strain at e4 and i carry chest up to g#4...i know its a bad technique..and im thinking of getting a coach in the future..but i want to start now
  16. Yo! All my fellow singing geeks! I came across the article I've linked here (below video). I thought it is was very well written (a quick read), and includes a couple comments by Justin Stoney (coach most of us probably know from Youtube). I have read & posted in our "techniques" forum regarding so called "Natural Singers," percentages of the population who are or are not, training, and etc. Hope this helps lend some clarity to the matter(s). article - Singing Tips: Have A Certain Skull Shape, And Other Science Behind Carrying A Tune http://www.medicaldaily.com/singing-tips-have-certain-skull-shape-and-other-science-behind-carrying-tune-308372
  17. Im not much of a fan of theater songs, but this one has a very beautiful melody line and points that call for a bit more of punch (and that I can just let go and sing all out) very fun study! https://app.box.com/s/0l8idxrzlyh9kb3q09igptoz5ztbglot Let me know how it sounds peeps
  18. Really would like to get some helpful criticism on my first song I have on the radio in order to improve my vocal performance. The song is "Love Like You" I'm currently playing 6-7 shows a week and would love advice on how to keep consistent and just improve my overall performance. I'm on SoundCloud: https://soundcloud.com/dylanbriscall All the songs on Early Mornings, Late Nights, and Long Roads were written and composed by me and were produced by Joel Kazmi--who’s worked with artists like The Tea Party, Rush, N’sync, Sum 41, and Anne Murray. If you don't want to listen that is absolutely cool and if you can recommend some new music or mention any great shows you've seen lately, that would be great. Cheers!
  19. Concentrate on the Right Things

    Lately I have been lurking on the forums more than answering questions. I am finding that a lot of the questions that are being asked can be answered very simply but are being answered very wordy and creating confusion. I want to say that maybe I was lucky to study with who I studied and study with and also how I made my career singing for a living. It wasn't easy but I put a lot of work into my voice many many years 20 + and many years on the road away from an apt whether it be in NYC, CA, ATL,CHICAGO, CT.. I blew out my voice many times and studied with whomever I could never once did any of my teachers worth anything bring up terms like Twang,compression, hold or hold back your breath, embouchure,dampening, sphincters of any kind;), this anchor that anchor,chewbaca sounds, guinea pigs,curbing,overdrive etc etc etc.. Of course when I started teaching 7 years ago(after mastering technique In other words sing anything I want and diagnose problems quickly) I started seeing all these terms and had to know what they meant to keep up with the young guns term wise. So what I am trying to say is if you want to be a great singer you only need to concern yourself with a FEW principles/exercises Practiced Perfectly. Ask yourself these questions and listen to yourself closely when you practice. Does the vowel I am singing sound like the vowel i want? Is my voice ringing and buzzy? As I sing higher in my range do I stay consistent? Does my teacher demonstrate exactly what his "method" says it does? Hope this helps and doesn't sound like I'm looking down on the new terms. But TRUTH be told I got my technique down from perfect practice,vowels sound like vowels,and keep the buzzy ringy sound constant. hard hard work no b.s. years not months at least 15 years of perfect practice…Anyone of my musician friends/band mates would tell you the same.. Hope this helps.. Daniel
  20. Hey everyone! My name is David and I'm from a small town in the Yukon, Canada. The town I'm in is about 400 people and doesn't have much of a musical scene so I thought I'd check out this site :). So ever since 2014 I've been getting mentored by a songwriting/production group in the music industry. They've worked with everyone from Maroon 5 to Fifth Harmony (most recently). It all happened after I reached out to them with my lyrics. They immediately took me on and in these two years I've worked on honing in my lyrical and melodic abilities and even taught myself how to play the guitar (within this last year). The last part of this puzzle is singing. I've always felt this fire deep in me ever since I was young. But I was too scared to try out singing in front of teachers until recently. So within the last 2 months I've gone to about 3 or 4 online singing lessons, which I've been feeling pretty great about. I made a promise to myself that before I email these guys something new, it'll be when I can sing decently enough to intrigue them. I know I have it in me. Aside from this introduction (I hope I'm posting in the right place). I'd love to get some feedback and tips and even more than that after I share some videos here. I see that this community has some vocal coaches, so it would be awesome to hear from everyone. Singers and teachers alike!
  21. Speaking voices

    We always talk about singing vocal techniques but what about speaking vocal techniques. Particularly I'm intrigued by Mike Breen's voice, the way he announces games. His voice has such good texture and consistent timbre. He obviously uses alot of emotion when he announces but it seems effortless, his volume and intensity increases when he announces crucial moments but if I was to try to do something like this I would inevitably cause vocal strain. Even when he's just describing players characteristics or aspects of the game it still has a tone that seems for lack of better words captivating and intense. Mike Breen speaks with good resonance so resonance in speaking must be important to establishing an attractive and appealing voice and perhaps also will help in better understanding the singing voice. Seriously listen to this guy.
  22. Felipe Carvalho - Perfect Strangers

    https://app.box.com/s/56vd5j1yrwasn3gv6unt1wrjkjc88d4f Deep Purple Cover
  23. Someday - Mariah Carey

    For a few months now I've been trying to get accustomed to vocalizing and controlling pitch in whistle register, and at this point I can say, although the amount of time I can access it in a day seems limited, it's requiring less mental effort and becoming more intuitive to use this part of my voice. Using it in songs is another story, but for the songs I've worked on with them included, the whistle sections are among the first things I record since I find towards the end of a session it becomes impossible to utilize. By working with these songs with whistle phrases it's a way of challenging myself stamina-wise and forces me to try to recognize when to rest. The goal ultimately is to be able to have the freedom to use it whenever though, I guess as it develops. The whistle in this song is part of a longer phrase and towards the very end, contains a trill/run sort of ending and is part of a transition from chest to whistle on the same note two octaves apart which probably made it easier. Did all of the background vocals on this also. Any and all feedback welcome. https://app.box.com/s/gyy466kqtc0g4gruinhex8k0favyih11
  24. Just Onsets!

    I'm starting to realize after breath support onsets have got to be the most important thing in singing, I realized while singing at work the other day(singing the opening to LA devotee by Panic!, in a deep sinatra style) that I could sing those lines in a deep timbre, which correct me if I'm wrong is a thick fold variation on those notes, but I would start to run out of breath and have to start singing more thin to finish the line. Then I thought well what if I started thin and went thick, the difference was my thin initiation took less breath and it was easier to sustain. So after playing around with different onsets it was apparent that the onset if done properly led to a beautiful balance of head and chest resonances while maintaining the air supply. So my question to yous guise is what is the best way to approach an onset so that you retain the most air possible and how does it differ when onsets are initiated with consonants versus vowels and vice versa?
  25. Hi all, I don't think I have much of a problem transitioning through my first bridge; I can ascend without a noticeable break. However, about half the time, I feel like I am not "connecting" like I am other times. In other words, the notes sound breathy or airy and not "tight" or "connected." The other half of the time, I feel like I am singing with what I imagine as a narrow stream of focused sound. Sometimes, it takes me a few minutes of warming up to "connect" like this, and when it happens, it comes on like a light switch i.e. there is no gradual transition. Does anyone know what is happening physiologically, or what exercises I could do to always be able to sing in this "connected" fashion? When I am able to connect like this, I don't feel like I'm squeezing anything together, so I am sort of perplexed as to what is going on. Finally, when I sing higher, I feel like this connection starts to fall apart, and the notes become more airy. There is no strain, it just feels as though the connection I have as I sing through the middle of my range starts to disappear as I ascend in pitch. Are there any exercises that I should be doing to be able to stay connected as I ascend through my range? Thanks in advance!