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Found 39 results

  1. 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..
  2. 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
  3. 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
  4. 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!
  5. 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
  6. Hey new to the forum here. I am a developing singer(male baritone) and I have noticed how much a stuffy or half-stuffy/runny nose can impact my range. It is nearly impossible for me to get into my mask/nasal resonance when my nostrils are somewhat swollen due to cold weather. My chest voice would sound almost normal, but as I start to place the air into my nasal region, that stuffiness somewhat pushes the air back down, making me push more air through the chest, thus making it very easy to have unpredictable breaks in the voice as opposed to a day when my nose is clear. Ive had this almost all my life and it actually made me talk more out of my mouth with strain during normal conversation. I was wondering if anyone here had procedures done to reduce the size of the turbinates in your nose(removing parts of the membrane or bone) so the passageway is much wider at all times, or if there is another permanant solution? And if anyone had this surgery, how much did it change your singing voice? Thanks!
  7. 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
  8. 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
  9. 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!
  10. 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.
  11. https://app.box.com/s/56vd5j1yrwasn3gv6unt1wrjkjc88d4f Deep Purple Cover
  12. 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!
  13. Hey everyone, I'm a newcomer to the forums so I'd greatly appreciate your help and insights! I started singing a year ago. My university offers voice class for non music majors so this semester I enrolled and that has been going well. My favorite genres are opera, prog metal, 70s rock, and legit style musical theater. I'm not into the whole voice type thing because voices seem to lie more on a continuous spectrum than the traditional discrete categories (soprano, mezzo, etc.). But when I listen to Dream Theater, it seems that James LaBrie's comfort zone and where he sounds best is higher than most guys. I don't even like the terms chest voice and head voice because there's really only one voice but in terms of describing a sound, I would say JLB uses a chest-dominant sound all the way up to the D5. For me personally, there is a resonance transition around C4 and another one near F#4. After F#4 I have a very head-dominant tone. But what if you're going for the James LaBrie sound? I like the way he sings the upper notes--very stable larynx, doesn't sound shrill. Now I'm not a fan of everything he does, like excessive vowel modification and muddied articulation but overall I think there's a lot I could learn from the way he sings open and free. So my questions are, what are your observations on James LaBrie's techniques? If you've sung Dream Theater, what were your strategies for tackling those songs? I'm interested in hearing particularly from those who aren't as high-pitched as JLB. And how do you sustain being in the upper 4th octave? He's consistently in the G4-D5 range and sings B4 for days!
  14. Unfortunately not too many people are familiar Steve Walsh, probably because Kansas songs aren't as well known. So I wanted to start a thread to analyze his vocals. This was the song that started it all. Had to imagine that I might have never known about Steve Walsh if a classmate hadn't decided to play it. This was the first time I heard the song and that was in the post 2000s era! I didn't know anything about vocal technique back then but actually it was the lead singer's voice that captivated my attention instead of the iconic guitar riff. Below are the moments that stuck out to me the most the very first time I heard this song: 3:49 - 3:53 "Nothing equals the splendor" Very strong EE and on a C5 too! Still don't know how he does that. 3:46 - 4:00 "Surely heaven waits for you" This time an excellent OO from "you" on a B4. Pretty remarkable that it's a closed vowel at that high of an intensity! 4:13 - 4:21 "No mooooreee!" Another high intensity moment on a B4; this has got to require good breath management and efficiency Alright, here's one more: 6:48 - 7:28 OK this is pretty incredible. More than half a minute of beastly endurance! Vowels sound like OH-AH-UH to me, but I might be completely wrong.
  15. 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
  16. 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!
  17. 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?
  18. hey guys, in your opinion what is the most important part of vocal technique in one word? I know this is not an easy question as many people here love the complexity of singing but I am not one of them. you can choose any word such as "breathing, crying, practicing" etc. no explanation is necessary (though would be preferred). I choose resonance - because only if we can feel the sound can we manipulate the sound. If something feels good or bad, we have to figure out internally what to change.
  19. Hi, I am a sixteen year-old classical singer aspiring to study opera. I have a "serious" (I don't really know what qualifies as serious) vibrato problem, and I would really appreciate any advice! I have a wonderful teacher, a former professional opera singer, but she is a bit too nice and hesitates to criticize me, even when I can hear my vibrato issue clearly in recordings of my singing. I'll tell you about my voice, if that info would be helpful. I'm a soprano, range Eb3 to G#6. My voice is extremely loud and very resonant (though sometimes the resonance is a bit nasal in my low range). If I had a fach, it would most likely be lyric, as the quality is very bright, but also has a thick and almost heavy (but not certainly dark) quality to it. I have pretty good coloratura abilities, but nothing very special. When I was younger, my voice was very breathy and mostly straight-toned, with a fluttery vibrato at the end of each note. When I developed a consistent vibrato, however, it ended up being very slow. It is usually quite (but not horribly) wide as well. I've been told that it will get better as my voice develops and I get older, as I'm only sixteen, but I'm worried this will prevent me from getting training opportunities now and getting into a college vocal program. Also, please tell me if it's true that this will get better!! Here are some things about my vibrato that may help you identify the issue: It is much better in fast songs than slow songs. It improves if I take a slow song at a faster tempo. It is the slowest in the bottom of my head voice (F4-B4) and the particular notes D5, G5, and B5. It's pretty funny, really. E5, A5, and C6 spin much faster. I am an athlete and have very good abdominal muscle tone. I am not at all heavy (I run track) but I do have a pretty curvy figure. That's not important, I think, but TBH I'll include anything I think might help with the advice! I usually can't tell when my vibrato is slow until I listen to it later. I can sing very long phrases and generally have good breath control I have a GI disorder which sometimes gives me severe abdominal bloating. If I try to sing with this bloating, the vibrato is slower than ever. Hopefully I will find a medication or diet that works. Please please please any advice! I love singing, and other than my vibrato, my voice has good assets. I'd so appreciate anything. Thank you
  20. Hey Rob ! Howzitgoin' ? I'm practicing ( not as much as I would want : Work + daughter and stuff ...) During our lesson, we was reaching an E4 and then came the time to do vowel modifications We went obviously from Eh to a Ah or Uh and you said : Ah is your Trebble knob, Uh is your Bass Knob and said that formants are this : Multiple sound colours at the same time Is that to say that we can have simultaneously Eh+AH+Uh vowels blended together ? or is it just EH+AH or EH+ Uh Simply put : Can we have more than 2 vowels blended together ? If yes, how many of them then ? Question might sound silly, but I was wondering Let me know Thanx
  21. Three and half years ago I decided I wanted to have a deeper voice. I did some research and found an article that suggested saying your ABC's in a deeper voice everyday until your voice became that pitch. THIS WAS A HUGE MISTAKE. It has massively hurt my communication skills and left me sounding very unnatural and unpleasant . After years of trying to correct it by speaking my way back to my naturally voice, going through phases of pain and scratchiness, I think it's as good as it can be without some help from people who know what their doing. I'm coming to this great community for advice on how to get back to my original voice and get on sounding the way I was meant to sound! Sincerely- RecoveringFromTheDeep
  22. Well...Hi Im Jack, Im from Chile, first of all really sorry for my poor english but ok, here we go. Im very confused about my vocal range because I hear that the baritone have a extension of their range aprox. (B2-E4) and the tenor (C3-C5). Well my lowest note is a G#2 and is really very difficult to do, it is more comfortable for me a A2 and my higuest note with my chest voice it is a G4 or F#4, it's depends, some times with a little effor I can sing a A4 with the mixed voice i guess, im not sure it's head voice it all or a mixed voice, I think it's a mixed voice cuz a feel my chest vibrates and it's not so shrill. Finally my Highest note i can sing with my head voice it is a G5 or F#5 and with falsetto some times a D6 but sounds very noisy and ugly. My question is my range vocal only realizes between my chest voice or also it's taken into account my head voice? Oh I forget to say you I love Jeff Buckley and Alex Turner voices. Sorry for my english, sorry for the lenght of the question. Lov U bye Pd: Qualify my english pls