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Found 47 results

  1. You can NOT become a better singer by only experiencing the pleasure of training and singing. Nothing in all the world is more dangerous than sincere ignorance and conscientious stupidity. Martin Luther King, Jr. To belittle knowledge and the way things work, is a popular tactic that is occasionally seen by some people in the singing industry. It is interesting to note that people who make the "less knowledge and understanding is not very important to learning how to sing", argument all suspiciously have one thing in common. They don't have a product to sell and/or if they do, the offering lacks depth. They don't choose to explain how and why the singing voice does what it does. You will never see CVI, EVTS, TVS or programs that offer some scientific insights publish a video or forum post that makes the claim, "... you don't have to know all that complex stuff, just let your inner feelings carry you through. That's all you need. It should never be hard, it should always be easy. You can just will it to happen. Don't bother learning any of the science of singing"... The world's best training programs will never say that. There are two things that motivate people. Pain and pleasure. Some people like to be given permission to avoid all the pain from voice training and learning how to sing. Promise them that they can learn to sing better without any "pain", ( practice, commitment, doing the same thing over and over again, reading a book, paying attention to a lesson, understanding a methodology, understanding how vowels work, etc... ), and they happily get on board. They don't want any "pain" associated with training or learning how to sing better. They only want instant gratification and pleasure. By no means is everyone like this. However, for those that do respond to that message, there will always be someone there to "sell" it to them. View full articles
  2. First of all, just thought it would be nice to point out that i sent this question to Rob by email. And he sent me here, so that he could answer it in public and everyone could benefit. What a nice guy Rob is. Been learning a lot from his program, still studying and working on all the stuff, registered not long ago. It's quite a lot of content to fully diggest and grasp!. And most of all, actually apply!. Which is awesome of course, haven't had a course as detailed/comprehensive as this one. Not even close. Before i bought it i was actually wondering why many people called it "comprehensive", now it makes total sense. And the time i spent wondering on if i should get it, could have been spent further studying and applying the techniques. So i encourage others to start ASAP. On to the question, might be a rather simple question, that i probably know the answer too but just am not concious enough to apply it, it can be easy to forget. So of course asking will save me the doubts. And hopefully others as well. This quote from the program/book "Engaging the respiratory system sufficiently to optimize your phonations as a singer is not intuitive for the body. Even after 30 years of singing, training and teaching around the world, i still, to this day, have to be very conscientious of engaging my respiratory support when i train and sing. If i do not, just like everyone else, i start sounding like a duck (and get tired from all the squeezing)." So basically what i took from this was, concious support is mandatory, both in training and singing. Basically you should ALWAYS engage some sort of support. Both in training and singing?. Now i didn't include this part in the email but i want too add a question, how "key" is this?. I think a lot of students these days need a lot of "value guidance" in order to fully recognize what they should be working on. It seems self explanatory, but on a scale of 1/5 - i'd like to know where this stands specifically in your program. Just for perspective. Which btw reminds me of a feature i really liked in the program, in which Rob basically does what i just said. He outlines the most "key" lessons to work on of every section/module. And of course each one also has long detailed descriptions/ illustrations / examples / and my favorite - benefits and troubleshooting. He clearly put A LOT of effort into this. Very thoughtful effort, might i add. Since a lot of programs out there don't go into such detail. Anyways, That's the question. (With some extra rambling included). Heck in a sense that's a mini review. Although i could say a lot more. Rob deserves the praise. Also thanks Rob for encouraging me to get registered, there is clearly a lot of value in this forum i was missing on.
  3. You can NOT become a better singer by only experiencing the pleasure of training and singing. Nothing in all the world is more dangerous than sincere ignorance and conscientious stupidity. Martin Luther King, Jr. To belittle knowledge and the way things work, is a popular tactic that is occasionally seen by some people in the singing industry. It is interesting to note that people who make the "less knowledge and understanding is not very important to learning how to sing", argument all suspiciously have one thing in common. They don't have a product to sell and/or if they do, the offering lacks depth. They don't choose to explain how and why the singing voice does what it does. You will never see CVI, EVTS, TVS or programs that offer some scientific insights publish a video or forum post that makes the claim, "... you don't have to know all that complex stuff, just let your inner feelings carry you through. That's all you need. It should never be hard, it should always be easy. You can just will it to happen. Don't bother learning any of the science of singing"... The world's best training programs will never say that. There are two things that motivate people. Pain and pleasure. Some people like to be given permission to avoid all the pain from voice training and learning how to sing. Promise them that they can learn to sing better without any "pain", ( practice, commitment, doing the same thing over and over again, reading a book, paying attention to a lesson, understanding a methodology, understanding how vowels work, etc... ), and they happily get on board. They don't want any "pain" associated with training or learning how to sing better. They only want instant gratification and pleasure. By no means is everyone like this. However, for those that do respond to that message, there will always be someone there to "sell" it to them.
  4. MAESTRO DAVID KYLE THE WINDOW OF FAME Vocal teacher for all styles for over 50 years, David Kyle, The “Maestro” became a local Seattle icon and was considered by the industry to be one of the best vocal instructors for contemporary singers in the world. Unique to the “Maestro’s” approach was his method for expanding vocal range into multiple “registers”, or what we would refer to today at TVS as, "Bridging & Connecting". Maestro was also keen on eliminating psychological barriers that hinder singers’ freedom of expression, by use of creative visualization techniques and development of healthy auditory imagery for singing. Use of amplification and embracing technology was also an important part of the “David Kyle” training experience that carries over to TVS training with Robert Lunte as well. In addition to these details, Robert Lunte's vocal training program, The Four Pillars of Singing, found at this web site, offers 10 of Maestro Kyle's vocal workouts. Another 22 original vocal workouts developed by Robert Lunte are added to The Four Pillars of Singing training program with slow and fast versions of every workout to accommodate different student's levels of experience. All together, The Four Pillars of Singing offers a total of 32 vocal workouts with 64 different options to explore and train your voice. One day, Nate Burch, one of Robert Lunte's students from Seattle, came to the lesson with an old coffee stained piece of paper that had a hand written, transcribed lecture from Maestro Kyle on it. An excerpt from that lecture is shared below as well as popular quotes that Maestro Kyle used to use with all his students. The complete lecture is provided inside The Four Pillars of Singing Hard Copy Book and training system as part of the tribute to Maestro Kyle that Robert Lunte added to The Four Pillars of Singing. Maestro David Kyle & Robert Lunte - The Vocalist Studio MAESTRO DAVID P. KYLE LECTURE: Those sounds which seem to ring the most are usually the best. Those which seem the roundest are usually the best. Those which seem to resonate are usually the best. Those which seem to echo are usually the best. So listen out into the theater and see if they are echoing, and if they are round, and they are resonant. Connect your notes and don’t be afraid. There are two kinds of stars. There are “stars” and there are “superstars.” The star no matter how he tries he just can’t seem to become a superstar. He’s great, great, great, great, but along comes a Caruso, or a Lanza, or a Gigli, and he can’t quite get over the hurdle. It’s because of one simple thing. The star sings, and when he’s singing he listens to himself; and while he’s listening he shapes it; and he opinionates it; and he shapes it around. If it isn’t round enough he rounds it more. And that sounds logical doesn’t it? It’s wrong! The superstar pictures the sound and knows what he wants to hear before he makes it! Singing is more the concept than anything. If we’ve got the right idea, then the muscles as they train more and more they become like a reflex and the reflexes respond to the image. Even if you’re trained beautifully and your image is a fear that you haven’t got high notes and it’ll never get there the reflexes won’t respond no matter how well trained you are. The epitome of it is you can say singing is absolutely mental. In the process of getting to realize that you have to take a lot of physical steps before you begin to see it, but it is true! The singer has to be in the consciousness and the mood. How does one establish a consciousness and a mood? You tend to become as you act. So if you pretend and try to get your feelings to act as you think they would act if you were doing it, then you’re getting in the consciousness. But if our consciousness is only on body and physical things then our mind is... The rest of the lecture offers another 5 pages of incredible insights about how the mind controls the singing voice. Read the entire lecture in The Four Pillars of Singing hard copy book, eBook & course work at this web site. Maestro David Kyle - The Vocalist Studio The Four Pillars of Singing With 12 of the Key Vocal Workouts Maestro David Kyle taught! Maestro David Kyle Quotes “Good singers sing and listen, Great singers listen, then sing” “Good speech is half sung, but good singing is not half spoken.” “Wear the world like a loose garment. Don’t let it tighten in on you.” “Suppose you were learning to drive a car. Would it be better to learn on a road with no obstructions?” “Every negation is a blessing in disguise.” “The art of the art is the art that conceals the art.” “He who would know aught of art must first learn and then take his ease.” “When you open up you should be able to see light from both ends.” “Feel like you are singing with your whole body.” “Your reflexes respond to your image.” “The reflexes respond to the imagination.” “Listen away from yourself.” “Sing on the balls of your feet, like the American Indian.” “Burn Bridges and don’t look back.” “Listen away from yourself, right out into the auditorium.” “Singing is both a science and an art. All art is all imagination and you cannot fix that.” “You have to believe you will receive before you receive and then you will get it.” “Visualize you are already what you want to be. Act as if you are that, and you will become it.” “If you always notice what you are while trying to get there, you’ll never get there.” “Start as if the sound begins before the breath.” “The end is in the beginning, and the beginning is in the end.” “It’s not a game I’m playing! If you think that you’re short changing yourself.” “People don’t get tired of their work; they get tired of the resistance to their work.” “Forever diet the voice. Diet the voice; diet the mind; diet the spirit; diet everything but your income!” “Feel like your whole self is all a part of the sound, like the full violin is just vibrating.” “Imagine the sound you want, picture the sound you want.” “Open up the entire body and see the light through both ends!” “Breath, pause, release the jaw, visualize the sound you want, and sing to the back of (Carnegie Hall).” “We don’t let attitudes control us, we control them!” “Only babies are victims of moods!” “Let the sound flow right over the roof of the mouth into the masque.” “Bowels up, vowels forward.” “Some day you’re going to stand up and say, ‘This is me’ and go!” “We tend to become as we act.” “Attitude is everything in everything.” “Every time you find your thinking going to the strain or the resistance, immediately create mentally the sound that you want, hear what you want.” “And remember you have a beautiful voice. At your worst you sound better than many of them at their best!” “Just don’t sound like everyone else!” “And tell it your singing marvelous, you’re singing wonderfully!” “Sing Away from yourself, to something.” “Listen, then sing!” “Way to go Baby!” Maestro David Kyle passed on Saturday, November 27th of 2004 OTHER VOICE COACHES OF ROBERT LUNTE...
  5. MAESTRO DAVID KYLE THE WINDOW OF FAME Vocal teacher for all styles for over 50 years, David Kyle, The “Maestro” became a local Seattle icon and was considered by the industry to be one of the best vocal instructors for contemporary singers in the world. Unique to the “Maestro’s” approach was his method for expanding vocal range into multiple “registers”, or what we would refer to today at TVS as, "Bridging & Connecting". Maestro was also keen on eliminating psychological barriers that hinder singers’ freedom of expression, by use of creative visualization techniques and development of healthy auditory imagery for singing. Use of amplification and embracing technology was also an important part of the “David Kyle” training experience that carries over to TVS training with Robert Lunte as well. In addition to these details, Robert Lunte's vocal training program, The Four Pillars of Singing, found at this web site, offers 10 of Maestro Kyle's vocal workouts. Another 22 original vocal workouts developed by Robert Lunte are added to The Four Pillars of Singing training program with slow and fast versions of every workout to accommodate different student's levels of experience. All together, The Four Pillars of Singing offers a total of 32 vocal workouts with 64 different options to explore and train your voice. One day, Nate Burch, one of Robert Lunte's students from Seattle, came to the lesson with an old coffee stained piece of paper that had a hand written, transcribed lecture from Maestro Kyle on it. An excerpt from that lecture is shared below as well as popular quotes that Maestro Kyle used to use with all his students. The complete lecture is provided inside The Four Pillars of Singing Hard Copy Book and training system as part of the tribute to Maestro Kyle that Robert Lunte added to The Four Pillars of Singing. Maestro David Kyle & Robert Lunte - The Vocalist Studio MAESTRO DAVID P. KYLE LECTURE: Those sounds which seem to ring the most are usually the best. Those which seem the roundest are usually the best. Those which seem to resonate are usually the best. Those which seem to echo are usually the best. So listen out into the theater and see if they are echoing, and if they are round, and they are resonant. Connect your notes and don’t be afraid. There are two kinds of stars. There are “stars” and there are “superstars.” The star no matter how he tries he just can’t seem to become a superstar. He’s great, great, great, great, but along comes a Caruso, or a Lanza, or a Gigli, and he can’t quite get over the hurdle. It’s because of one simple thing. The star sings, and when he’s singing he listens to himself; and while he’s listening he shapes it; and he opinionates it; and he shapes it around. If it isn’t round enough he rounds it more. And that sounds logical doesn’t it? It’s wrong! The superstar pictures the sound and knows what he wants to hear before he makes it! Singing is more the concept than anything. If we’ve got the right idea, then the muscles as they train more and more they become like a reflex and the reflexes respond to the image. Even if you’re trained beautifully and your image is a fear that you haven’t got high notes and it’ll never get there the reflexes won’t respond no matter how well trained you are. The epitome of it is you can say singing is absolutely mental. In the process of getting to realize that you have to take a lot of physical steps before you begin to see it, but it is true! The singer has to be in the consciousness and the mood. How does one establish a consciousness and a mood? You tend to become as you act. So if you pretend and try to get your feelings to act as you think they would act if you were doing it, then you’re getting in the consciousness. But if our consciousness is only on body and physical things then our mind is... The rest of the lecture offers another 5 pages of incredible insights about how the mind controls the singing voice. Read the entire lecture in The Four Pillars of Singing hard copy book, eBook & course work at this web site. Maestro David Kyle - The Vocalist Studio The Four Pillars of Singing With 12 of the Key Vocal Workouts Maestro David Kyle taught! Maestro David Kyle Quotes “Good singers sing and listen, Great singers listen, then sing” “Good speech is half sung, but good singing is not half spoken.” “Wear the world like a loose garment. Don’t let it tighten in on you.” “Suppose you were learning to drive a car. Would it be better to learn on a road with no obstructions?” “Every negation is a blessing in disguise.” “The art of the art is the art that conceals the art.” “He who would know aught of art must first learn and then take his ease.” “When you open up you should be able to see light from both ends.” “Feel like you are singing with your whole body.” “Your reflexes respond to your image.” “The reflexes respond to the imagination.” “Listen away from yourself.” “Sing on the balls of your feet, like the American Indian.” “Burn Bridges and don’t look back.” “Listen away from yourself, right out into the auditorium.” “Singing is both a science and an art. All art is all imagination and you cannot fix that.” “You have to believe you will receive before you receive and then you will get it.” “Visualize you are already what you want to be. Act as if you are that, and you will become it.” “If you always notice what you are while trying to get there, you’ll never get there.” “Start as if the sound begins before the breath.” “The end is in the beginning, and the beginning is in the end.” “It’s not a game I’m playing! If you think that you’re short changing yourself.” “People don’t get tired of their work; they get tired of the resistance to their work.” “Forever diet the voice. Diet the voice; diet the mind; diet the spirit; diet everything but your income!” “Feel like your whole self is all a part of the sound, like the full violin is just vibrating.” “Imagine the sound you want, picture the sound you want.” “Open up the entire body and see the light through both ends!” “Breath, pause, release the jaw, visualize the sound you want, and sing to the back of (Carnegie Hall).” “We don’t let attitudes control us, we control them!” “Only babies are victims of moods!” “Let the sound flow right over the roof of the mouth into the masque.” “Bowels up, vowels forward.” “Some day you’re going to stand up and say, ‘This is me’ and go!” “We tend to become as we act.” “Attitude is everything in everything.” “Every time you find your thinking going to the strain or the resistance, immediately create mentally the sound that you want, hear what you want.” “And remember you have a beautiful voice. At your worst you sound better than many of them at their best!” “Just don’t sound like everyone else!” “And tell it your singing marvelous, you’re singing wonderfully!” “Sing Away from yourself, to something.” “Listen, then sing!” “Way to go Baby!” Maestro David Kyle passed on Saturday, November 27th of 2004 OTHER VOICE COACHES OF ROBERT LUNTE... View full articles
  6. Robert Lunte, of The Vocalist Studio and The Four Pillars of Singing shares some details about the Audio VX5, condenser microphone. Purchase the Audix VX5 here: http://www.TheVocalGearStore.com. Description The VX5 is a multi purpose, professional vocal condenser microphone designed for live, studio and broadcast applications. With an ability to duplicate studio quality sound on stage, the VX5 has a smooth and accurate frequency response, resistance to feedback and handles very high SPLs without distortion. Designed with a tight and uniformly controlled supercardioid polar pattern, the VX5 helps isolate vocals from the rest of the stage. Other features are a 14 mm gold vapor diaphragm, an acoustically ported steel mesh grill with a multi-stage pop filter, and a -10 dB pad and bass roll-off filter. The VX5 will handle SPLs in excess of 140 dB (with pad and roll-off engaged) and will provide over 20 dB of ambient noise rejection on live stages. In addition to vocal applications, the VX5 is designed to capture instruments such as guitars, woodwinds, brasses, percussion toys, drum overheads, hi-hats and pianos. The VX5 requires 18 - 52 V phantom power. Applications - Live and studio vocals, lead and backing - Speech - Acoustic instruments Please see the spec sheet under the specifications tab for more information about this product.
  7. Robert Lunte, of The Vocalist Studio and The Four Pillars of Singing shares some details about the Audio VX5, condenser microphone. Purchase the Audix VX5 here: http://www.TheVocalGearStore.com. Description The VX5 is a multi purpose, professional vocal condenser microphone designed for live, studio and broadcast applications. With an ability to duplicate studio quality sound on stage, the VX5 has a smooth and accurate frequency response, resistance to feedback and handles very high SPLs without distortion. Designed with a tight and uniformly controlled supercardioid polar pattern, the VX5 helps isolate vocals from the rest of the stage. Other features are a 14 mm gold vapor diaphragm, an acoustically ported steel mesh grill with a multi-stage pop filter, and a -10 dB pad and bass roll-off filter. The VX5 will handle SPLs in excess of 140 dB (with pad and roll-off engaged) and will provide over 20 dB of ambient noise rejection on live stages. In addition to vocal applications, the VX5 is designed to capture instruments such as guitars, woodwinds, brasses, percussion toys, drum overheads, hi-hats and pianos. The VX5 requires 18 - 52 V phantom power. Applications - Live and studio vocals, lead and backing - Speech - Acoustic instruments Please see the spec sheet under the specifications tab for more information about this product.
  8. Robert Lunte, of The Vocalist Studio and The Four Pillars of Singing shares some details about the Audio VX5, condenser microphone. Purchase the Audix VX5 here: http://www.TheVocalGearStore.com. Description The VX5 is a multi purpose, professional vocal condenser microphone designed for live, studio and broadcast applications. With an ability to duplicate studio quality sound on stage, the VX5 has a smooth and accurate frequency response, resistance to feedback and handles very high SPLs without distortion. Designed with a tight and uniformly controlled supercardioid polar pattern, the VX5 helps isolate vocals from the rest of the stage. Other features are a 14 mm gold vapor diaphragm, an acoustically ported steel mesh grill with a multi-stage pop filter, and a -10 dB pad and bass roll-off filter. The VX5 will handle SPLs in excess of 140 dB (with pad and roll-off engaged) and will provide over 20 dB of ambient noise rejection on live stages. In addition to vocal applications, the VX5 is designed to capture instruments such as guitars, woodwinds, brasses, percussion toys, drum overheads, hi-hats and pianos. The VX5 requires 18 - 52 V phantom power. Applications - Live and studio vocals, lead and backing - Speech - Acoustic instruments Please see the spec sheet under the specifications tab for more information about this product. View full articles
  9. CLICK THE MENU ON THE TOP LEFT CORNER TO REVEAL ALL THE VIDEOS.
  10. I've been training with the foundation building routine religiously for the past week and I'm phonating really great sirens with Embuchore and larynx dampening. But during the sirens there seems to be two routes my voice can take as it rises in frequency. One route is into an airy falsetto, the other is a more stable chesty/twangy sound that I'm now able to carry up to b#4. My question is which route do I take? Am I pulling chest? Is that bad?
  11. Hey all, A few months ago, I decided to get The Four Pillars. Since then, I've looked over different areas of the program, several times .At the time, I was too busy to really get into it all, and start practicing regularly, but I've just now got things together, so I can begin doing just that. A little background on me: I got into this singing thing a few years ago. It was something I was fascinated with for a long time, but I didn't know it was a skill that could be learned and developed. Once I found out that it was, I immediately decided that I wanted to learn. To try to accomplish that, for a while, I took lessons, and used several programs, including CVT and Singing Success. I even had purchased Singing Success forum access for a few months. I'm now going to express why I feel this is the best program around, if you really want to learn how to sing. This program is as thorough as a program gets. A comprehensive book, with an exhaustive assortment of video instructionals, explanations, and pre-recorded workouts. There's order, and guidance in this program. You're not completely overwhelmed by it all. You know what you're doing, when you should be doing it, and why you're doing it. The very science of it all is explained, but you aren't overwhelmed with a flood of terms. Still not quite sure about something? Check out the video library or come to the forum, because there's actually a forum where the creator of it all is actually active, and answering questions, everyday. This makes Singing Success look like an unfinished product. I bought access to that forum, for a while, and while it did show far more exercises, there was no order. You didn't know when to work on things, or why you were doing things. Forum was barely active. I ended up deciding to get that program. It was a 7 page ebook and a bunch of exercises in MP3 format. No direction. I used the exercises for about 3 weeks, and stopped. Looks, and sounds good, but no substance. For example, they put in examples of the whistle register being used, and no explanation of how to use it, at all. Perfect example of the entire system. Looks good, but nothing behind it. There were also examples of singing in several different styles, but no instructions or explanation regarding the dynamics necessary to sing in those styles. Should have just been called "Mirage Music" system, because it looked like something, but it wasn't. CVT was better, but it did not go as far as this system does. There's a book, and exercises, but reading, and hearing, is not enough. Some things are hard to pick up just from reading descriptions, and hearing them done. And when you're not able to bridge that gap, there's a dead forum. There are vocal effects and techniques in this book that sound great, but are not easy to perform. This can be dangerous, because if you think you are doing what you're reading and hearing, but you are not performing the exercises and techniques properly, you can seriously damage your voice. With The Four Pillars, you can read about the technique, hear the technique, and see the technique. Still have something you're not sure about? Go to the forum, ask, and you'll get assistance pretty quickly. Nothing is left to chance here. It's an honest, complete program. If you want to know how much confidence and honesty is behind this program, simply look at the fact that the author of the program owns this site, and there is a forum here, where you're allowed to talk about other programs. The author of the program isn't even trying to keep people from knowing there are other options besides The Four Pillars. A testament to how unparalleled this system is. If you're serious about learning how to sing, this is the only complete system. Learning to sing is like going to the gym. You use proper form, you do the right exercises, you work hard, and you will end up with a very strong body. Something that looks great and performs extremely well. The same applies to singing. You use proper technique, do the right exercises, and workout your voice enough, you will end up with a very strong voice. A voice that sounds great, and performs extremely well. The Four Pillars is the only gym regimen you need for your voice. And to add one more thing, some may be skeptical of whether this program is for you. For a while, I was. As some may have already guessed from my name, I'm into R&B/Soul music. There's an assumption that R&B is a genre where everybody sings softly. This isn't true. There are plenty of singers who sing with power and rasp. For example, Beyonce, Jazmine Sullivan, R. Kelly, Tyrese, and many more. I'm a guy, who's been practicing for a while, and I've got okay range (D2 - C5 in full voice and somewhere like E4 - A5 in falsetto), but a lot of where my strength is at is the lower part of my range. After a while, I managed to get my head voice to not sound like a dying cat, but still sounds like the notes are weak, up near the top of it. This program will build up my musculature so that I have strength and power up there, when I sing in that part of my range, while still working out other parts of my voice (Remember, NEVER skip leg day ). Also, for those interested in Pop or R&B, the scale exercises in this system, and several of the "run" exercises, will also train your voice so that you have the agility necessary to perform those riffs and runs. This is truly a program that is going to help tremendously, no matter what style you sing, and it's the only program out there that is thorough and resourceful enough to reduce your margin of error by this much. And did I mention that new videos are regularly added to the library? Enough said.
  12. Gorgeous Singing Here! Such a talent for dynamics and expression. Nice work Carmel who is a student at The Vocalist Studio performs the classic "Crazy" from Patsy Cline on the RODE K2.
  13. Gorgeous Singing Here! Such a talent for dynamics and expression. Nice work Carmel who is a student at The Vocalist Studio performs the classic "Crazy" from Patsy Cline on the RODE K2. View full articles
  14. Using vocal fry is a way to lighten the mass, or stop the pushing in your singing. At TVS, one of the 8 specialized onsets ( how you start a note ) that we teach in the TVS Method is called the, "Pulse & Release Onset", or Vocal Fry Onset. It is also called the, "Light Mass Onset". The Pulse & Release Onset is used to help singers build the coordination for singing without pushing. It "governs" the weight or "mass" of your singing, helping singers to stop pushing.
  15. Using vocal fry is a way to lighten the mass, or stop the pushing in your singing. At TVS, one of the 8 specialized onsets ( how you start a note ) that we teach in the TVS Method is called the, "Pulse & Release Onset", or Vocal Fry Onset. It is also called the, "Light Mass Onset". The Pulse & Release Onset is used to help singers build the coordination for singing without pushing. It "governs" the weight or "mass" of your singing, helping singers to stop pushing. View full articles
  16. "White Rabbit" Tribute! I am proud to share a performance and production of Jefferson Airplane's classic, "White Rabbit". SaraEllen has been training with TVS for about two years. Excellent job SaraEllen! LOVE the curbing vowel resonance, steady embouchure, and "snappy" glottal attacks on the vowels, apart from the interpretation that captures the nuances we coached and discussed. Sounds great, looks great, a kick ass production and worthy achievement! Coach.
  17. WOMEN VS. MEN WHY MEN DON'T HAVE A CHANCE WITH LOVE SONGS! I sang this beautiful classic love song by Handel at the University of Miami "back in the day". Although I doubt as nicely as Richard Lewis does on this performance. While enjoying Richard's rendition, it suddenly dawned on me the following... Take the most beautiful man and compare him to the most beautiful woman in a beauty contest, and no gent has ever had a chance. In spite of our merits guys, we just are not as "inspiring" for eyes to gaze upon in regards to physical attraction. And that is ok, that is the way nature has set it up. But to my point... "Humankind" doesn't write songs like this about men... only women get songs like THIS. Oh sure, there is the occasional Pat Benatar, "Fire & Ice" or Tammy Wynette's "Stand By Your Man", we do get a few bones tossed our way fellas, but let's be honest, we never get songs like "Faithfully" by Journey, or "When I Was Your Man" by Bruno Mars, or song like "Where'er You Walk" that has been playing for hundreds of years. Guys get, "You Broke My Heart" songs... but women truly get LOVE songs of such great adoration from us smitten clunky fumbling males. In Summary, the power of female attributes, which certainly would include aesthetic beauty, arguably has inspired a greater inspiration to write the greatest love songs through the ages. Thus, nature, or evolutionary biology of the sexes, influences observable and apparently evident differences art of love song composition. I just find that to be an interesting observation. This song by Handel is what?... 400 years old? Chances are, prior to it being published at the time, it likely existed in an earlier version as a folk song that people ( or guys...), sang around the camp fire, or to try to serenade a woman. Guys, Listen to this song and follow the lyrics and tell me that you have never felt this way about a woman? BTW... ladies in case it isn't obvious, this is a compliment to you and yours.
  18. WOMEN VS. MEN WHY MEN DON'T HAVE A CHANCE WITH LOVE SONGS! I sang this beautiful classic love song by Handel at the University of Miami "back in the day". Although I doubt as nicely as Richard Lewis does on this performance. While enjoying Richard's rendition, it suddenly dawned on me the following... Take the most beautiful man and compare him to the most beautiful woman in a beauty contest, and no gent has ever had a chance. In spite of our merits guys, we just are not as "inspiring" for eyes to gaze upon in regards to physical attraction. And that is ok, that is the way nature has set it up. But to my point... "Humankind" doesn't write songs like this about men... only women get songs like THIS. Oh sure, there is the occasional Pat Benatar, "Fire & Ice" or Tammy Wynette's "Stand By Your Man", we do get a few bones tossed our way fellas, but let's be honest, we never get songs like "Faithfully" by Journey, or "When I Was Your Man" by Bruno Mars, or song like "Where'er You Walk" that has been playing for hundreds of years. Guys get, "You Broke My Heart" songs... but women truly get LOVE songs of such great adoration from us smitten clunky fumbling males. In Summary, the power of female attributes, which certainly would include aesthetic beauty, arguably has inspired a greater inspiration to write the greatest love songs through the ages. Thus, nature, or evolutionary biology of the sexes, influences observable and apparently evident differences art of love song composition. I just find that to be an interesting observation. This song by Handel is what?... 400 years old? Chances are, prior to it being published at the time, it likely existed in an earlier version as a folk song that people ( or guys...), sang around the camp fire, or to try to serenade a woman. Guys, Listen to this song and follow the lyrics and tell me that you have never felt this way about a woman? BTW... ladies in case it isn't obvious, this is a compliment to you and yours. View full articles
  19. THE FOUR PILLARS OF SINGING THE INTEGRATED TRAINING ROUTINES Video Workout Demonstrations That Teach Singers How to Practice! Robert Lunte, founder of The Four Pillars of Singing offers an impromptu screen capture presentation of the Integrated Training Routines found in the TVS training program, The Four Pillars of Singing. The Four Pillars of Singing offers very clear instructions and guidance on how to train and practice vocal technique to make your singing stronger and more coordinated. Like no other vocal training program on the market today, TFPOS leaves no questions unanswered and removes all the mystery about singing great and what you have to do achieve great singing skills. If "free secret tips" on YouTube are not getting you any lasting results, that is because you HAVE to train! No tips or information, regardless of how good it might be, will do anything for you, if you do not take the time and energy to practice. If you are prepared to train and get serious about vocal training, The Four Pillars of Singing is a program you should take a serious look at.
  20. THE FOUR PILLARS OF SINGING THE INTEGRATED TRAINING ROUTINES Video Workout Demonstrations That Teach Singers How to Practice! Robert Lunte, founder of The Four Pillars of Singing offers an impromptu screen capture presentation of the Integrated Training Routines found in the TVS training program, The Four Pillars of Singing. The Four Pillars of Singing offers very clear instructions and guidance on how to train and practice vocal technique to make your singing stronger and more coordinated. Like no other vocal training program on the market today, TFPOS leaves no questions unanswered and removes all the mystery about singing great and what you have to do achieve great singing skills. If "free secret tips" on YouTube are not getting you any lasting results, that is because you HAVE to train! No tips or information, regardless of how good it might be, will do anything for you, if you do not take the time and energy to practice. If you are prepared to train and get serious about vocal training, The Four Pillars of Singing is a program you should take a serious look at. View full articles
  21. Don't let any other video or coach try to tell you that less information, less explanation, less features and less value in a vocal training program is a benefit to you.
  22. Don't let any other video or coach try to tell you that less information, less explanation, less features and less value in a vocal training program is a benefit to you. "Less is More" doesn't get you more benefit, or more of what you need, or more understanding about singing. It just gets you... Less! View full articles
  23. SCHEDULE A CONSULTATION FOR YOUR SINGING, PUBLIC SPEAKING AND ONLINE COURSE WORK PLANS: CLICK HERE TO SCHEDULE A CALL Robert Lunte is the owner founder of the The Vocalist Studio (TVS), an Internationally recognized voice training school for extreme singing vocal techniques and advanced vocal instruction. Robert is also the author and producer of the critically acclaimed vocal instruction speech training system, www.TheFourPillarsofSinging.com. Robert is also available for feedback on vocal health issues, public speaking coaching, singing and transgender therapy coaching. Robert Lunte is also available to speak to you about how to set up online course offerings without running into unforeseen problems and mistakes. Robert is also the founder of www.TheModernVocalistWorld.com, the #1 online resource for vocal education and networking on the internet. Click HERE to schedule a consultation call.
  24. SCHEDULE A CONSULTATION FOR YOUR SINGING, PUBLIC SPEAKING AND ONLINE COURSE WORK PLANS: CLICK HERE TO SCHEDULE A CALL Robert Lunte is the owner founder of the The Vocalist Studio (TVS), an Internationally recognized voice training school for extreme singing vocal techniques and advanced vocal instruction. Robert is also the author and producer of the critically acclaimed vocal instruction speech training system, www.TheFourPillarsofSinging.com. Robert is also available for feedback on vocal health issues, public speaking coaching, singing and transgender therapy coaching. Robert Lunte is also available to speak to you about how to set up online course offerings without running into unforeseen problems and mistakes. Robert is also the founder of www.TheModernVocalistWorld.com, the #1 online resource for vocal education and networking on the internet. Click HERE to schedule a consultation call. View full articles