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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) 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. Just started a new singing podcast my first guest my teacher and great singer Alexander Kariotis . He studied with Pavarotti 's teachers and some others. Great podcast with some high notes for good measure and stories about Bel canto lineage etc enjoy or not whatever I like cake...also multi platinum singer can't disclose name but he studies with alex as well...
  3. I recently watched a youtube vocal coach who claimed that if you sing with your "natural voice", correct pitch rhythm etc of course, then people will like your voice, even more so than when you attempt to alter your voice to fit into what you think is something that sounds good. Being that language and accents are artificial constructs, and your vocals are definitely coloured by the way that you pronounce vowels and consonants is this at all true? Personally I think it's nonsense - there are any number of British/English singers who sound nothing like their spoken voice and are massively successful. I think some people are lucky - their pronunciation and voice colours lend themselves to singing. In my own case I have found that I'm having to work very hard to alter some of my vowels and consonants to get the sound l like while at the same time trying to maintain a relaxed open throat. The way I speak has a definite negative impact on my singing voice. Funnily enough I actually like my voice best in the range of f#4 to c#5 (my absolute highest note) because I'm having to sing with minimal consonants and maximum vowels. It's in the area below that when my horrible speaking voice starts to emerge
  4. Quick question to any vocal coaches willing to give some advice As someone very new to singing, the current note I'm training is my A4 (which seems to be a problem note for many). I can just about maintain cord compression and keep an open throat if I'm just touching the note in a phrase, but only on a closed vowel - i've recorded an example below to illustrate what I'm doing: (I know I still have some pitching and breath issues - I'm working with my vocal teacher on those) The phrase "and I'll tell YOU all about it" follows a d4-f4-g4-A4-g4-f4-d4-c4 melody. With enough support, I can just keep my cords closed while singing that line. However, there's another song I've been singing along to in the car which touches an A4 on the word "day". I'd really like to be able to sing that phrase, but for some reason I'm finding it incredibly difficult to articulate "day" without splatting the vowel and having my cords coming apart . I've been taught diphthongs, and I can sing an A4 on the "ay" vowel during my scales - but of course singing a scale and singing an actual song are two different things. My teacher says that I just need time to continue training my support and larynx muscles so that my vocal cords become used to being stretched so thin. I believe him, but in the meantime I was wondering if there are any other tricks that anyone here knows of that can help with maintaining cord closure while singing wider vowels on A4 and above? cheers, SN
  5. This is my tribute to Chester Bennington. Chester was the idol of mine I looked up to. As far back as I can remember, My best friendCollin and I always jammed to LP. Let me know what you think of this. Thank you. Rest in Peace Chester.
  6. Hello everybody! So my last thread I asked for help on mixed/ middle register. I have been working on it for a little while now but I still feel like I'm shouting and using too much air on belting high notes. It's as if I'm trying to sing it rather than just letting the sound out. Here is a comparison: and me lol: Any tips or advice is appreciated. Don't know if I'm shouting because I can't get that cord closure properly in my higher registers or if it's a bunch of different things. Woke up a little hoarse today too after singing for around 2-3 hours heavily. this is so annoying Thank you ! Love this forum for all the help I get
  7. The vocal geek mind took over when I started watching this video of Joni back in '79 singing, "Goodbye Porkpie Hat." I've always been a fan of Joni and thinks she's a beautiful woman! I couldn't help but notice those big beautiful front teeth and I thought, "it's almost like she would never have to be reminded to keep a "wide" embochure (as most of us so easily forget to maintain when singing). Her consistent teeth bearing embouchure seems like the perfect "E.Q. balance" to her warm (larynx lowered) alto-ish tamber. Then, as I watched her sing (the camera angle is such as to give just the right view of her face), I'm noticing that she's singing all these cool lines with lots of vowel modifications as she sings lines that flow quickly up and down between M1 & M2. I thought it was a good example of someone masterfully applying the technique.
  8. Have I damaged my voice?

    Hey guys, I'm new to the site. I am really worried about my vocal health. I have just graduated uni after years of specialising in vocals and two months ago I began my first proper singing contract in a different country. Because of the change in climate I got ill and ended up with laryngitis. Unfortunately I still had to sing and do shows with laryngitis, however, I had to almost scream to get a sound out. My voice kept getting worse and the laryngitis developed into pharyngitis and guess what... I still had to sing every night. No voice rest for me It has now been two months and although I do proper warm ups before my shows, afterwards my voice is gone because of the amount of strain I am putting on it. I still have to shout to get the notes out and I cannot sing effortlessly like I used to. I'm getting so fed up of it. I live with other singers and I feel unworthy to join in with their songs because my voice sounds so bad compared to what it used to be like. The other singers in my company must think I'm talentless. I just want my voice back. I cannot do runs clearly; it sounds like I am sliding around the notes and my head voice is completely non existent. I know now I should see a voice therapist but finding an English speaking one may be difficult out here. Does anyone have any advice on remedies or exercises that will help me get my voice back? Almost importantly, do you think I have permanently damaged my voice?
  9. 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.
  10. I'm curious if I am doing this right... I'm not even sure how to explain it. Here is a guy teaching it .. it's in korean but he's basically saying try to "pull" the sound out from the chest instead of having the sound fly out through ur mouth. Can someone explain to me in what way is this taught normally? Is this just the feel of "open throat?" or "support"? AND if this is how it should feel then how do I get that "mask" placement without losing that DEEP breath support? This way helped me develop my mix but I'm curious if this method is correct and is just another way of teaching the same thing? example done by a professional performance. (The sound literally sounds like a really low soft mix voice in the intro and when belting it sounds like the vibrato is so free and resonating really low. Is this how proper singing should be done? I am just wondering on how I should properly train and do warmups/workouts..
  11. This a is a general request and observation. If any of you coaches out there are lurking on this forum for what ever reason, PLEASE when you are giving Tips or suggestions and insist on singing into a microphone also SPEAK into the microphone. We cannot hear you talk and then you blast us away when you are singing. CHECK your audio before you post your videos. Wear earphones to check your audio, if you have to turn your volume all the way up to hear yourself speak and then your ears bleed when the singing starts, DO NOT POST THAT VIDEO until the audio is fixed. Thank you.
  12. Hello TMVW Friends! Yesterday I shared a Youtube video slide show with Robert Lunte, which I had created to accompany a Song I wrote for my Dad's memorial service. He passed away, early last December. Normally, I would not have posted it here, only because I'm a tad self-conscious about being perceived as "fishing for compliments." Rob urged me to share it so I am doing so. I am proud of the song, and I'm just like anyone else, I do love compliments yet, because this is not a "review my singing post" that I am paying for, I want you all to know that I'm not opposed to "discussions" regarding my singing on this tune. I will give some back story on my Dad, some "behind the scenes" notes on the recording, then list some post recording observations about my vocals which I have had recently, those should ring true to discussions that are commonly had here at TMVW. My Dad: A pump engineer who's family business focused mainly on groundwater applications. After having the opportunity to help an orphanage in Mexico establish a much needed water well, he realized this was something he could do all over the world. He founded the organization linked here , back in the mid 70's which grew over the years to it's present impressive status. He and my Mom raised my two Brother's and my adopted Sister, and I, in a fundamental Christian tradition. While I have moved to a more "Mystical" type of Theology in my adult life, I revere, and am grateful for that upbringing. I did my best to honor this in the song. My Dad played Double Bass, and left a legacy of music for my siblings and I, my kids, and all my siblings kids as well. The recording: Recorded at Mindseye Productions Arizona. My long time friend Bill Pearson is the owner. He is a master engineer, producer, & composer with a Grammy! I'm really lucky to know him. He's the reason I got some great studio vocal experience back in the late 80's and early 90's. After I wrote the song, I didn't have much time to rehearse the guitar plus, I have fairly bad carpal tunnel in both wrists so, my rehearsal endurance on guitar is limited to about 20 or 30 minutes per day. Due to this I ended up playing each (repeated) guitar section of the song only once or twice, then Bill copied and pasted. He made some beautiful embellishments on the keys, and added a nice sampled Double Bass & percussion tracks, which he composed and performed. This made it feel like my Dad was playing along with me, really moving for me! Also, I only had a rough idea of the melody, I wanted to sing it live and let any inspiration flow that came along. This made extra work for Bill because it took quite a number of takes to get the melody just how I liked it. Bill suggested the "speaking line," which I was hesitant about at first but ended up loving it! (That's what good producers do). My Vocals: A re-occurring experience for me, when it comes to studio vocals is; I will usually "o.k." a final take, then regret it later, wishing I had punched a "better," or "different" take. This happened on this recording. There were a few lines where my vowel modification was less than ideal. Also, one line in particular where I didn't use the best appaggio. Maybe you can spot those. Lyrics are in the Youtube description if you're interested. I strongly suggest using headphones or really good speakers!! Thanks for listening! k
  13. Confidence issues and weak attack on lower register/ stronger upper register? Advice please folks?
  14. 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
  15. Singing 10 vowels to different notes

    So after I sang to someone I was told I needed to work on my oh and ow vowels as they are causing my tone to accidentally darken So I have done what was recommended but decided to sing 10 different vowels of ee, ih, eh, a, ah, aw, uh, oh, ou, oo, instead of singing the recommended oh and ow And sang them to the pitch of this piano/ organ app which I recorded the notes from this link At the bottom of the page is an image of the piano. And inside the red lines of that piano are the notes I have sang I started at middle C (presuming middle C is the middle key in the piano) and worked my way up a note and down a notes at a time I will do more notes at a later stage though The links I have listed below are what I have done, the first link of each note is ee-ah and the second link of each note is aw-oo But I have worked hard at this doing each vowel at each note many many times Do you see there is much more work to be done? Thanks 2CIADB A2 (6) B2 (7) C3 (8) D3 (9) E3 (10) F3 (11) G3 (12) A3 (13) B3 (14) C4 (15) middle C D4 (16) E4 (17) F4 (18) G4 (19) A4 (20) B4 (21) C5 (22) D5 (23) E5 (24)
  16. Singing the 5 vowels

    OK so I googled what are the 5 singing vowels and the answer seams to be fairly simple ee, eh, ar, oh, oh But trying to pronounce them could be interpreted completely different since there are many ascents and variations in the English language. I know people that learnt English by reading books and dictionaries but never learnt it by speaking it, so when they tried to speak English to me they could not! So I guess the same goes with me trying to sing the above Any way hear is what I recorded myself singing what I though was best
  17. Heres a video I did addressing how some vowels work better for others and vice versa.
  18. 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
  19. "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.
  20. "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.
  21. I was pondering these metaphors and thought I'd see if I could expand it some. Let me know how you see it! Easel is the pedagogy/coach Canvas is the formants Paint is the phonation Colors are the acoustic qualities & vocal modes Brushes are the intrinsic muscular configurations & appoggio Frame is the musical context/setting (band, choir, acapella, singer w/ instrument, musical, etc.) Lyrics are the finished image Lighting (as in a gallery) is amplification & vocal effects
  22. Holy Diver

    Hello! Tried this challenging and legendary song again. I, especially found the C5 phrase "wheel" challenging, more than the equal C5 "seen". Why is that you think? Any suggestions to improve this song? Ok, so the youtube link doesn't work so here is a link to my facebook video instead. I hope this works.
  23. Is M a vowel?

    M It can be held: "mmmmmmmmmmmmmm" It has a pitch. You can sing "mmmm" in a scale or siren. So is it pretty much both a vowel and a consonant, in terms of behaviour (although we may not technically call it one). It may not be an open vowel, but it sure acts like a vowel. L, M, N, R?, V, Z seem to have this property. Sibilants like S and F can be held, but they do not really have a well-defined pitch. My current big project is vowels (I've graduated from basics to style, courtesy of kickingtone akadummy ). While studying phrases in various songs, I have found that Ms (particularly) have to be controlled in the same way as vowels, otherwise they can create unwanted fluctuations in brightness, and even pitch. It can be instantaneous if the M is just an onset, yet noticeable enough to affect the overall delivery and mood. I am now playing around with truncating my Ms so that they stay consonants when I want them to be. Any one else had to do this?.
  24. working on a chorus for a song. The chorus is in D minor and the highest note in the chorus is C5 So I can SORT of ease into the c5 note but its really shaky. Naturally if its doubled and heavily processed it sounds almost legit lol Here is the doubled/processed vox in the chorus snippet: (btw, be forwarned, there is a flat5 note featured lol) Now, here is the BARE vx, no compression, no nothing. This is each half of the doubled chorus put back to back. The first time thru was the first one I sang and it was a little better. The 2nd time thru was a little rounded off So essentially I am trying to hit a C5 on the "o" in "open" and on the "uh" in "love" Here is me JUST hitting those 2 syllables: And to show the struggle, here is one that cracked: So lets have some good discussion on how these sound as is, how I can best train for them to be WAY better for comparison here is a nice B4 by Joe Lynn Turner, obviously im miles from this but this is sort of a goal to aim at: Also any discussion on the mechanical aspect of the cracked note. Physiologically, what broke down there? (and thus, what does the training focus need to be)
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