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Found 84 results

  1. It has been a while since I have posted anything. If you have any comment good or bad let me know. Thanks.
  2. The Four Pillars of Singing now available as a one-time purchase for lifetime access. https://thevocaliststudio.com/the-four-pillars-of-singing/
  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. 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
  5. 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.
  6. 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...
  7. 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
  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.
  9. 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
  10. Dear All, I recently did a cover of I Will by The Beatles, with the attached Soundcloud link as follows: Your comments and review are absolutely appreciated. Thanks all! Regards sincerely, Tim
  11. 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!
  12. Apologies if this is in the wrong part of the forum (as I am sure it is) but I am sure there is a correct forum for Robert Lunte's Four Pillars. Its just that I can't find it. So I am sure the mods will move this in due course I got "The Four Pillars last week and have just started on it but I am not sure I have started in the right place I started from the what looks like the beginning until I ran into some stuff that is a bit more advanced Well I stated with opening up my courses, then modules, then prepare for your TVS training, then I got to the dropdown of "the four pillars of singing download work out files" And I downloaded and have been playing the first 2 sets. First set was lift up pull back. And I think I am supposed to sing from one octane to the next one up then go into my head voice So hear is a link to me trying to copy the video : https://app.box.com/s/vckhva09yqffwz91fjebe77cqrnk4672 And the second set of Track and release. Well I just can not do it! doing hum hum hung, it just turns into a nasty hummy exercise that leaves me breathless
  13. 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.
  14. 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.
  15. 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
  16. 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.
  17. 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
  18. I've always worked hard on my voice but I've never had the guidance I needed. Recently I have elected help from Jens and Daniel and they both played a substantial role in peeling away the first layers of bullshit to get me on the right path. However I took lessons sparingly and unfortunately I realized I was so profoundly lost in assumptions, bad habits, bad muscle memory, etc etc that merely getting a few lessons was not going to be enough. So that's why I recently decided to buckle down and get a genuine vocal program that I could adhere to and schedule to.. to optimize and streamline my training to it's fullest potential. Of course, when it came time to make this decision there was no program that came more highly recommended than Four Pillars. I haven't even been at this for two weeks and yet I already see great progress and more importantly, I have complete confidence in the information I am being given. I have already had two lessons with Robert and each one has been a genuine pleasure and one step further in the right direction of achieving my dream of having a big and exciting voice. Thank you Robert, for your help and for drafting what I truly believe to be the best program out there right now.
  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. I've now had a few wonderful lessons with Robert and I'm still working through my lessons So much material in The Four Pillars. Seriously good stuff. When I started, after years of singing classically in mostly head register, I had an extremely limited belt range (for a woman). So limited that I was only able to hit G4 or so in belt. I've been at this for 3 or so weeks now, and I'm up to a solid D5 in a strong belt using the onset and sirens, and today on a few sirens I was able to bridge up to my F#5 smoothly and cleanly with almost zero tonal change. I still have a LOT of work to do, but holy shnikes. I'm not solid yet - I have a lot more practicing to do but I have to say I'm pleased. I'll keep going with the log, so that progress can be seen and heard, but I'm super happy so far!!!
  21. A week into The Four Pillars and after my first lesson with Robert, I thought I'd post a little update song. I'm having a bit of trouble with my headphone/recording - I think there's a bit of delay getting through to the headphones so I feel like often I'm 1/8th of a beat late - please let me know if you hear that too and if you know how to fix it! Any other comments are also welcome! It got yanked from soundcloud because of the backing track, so I'll have to figure that one out. Without further ado, me with Back to Black: http://picosong.com/xC4h/ And the original, in case you haven't heard it:
  22. I was wondering if anyone could tell me anything about my singing? What category is it? Or style? Am i tone deaf? What do you think i need to work on? I usually only sing at home. I've never sang in front of other people. I love to sing, and I do it everyday! I'd love to hear your advice or opinions please. Thank You !!! Kimberly Kay is jamming on Rescue Me! by Kimberly Kay (Songtree-id-7654).m4a Kimberly Kay jams on kubikmeter is jamming on Morning blues( at the bottom of the bottle) by Kimberly Kay (Songtree-id-12938).m4a