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Found 25 results

  1. Hello guys! I am just curious about this singer's voice and volume when he sings. I notice it is very airy and I know singing with excessive air is bad for your chords, but is there something about his technique or voice that allowed him to sing so long with a healthy voice? (10+ years) I also get very confused on how loud to sing when singing such songs. I guess it is a common problem in a sense when I sing very softly, I can reach those notes easily with my head voice with very little chord closure. OR I end up singing so loud where its basically belting with full chord closure. I can't for the life of me hit that middle area where there is JUST enough power while maintaining such a sweet tone without POWERING IT OUT. ( I am referring to the chorus) Any ideas? Thank you!
  2. Hello , This is my first publication i little bit nervous i want to know your impressions about this song and Thank you !!
  3. Hi, may I know is it possible to manipulate my timber to sing with lesser twang (higher harmonics) but with more base effect (lower harmonics) on low and middle notes? Is there any technique to shape the vocal tract to sound darker? I am always amazed by Lara Fabian's vocal technique, especially her middle notes. Her live performances of "Humana" amaze me the most when it comes to her middle notes belt. I analyzed her belts with spectrum as well as spectogram and I found that her lower harmonics (approx. 1000 Hertz - 1200 Hertz) are very strong till that I can hear the powerful amplification from my speakers. She is "lyrically dramatic singer" for me. Below video shows one of her performances of "Humana". Her head voice at the end of this video also consists of strong lower harmonics. Thank You.
  4. 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
  5. So... From my chest voice up to about A4, If singing in a chest mode I have a consistent tone, but if I have to hit a quick note in the Bb4-C5 range then my voice will fail to make the transition; sounding either muffled in the lower approach or small and thin in the high approach. When I'm singing from the notes D5 to all lower notes, and I don't have to use chest voice, I find a 'sweet spot' in my tone where my highs and lows are balanced. However when I start bringing the middle voice to notes above D5, I start losing consistency; either my voice amplifies harmonics that are TOO high and I end up sounding super sharp, or I try to keep the sound thick but then my higher harmonics only come in on certain notes or textures and I end up with a mix of a veiled sound and sporadic high overtones. Theoretically I should be able to go into that Bb4-C5 range(from chest) with a more clear tone, and I should be able to bring my middle voice to the notes past D5. But it seems like my voice is outta wack when trying to do these feats. There's no other problems here. Phrasing and enunciation is perfect, it's just these weird passaggio deals. I'm fairly confident I've done these passaggios correctly before, but it isn't working right now.
  6. Hi guys I'm kind of a beginner so please bare with me, and sorry if something like this has been answered elsewhere before. One of the things that really makes certain belts stand out to me is that 'ringing' quality. Not necessarily a overly cutting sound, but a nice round 'pingy' ringing sound. An example of such a belt is below (3.10-3.40, the first 'OOOOH', then 'BLIND', then 'YOUR', 'TRY TRY and TRY' - the whole climax sounds super nice but especially these notes). There are dozens of other examples but I always loved this especially. But my main question is, what is this? Is this twang? What is it EXACTLY that achieves such a round 'ringing' on notes? And HOW?
  7. A lot of talk about range and how it's harder for the baritone(or one who thinks he is) to sing high. Here is a detailed analysis of Freddie and notice the first paragraph states his voice is typical for a "baritone". Side note: I also studied with a baritone who had a way easier Bb4 than me. Here ya go http://www.tandfonline.com/doi/full/10.3109/14015439.2016.1156737#.VxWPHpMrLdQ I didn't read all of it yet one of my students sent it to me
  8. The last few months I have noticed less reliability in the upper parts of my head voice. I used to be able to hit a very clean, clear, well connected G5. It started to get a little scratchy, but still there. Now, I can barely hit an E5, and the highest note I can now reliably hit is a D5. What I don't get is that my voice generally feels better than ever. I've been training with Ken Tamplin's Vocal Academy, which has very little head voice development, so I have been doing some basic head voice exercises every so often. I've been getting AMAZING results everywhere else, but the loss of the highest notes makes me think something is up. I do everything by the books - I don't strain for notes, trying to keep my larynx as neutral as possible throughout my range, drink lots of water, steam my voice most days, and I feel absolutely no discomfort when singing. I don't care too much as I rarely use this part of my voice but I can't afford to lose any more notes from the top - I don't want this to effect my high C. I have been on complete vocal rest the last few days - just done some basic lip rolls and tried to vocalise up there but still, the highest note I can barely hit in head voice is E5. Any suggestions of what I can do? I can't afford to have my cords looked at by an ENT so home-remedies and cheap suggestions only, thanks.
  9. Hey guys! I'm a guy, and have always had random access to which seems like the whistle register - although it seems like an extension of my falsetto and I never count it as my usual range. It comes and goes, more often not there, and usually airy and disconnected from the rest of my voice. But the WEIRDEST thing happened - I let out a yawn and made a noise. I went from the bottom of my range, up to my head voice (which stops at about E5), and went into a fully connected whistle register. I was hitting up to an E6 VERY clearly, completely connected to the rest of my voice. I was gliding up and down (to my lowest note - A2) with complete ease, and it felt and sounded more like a part of my head voice as opposed to an airy, difficult to produced falsetto. This has never happened to me before, so I found it pretty exciting I could easily get completely connected heady sounding note all the way up there. But alas, it just kinda stopped and I wish I recorded it for you guys to decipher what was going on! I was wondering if any other guys (or girls) have any experience of something like this happening. Are there any ways of nurturing this? Tried to do some lip rolls up there but now I can't access it as easily
  10. Hello everyone! Well, I have a soprano friend who is auditioning for a role in this musical and I just attended one of the rehearsals last evening and I was really shocked about the catty behavior from some of the other vocalists. Most notably whenever everyone had been chatting with each other after it was over. Standing beside my friend, two other girls who auditioned told her that: "well, we have heard you sing karaoke, but can you actually sing?" An obvious negative remark. And then they proceeded to say to her: "Why do you sing that way? Do all the extra?" They were referring to her curbing mode with ornamentation. I think it is important to state that these girls sang in more metallic modes like overdrive and edge. Me knowing the girl was influenced by gospel and RnB totally gets why she sings the way she does. This type of behavior wasn't only amongst the ladies, but also amongst the baritones and tenors who used different modes and different effects. I suppose my question is this, why do voices who use different modes and effects feel that another voice with different modes and effects is either a.) Wrong. b.) Bad. Or c.) Why they "just don't get it. I understand that any time auditions are involved it is a competitive environment. I understand people will have catty and hurtful remarks to try and psyche their perceived competition out. However, one thing I have never understood is why anyone, a vocalist or an instructor, and I have seen many, feel that anyone who sings differently than they do as " wrong" or "incorrect." And why, for example does someone get jealous of someone who may use ornamentation? And why do people think that edgier and more overdrive singers that use say distortion are trying to outsing everyone?
  11. https://app.box.com/s/6t0vi9tny7isk6en20yibcaonn4hdm9g I don't know many versions of this song, but this is the bluesiest, most personally appealing version that came to mind. There are a few songs I've wanted to do for the holidays, but this one wasn't giving me much trouble like the others so I was able to finish it up. I really like this arrangement and the room it leaves for riffing (which I still need work on), although I think some of the original riffs in Christina's version are out of place or excessive, I liked some of them and kept those. Hope everyone is anticipating the holidays and the new year with a positive mindset. Any and all feedback welcome.
  12. I have only had two years of CVT training, this after I had transitioned from classical to CCM. The way that I understood my voice in classical was as having a very metallic timbre which is what I was told was the overdrive mode of singing. I would work on removing some of the "metal" from my voice. That said, I am trying to discover a way to remove the more metallic timbre from my headier belts. It is easy for me to "belt" well into the fifth and sixth octave with an overdrive sound, but, I would rather produce the sounds by "Curbing" some of that metal by not singing quite as loudly. One of the issues I have always had with CCM training is trying to lower volume because obviously in opera we never used amplification (mics). Are there any way to alter the sound of the voice ala timbre in CCM music? In classical I was taught that darkening of the voice was never acceptable to do, because we must respect the natural weight, but does that also translate into the CCM world, too?
  13. Vocal Twang is a term that refers to a physical configuration for the singing voice that is characterized by tilt of the thyroid cartilage, compression on the vocal folds and an amplification of the voice. This "vocal mode" is ESSENTIAL for great singing. It is the most important physical setup that a singer needs to train to develop to become a great singer. Vocal Twang explanations, techniques and training are all provided in The TVS training program, "The Four Pillars of Singing". www.TheFourPillarsofSinging.com. WHAT IS VOCAL TWANG?
  14. vocal twang

    Vocal Twang is a term that refers to a physical configuration for the singing voice that is characterized by tilt of the thyroid cartilage, compression on the vocal folds and an amplification of the voice. This "vocal mode" is ESSENTIAL for great singing. It is the most important physical setup that a singer needs to train to develop to become a great singer. Vocal Twang explanations, techniques and training are all provided in The TVS training program, "The Four Pillars of Singing". www.TheFourPillarsofSinging.com. WHAT IS VOCAL TWANG?
  15. vocal twang

    Vocal Twang is a term that refers to a physical configuration for the singing voice that is characterized by tilt of the thyroid cartilage, compression on the vocal folds and an amplification of the voice. This "vocal mode" is ESSENTIAL for great singing. It is the most important physical setup that a singer needs to train to develop to become a great singer. Vocal Twang explanations, techniques and training are all provided in The TVS training program, "The Four Pillars of Singing". www.TheFourPillarsofSinging.com. WHAT IS VOCAL TWANG? View full article
  16. CVI vs TVS: Review of “The Four Pillars of Singing″ BY FELIX, ON APRIL 21ST, 2015 So I finally decided to buy “The Four Pillars of Singing″ by Robert Lunte (TVS, The Vocalist Studio). Some of his tutorials and lectures on YouTube caught my attention and after a few days of consideration (+200$ is a lot of money) I decided to give it a try. When I started my singing studies I had decided to look at as many different approaches as possible and learn as much as I can and Robert Luntes perspective is certainly interesting and he definitely knows what he is talking about. I will compare his training system to CVT (Complete Vocal Institute) because it seems to be aimed at the same target audience. “The Four Pillars of Singing” is a comprehensive vocal training system that includes a book, over 350 videos, audio training content, detailed training routines, guide files and a robust learning management system that allows you to take a comprehensive course to study and master the TVS Method. It offers workouts starting in the key of C and G (to make it easier for women to use), training work flows and training routines for over 64 workouts, guide files that help you learn how to perform the workouts quickly and a very useful interface that organizes this massive amount of content. A user interface like this, is not available in any other program.. Robert advertises it as being the system with "the most content in the history of mankind". That is not only marketing but certainly a fact. But what does it mean? There is a lot of data in here, that’s for sure. The content of the book is similar to what CVT teaches. Especially the TVS method for organizing the vowels of singing into what they call, "Acoustic Modes". But unlike the CVT vocal modes, the TVS Acoustic Modes have stripped out a lot of additional levels of complexity, focusing only on where the singing vowels resonate in the voice and their respective sound colors. It is a very effective and intuitive way to learn about the acoustics of singing. In addition to ideas from TVS such as training work flows (teaching students to train with "step by step" instructions), specialized onsets and vowel modification formulas, "Pillars" also offers "physical modes" which are essentially very similar to the EVTS voice qualities or Estill modes. If your looking for CVI and Estill concepts as well as the unique TVS techniques, you can only find it in The Four Pillars of Singing. The focus is on all styles of singing. The 616 page book includes descriptions and illustrations of all the important components for singing; physiology, acoustics and mental imagery. The product is very comprehensive and a lot of work has clearly been put into it. With CVT, you only get a book and some sound samples and that leaves the less skilled voice student lacking for guidance and instruction on how to train and practice. One of the strongest aspects of The Four Pillars of Singing very well may be, that it seems to not miss the important point that students of singing technique programs have to have the content and guidance that no only teaches them the method and techniques, but also teaches them how to apply the techniques with training and practice routines. The sound samples with CVT are helpful, but the value is far below what you get with The Four Pillars of Singing. Then there is Robert. He sure is an interesting voice coach, he sounds very credible and his way of teaching is captivating. In a real-life coaching situation, that might be great and it certainly is important if you want to reach your full potential as a singer quickly. What is better, CVT or TVS? Should I buy Complete Vocal Technique or The Four Pillars of Singing?... or BOTH? It is important to point out that both systems are actually compatible together, but if you had to make a choice, given that "Pillars" already includes the main CVT premise, vocal modes oriented around singing vowels, then The Four Pillars of Singing is the way to go, given that they cover that topic with the "TVS Acoustic Modes". If you are a person who needs or learns faster with video tutorials and audio files to listen to in the care and practice with, then "Pillars" might be the better choice for you. Learn more about "The Four Pillars of Singing". Read reviews on Amazon.com. CLICK HERE FOR AMAZON.COM REVIEWS >>>
  17. CVI vs TVS: Review of “The Four Pillars of Singing″ CVI vs TVS: Review of “The Four Pillars of Singing″ BY FELIX, ON APRIL 21ST, 2015 So I finally decided to buy “The Four Pillars of Singing″ by Robert Lunte (TVS, The Vocalist Studio). Some of his tutorials and lectures on YouTube caught my attention and after a few days of consideration (+200$ is a lot of money) I decided to give it a try. When I started my singing studies I had decided to look at as many different approaches as possible and learn as much as I can and Robert Luntes perspective is certainly interesting and he definitely knows what he is talking about. I will compare his training system to CVT (Complete Vocal Institute) because it seems to be aimed at the same target audience. “The Four Pillars of Singing” is a comprehensive vocal training system that includes a book, over 350 videos, audio training content, detailed training routines, guide files and a robust learning management system that allows you to take a comprehensive course to study and master the TVS Method. It offers workouts starting in the key of C and G (to make it easier for women to use), training work flows and training routines for over 64 workouts, guide files that help you learn how to perform the workouts quickly and a very useful interface that organizes this massive amount of content. A user interface like this, is not available in any other program.. Robert advertises it as being the system with "the most content in the history of mankind". That is not only marketing but certainly a fact. But what does it mean? There is a lot of data in here, that’s for sure. The content of the book is similar to what CVT teaches. Especially the TVS method for organizing the vowels of singing into what they call, "Acoustic Modes". But unlike the CVT vocal modes, the TVS Acoustic Modes have stripped out a lot of additional levels of complexity, focusing only on where the singing vowels resonate in the voice and their respective sound colors. It is a very effective and intuitive way to learn about the acoustics of singing. In addition to ideas from TVS such as training work flows (teaching students to train with "step by step" instructions), specialized onsets and vowel modification formulas, "Pillars" also offers "physical modes" which are essentially very similar to the EVTS voice qualities or Estill modes. If your looking for CVI and Estill concepts as well as the unique TVS techniques, you can only find it in The Four Pillars of Singing. The focus is on all styles of singing. The 616 page book includes descriptions and illustrations of all the important components for singing; physiology, acoustics and mental imagery. The product is very comprehensive and a lot of work has clearly been put into it. With CVT, you only get a book and some sound samples and that leaves the less skilled voice student lacking for guidance and instruction on how to train and practice. One of the strongest aspects of The Four Pillars of Singing very well may be, that it seems to not miss the important point that students of singing technique programs have to have the content and guidance that no only teaches them the method and techniques, but also teaches them how to apply the techniques with training and practice routines. The sound samples with CVT are helpful, but the value is far below what you get with The Four Pillars of Singing. Then there is Robert. He sure is an interesting voice coach, he sounds very credible and his way of teaching is captivating. In a real-life coaching situation, that might be great and it certainly is important if you want to reach your full potential as a singer quickly. What is better, CVT or TVS? Should I buy Complete Vocal Technique or The Four Pillars of Singing?... or BOTH? It is important to point out that both systems are actually compatible together, but if you had to make a choice, given that "Pillars" already includes the main CVT premise, vocal modes oriented around singing vowels, then The Four Pillars of Singing is the way to go, given that they cover that topic with the "TVS Acoustic Modes". If you are a person who needs or learns faster with video tutorials and audio files to listen to in the care and practice with, then "Pillars" might be the better choice for you. Learn more about "The Four Pillars of Singing". Read reviews on Amazon.com. CLICK HERE FOR AMAZON.COM REVIEWS >>> View full articles
  18. Okay Folks, Here's something that I came up with while driving home last night. If we really want to understand high notes from all angles and a high note could speak, what would it be asking of the body? What would the voice say to you, if for example, it wanted to produce a big, powerful high note? What is really mentally and physiologically going on when you produce a high note? Do we really know? Should we really know? Let's go into this really deeply. To make this really interesting if you care to reply, do it as if you were the high note, not just provide explanations. Take on the personna of the high note. You are a high note in your body. What are you going to ask of your entire body? Try and be really specific.... I'll begin.....(going in a first-things-first order of requisites): It's a running conversation between you, (Singer) and the High Note. (High Note) "Before we even get started, are you well hydrated, and did you get a good night's rest because if you didn't you're gonna make this much harder than it needs to be." (Singer) "Yes, I'm good. What's next? (High Note)
  19. Guys and gals, could you please help me out? It’s been over ten years that I have studied a lot of different singing methods and systems. Currently I’m studying musicology at the Utrecht University and still I’m really wanting to understand it all. I have a library of singing books in my home, right now. I have this craving for wanting to complete programs, to get certificats (SLS, SS, CVT, EVT, TVS, and the recent Universal Voice System by Alberto ter Doest). However, when I perform at the university or at those singing courses, I usually get positive comments, that I have so much control over my voice. Yes it does need work here and there, but I might as well just perform and perform and learn from that, because I really know my voice well enough. I still feel my tone is odd and my English accent—for which I even study an English minor at the University—is still strange. And I hear a lot of peculiarities I want to change, but it might just be part of me. I’ve been transcribing some Dream Theater pieces (because of inaccuracies with the vocal lines on the official sheet music), and LaBrie is constantly preparing the singing pitch by starting a passing tone lower; it can be very distracting if you really look for it, or just part of his style if you accept it. I think I should just plan to post a song here, one every week. Or create a video how I sing in my whistle voice and exercises I did to improve it. Do you have any suggestions? I feel like I have wasted my talents by trying to find the key to finally start singing for so long, even though it appears I had it in possession for more than a while now. Cheers, Mano
  20. Enjoy this new video that provides an overview of what vocal modes are and why they are important. If you train and study vocal modes, your understanding of the singing voice and vocal technique will be vastly superior then dealing with training methods that can't explain the physiology and acoustics of singing. The whole point about vocal mode pedagogy is to make the understanding and execution of singing better EASIER, not harder. So don't let anyone tell you that "vocal modes are necessarily too complicated". That is simply not true. If you take a little bit of time to just learn how it works, you will open up a huge door to understanding the voice and singing better. And of course we cover this in The Four Pillars of Singing 4.0! http://bit.ly/TFPOSONLINE. Enjoy this video and hope we can have some discussion about vocal modes.
  21. For a long time, I have been practicing to have similar technique to this vocalist. Mind you, I do not wish to sound exactly like him, I know that's not possible, but I would like to better understand his techniques and vocal flexibility. Over the past five years, I have accomplished his range and some use of techniques, but as you will hear in the recording at the bottom, my formant and vocal flexibility are lack luster. This has been hard to fix for me. Part of my formant problem is me finding the spaces in my voice where I sound my best. And, due to imperfect technique, I get tired very quickly. This is the song I am singing. Below is the same song with me singing over it. You should be able to hear it pretty clearly, how much voice doesn't quite have the same overtones, yet, it seems like our vocal tones are within the same ballpark. You can hear my voice get so, so tired after a while. Sometimes I sound mouthy and muddled whenever I feel like I sound so much brighter or warmer. I am unsure of what to be looking for. I want to be a performer. This doesn't sound very healthy to me. Please help me to understand where my voice needs to be worked on. Thank you.
  22. Hi everyone, I'm just wondering how using vocal fry, witches cackle (i think they're the same thing), etc helps sing notes without as much effort. I'm a fan of Marilyn Manson and whilst the majority of people would say he was a very deep voice, I've noticed that he does hit a lot of higher notes.. they are distorted most of the time though. But the thing I notice with the higher notes (E4 and up) is that they seem easy for him hit. A lot easier than someone really going for it in that area. I'm also a fan of Chad Kroeger from Nickelback (a fan and proud!) and noticed that he also seems to hit a lot of notes E4 and above quite easy. I think a lot of people would say Chad 'pulls chest voice' but I don't so. It seems like it comes from a beefy head voice with no straining and pulling and then the rasp he adds onto it makes it sound even more thicker. I notice with Chad that at the start of many words he uses a vocal fry into the note. This makes me think that vocal fry helps alot with hitting these higher notes without as much tension and in a more relaxed way. I've noticed a lot of NIckelback songs are quite high in their range. The verses even start off quite high and Chad manages to sing them lightly (without pulling / straining) and then belt in the chorus. Even though i'm not a huge fan of Nirvana.. I hear Kurt Cobain using that fry in the chorus of 'Smells Like Teen Spirit'... I think.. and I can't imagine Kurt Cobain or even Marilyn Manson really dedicating their time day after day to sing higher with power. So does vocal fry really help with hitting higher notes without as much effort? How does it work exactly? I personally think it's a very powerful head voice with a hell of a lot of cord closure. It's definitely not pulling, pushing 'chest' voice with vowel modifications and all that stuff. Take a listen to the Marilyn Manson song below. Listen to the Chorus. If a 'normal' singer tried to sing the chorus, they'd really have to put some effort in to get there. https://www.youtube.com/watch?v=oV1K11dJS8Y
  23. Hello I'm new here. I'd like you to say a few words about my vocal cover. http://www29.zippyshare.com/v/H12A7Wv8/file.html *Remamber to choose "hd" in right upper corner.
  24. I'm trying to sing some Roy Orbison songs and I just don't quite know to do his higher notes. When I try to hit the high notes in chest voice they come out belty and they strain my voice quick. I usually have to resort to head voice to pull these notes off. The example below the notes I have trouble with are after the 1min mark like "just before the dawn", "i awake and find you gone", "its do bad that all these things". I can hit the notes with a clean head voice but I'm having trouble distinguishing how high I should go with my chest voice in Roy Orbison's songs. I'm a male tenor with a chest range of around C3 to F4 where the F and G seem to require belting or using mixed voice. /watch?v=TPqZs7Vl_xg Around the 2min mark h says "Anything you Waaaa-aaaaa--aaant" I the last pitch and subsequent "oooooh" I have to use head voice to hit. /watch?v=NcGzwyTvkIQ
  25. So im working with 4Pillars and the term that is referd to tons of time is "Twang". And Quack and Release onsets is kind of helping students find that Twang configuration. Now ive been experimenting with this Quacking sound lately and i am doing this sound which i dont know if its correct.   Now i am aware this is NOT a sound i will be using when singing, but what i want to know if this is a proper way of finding that Twang thru EXCESSIVE quacking.   Obviously i want to aim for the effect that Quacking provides (adduction i guess) but in a more beautiful tone.   https://app.box.com/s/lnvdjb8n6rdge9kuukrkc3q9mvxhvoeo   Like i said this is extremelly excessive but i do feel like the tone is fuller and sound more connected.   You will notice as i try to open up the vowel (or embouchure) i fall back to falsetto.