Leaderboard


Popular Content

Showing content with the highest reputation since 06/14/2018 in all areas

  1. 3 points
    Hello Fellow TMVW members! Humbling though it may be, I thought I would share a track I'm working on, (Beatles - In My Life) and the vocal "sculpting" process I go through in an effort to record my best performance. (I'd never share unfinished tracks except to friends and in this forum . . . plain vanity) I've had a lot of experience analyzing my vocals for recordings, I never quite knew how to articulate the process I was engaging in nearly as well as after having gone through The Four Pillars of Singing, learning the "talk track" I've heard Robert Lunte utilize across many hours of lecture videos! Once one is familiar enough with these "mechanisms" for mending, strengthening, or otherwise fine tuning a vocal line, the mystery about what to do goes away! Rob's techniques are structured in a simple, yet meticulous sequence that really does create the feeling of having a vocal sculpting tool box! I'm posting this both as a subject of interest to others who may be starting out with this type of challenge, and as a means of accountability for me to complete the process, which has been brutal for me due to inexperience with the recording software. It's good for me though, as I intend to record several old hit favorite song interpretations in the coming months. I'll post my final "sculpture" here for this track when I finally complete it. "Work to be done" on this vocal performance is: Pitchy lyrics / appaggio drop out, vowel mods for best resonance, better phrasing, embouchure brightening, slight lightening of mass throughout, . . . . I'm sure there's more, also, rhythm guitar mistakes, and guitar solo is not quite tight yet, not happy with the effects on my voice yet either. I'm contemplating leaving the last "in my life" line unresolved like it is now. I was trying to sing that last half of the last line and had to quit recording due to a leaf blower. I think i'll like it that way, maybe with a high harmony over the top. Lastly, I may end up using a different mic than I did for this take. One thing that clearly gets hammered home in this process is that performing live is a far more forgiving environment than being under the microscope of a recording. Peace, k
  2. 3 points
    I listened thoroughly to all the flaws I was hearing in this take and then created my cue sheet in keeping with The Four Pillars of Singing methodology. I've attached the document I created. I will use this to change the way I'm singing the lines and hopefully therein improve the overall performance.
  3. 2 points
  4. 2 points
    1. How much body movement is bad? However much is perceived as "bad" by the audience you're singing to. e.g. an opera singer dancing like a pop-star or flailing about like Janis Joplin may be too much for the audience. But then again, if your more ideal fan would enjoy that, even in opera, go for it. 1(b). Movement that makes throws off your singing technique can also be "bad." e.g. hunching over in a way that makes you have to push harder to sing part of a melody because you don't have good breath control anymore. 2. Physical movement is trained through awareness and practice. But again, "excessive" is very subjective. While you can stand perfectly still behind a microphone stand and sing with flawless technique, why would you want to? Romance the music, do what you need to do in order to feel and express your song. Doing so invites the audience to do the same. Singing is as much a full-body, emotional performance as it is a technical one. Once you know what the limit is that your audience can handle, then you have a line to push into and elicit a reaction from them. However, I also suggest purposefully practicing in three ways that have helped many of the bands I've coached over the years: Stay relaxed and have fun with the song, not caring about mistakes, and being able to laugh at yourself -- this will loosen you up. Stand perfectly still and emotionless, focused on flawless technique -- this will build fine-tuned technique. Act like you're giving the performance of a lifetime to a very large audience of your more ideal fans -- this will build endurance for when you do perform.
  5. 2 points
    You can't expect to be done in 3 months. If it was that easy, everybody would do it.This is a marathon, not a sprint.
  6. 2 points
    https://thevocaliststudio.com/the-four-pillars-of-singing/
  7. 2 points
    Just like the vowels can be heard simultaneously, so can the physical modes, as a general rule. For example, you can be twanging and in cry mode at the same time.
  8. 2 points
    That is a pretty cool concept. One thing is missing though......A sound man to adjust things during a performance. My effects boxes and tone controls are labeled towards Character voices rather than vocal pedagogy.....I am more familiar with making character voices. I am now a "set it and forget it" kind of guy. I have been working on "Honesty" by Billy Joel. The sound was kind of OK to me but did not have his punch. Then I made the realization that he is a TOUGH GUY FROM THE BRONX.......I set the "effects array" for New York Gangster and there it was.....The sound I was looking for.
  9. 2 points
  10. 1 point
  11. 1 point
    I know he's long out of the spotlight, Gary Puckett & the Union Gap...famous once for hits like Lady Willpower, Young Girl, Woman Woman, Over You back in the 60's. I always admired his tonal quality. But I recently ran across this solo album he did of some rock hits and I developed a newfound appreciation for his obvious skill and seemless transitions on these tunes. If you listen to him, you can pick up on many great things you might want to incorporate or develop in your own voice. Such consistency of tone, he sounds so smooth and seamless going in and out of falsetto head, voice, chest voice like nothing. Such a mixture of dark and light quality. In fact you will think he's singing a lot higher than he really is. I study his vowel particular choices...facsinating...to me. He's right up there all the greats IMO, Tony Bennett, Andy Williams, Sinatra, etc. This is really worth a serious listen! Check out the entire album.. here are just a few:
  12. 1 point
  13. 1 point
    I did not watch the videos yet but I did look over the written description on the website for "The sound of Color". Assigning a sound to a color is in line with using the opposite to teach yourself perfect pitch from years ago. I think it was Keven Burg? Any way the idea was to associate a Color to a given pitch. The color was not a set in stone association for all people but each individual would choose which color best represented a specific pitch. Associate one pitch at a time and learn to recognize the pitch by similar attributes between the two. For Example, maybe F# is Bold and vivid to you and you sense the same thing with the color RED. Perhaps Ab always sounds Muddy and Dull, so maybe that would make you think of Brown. To be honest it is just another way for you to pay closer attention to sounds and frequencies and to notice slight differences or characteristics between them. Granted it is not the same as having a chip implanted in your head that when you hear F# you would actually SEE red, but the Pitch can still be visualized in your mind when you hear it.
  14. 1 point
    Interesting. I've seen the opposite in thousands of students - from little to no breath support to pushing way too hard. Very few have had great breath support naturally. I completely agree that if you overthink it while singing, or "push" or "force" it, then it gets in the way, especially in performance. At the same time, the whole reason we train anything is so that we don't have to think about it when performing - that applies to pretty much anything, especially in athletic ventures. I use specific exercises for breath support, so they don't have to think about it when doing other things in training, and they know exactly what feeling to go for when I tell them they need to support better for add volume. The above video was about great breath support from sighing through phonations, rather than pushing or forcing anything to happen.
  15. 1 point
    So, is the problem singing higher or faster? If you are working higher and faster at the same time try working them separate to find the real issue.
  16. 1 point
    Never had a singing lesson in my life, but starting school in Jan. 2019. I can hit an A#1 in chest, A#0 in Subharmonics, and I've found a lower subharmonic that even takes it to a D0(I think?). It's also getting deeper and better by the day. I've only been singing (horribly I might add) for a few weeks. I cannot find any advice, practice techniques, digital Tuners, songs, etc. For this range.... Ive exhausted you tube on the subject. luckily I have a 2nd decent baritone range as well to help with vocal entertainment. Anyone that can help? I need a ton of work, but really feel there's something special there I need to build on and share.
  17. 1 point
    It's best to use a link to your video, rather than an upload. Great low voice! I can form solid lyrics on a C2 or D2, and sing pretty straight forward down to a G1. Although, below B1 feels more like Tuvan Throat Singing.That took years of work too. A tenor range is probably the most difficult to develop, because, for a male, E4 to A4 takes a lot of control over head voice resonance balanced with bringing the chest voice musculature back in without strain, choking, over-compressing, or too much push. Start training with a course like The Four Pillars of Singing, or take lessons from a good TVS-Certified Instructor. Contact Robert or me and get started. There's no quick tip to helping you, but there is plenty your can do to start training solid coordination and strength in your voice. IT's not uncommon for someone to expand their range by at least half an octave, effortlessly, in the first lesson or two. For now, place a finger on your bottom lip and sing up and over it with a nice big smile. Also, sigh through your phrases from full lungs. Yes, sigh. If you need more detail, look up Appoggio explanations with Michael Trimble. Also, try to whimper top-down a bit more into your phonations. Done correctly, it's called cry vocal mode. Not a baby-like "whah," but rather whimpering like a puppy, just like when you cry or experience extreme emotions. In all honesty, it's best if you have guidance through all of that.
  18. 1 point
    Can you clarify your question a bit more?
  19. 1 point
    Milly, Kindly show some respect for our member(s). Insulting and disrespectful behavior is not tolerated on this site. Any further behavior of this type will result in a permanent ban. Thank you !
  20. 1 point
    Thank you for your reply! Great advice
  21. 1 point
    @sandwichTo quote his last post, I think he answers your question:
  22. 1 point
    The practice techniques would be the same for anyone. Practice singing scales....Do,Re,Me etc....practice matching pitch to an instrument...piano, guitar any thing that makes a pitch for you to match. Sing songs and melodies. Record yourself so you can hear when you are OFF PITCH. The voice works the same way whether you have a crazy deep voice or a crazy high voice or a crazy weird sounding voice. Matching pitches while singing a melody is the most important thing at first. The more you sing and work on singing the correct pitches in a melody the better you will sound.
  23. 1 point
    Breath support is the first place any teacher should start with there student and any student should pick up first too Have you just started or something?
  24. 1 point
    Check out the banners all over this site. The Four Pillars of Singing is the best training you will find. Even the lighter Udemy version is incredibly comprehensive. If you're not the type to learn from videos, then I highly recommend finding a vocal instructor. There are a few in here. Here's a link to my own instruction: https://rocksinginglessons.com Robert, the creator of the course I mentioned, and founder of this website, also teaches: https://thevocaliststudio.com You could also get started with a mini-course, like the one Robert and I put together here: https://vocalathleteintensive.com That last one won't be up for much longer though. We're turning it into a full, online introductory course very soon.
  25. 1 point
    I'm surprised you can tell my tone by my text, haha! Seriously, man, I'm not copping an attitude. Sorry if it was taken that way. They were legitimate questions. And what I said about quick fixes was very legitimate too. As stated, cry vocal mode will help with going lower as well. I also posted one way of starting to get the feeling for it. Thank you for pointing out how my post was taken though. It wasn't my intention.
  26. 1 point
    This point Draven has made here, I have learned is a real cool added benefit of good embouchure! Anyone can test this and feel it for themselves! Just sing anything with, and without, good embouchure. I know that in order to achieve muscle memory on proper embouchure one must exaggerate the movement of the lips/mouth (when training) to a point of feeling strange, gradually the habit will establish and won't feel or look strange to the average person.
  27. 1 point
    Huh? I invite you to check out my online course for $20. It will give you a 100 ways you can improve your singing and new ideas you can try. Click This Link: http://bit.ly/TVSLiteCourse30 BTW... Looking for free tips on YouTube and this forum are not going to do much for you, you have to train. The day you think your done,.... your done. Like for good. The art, craft and work involved in being a good singer is never "done". There will always be more to learn, more growth to realize, more challenges, more leaps forward in your abilities. Welcome to our forum. Thx Geoff...
  28. 1 point
    Stop pushing and start singing. Train. Join Robert's course. Vocal Fach or classification is only needed when there are pre-written parts for specific voice types (both range and color), such as in musicals, opera, and choir. Contemporary singing rarely needs more than just knowing your range. And since singing is very different than speech, your speaking voice is no indication of actual vocal range. So you know, mixed voice (more aptly "mixed resonance") IS head voice. Within the head voice range, you can open to more air (falsetto) or reconnect to your chest voice musculature by "mixing" them back in. Falsetto won't damage your voice any more than whispering would (which it can, surprisingly). However ,pushing to go higher and higher can be dangerous. When you start training, remember this:
  29. 1 point
    Speaking voice has nothing to do with your vocal type. Our own in-house coach, Draven Grey has even said most of his students speak at the lower end of their range. I think voice type has more to do with where your voice sits. So, where you can sing with the most ease while using proper technique.That's what I've gathered.
  30. 1 point
    I've read some interesting things about how when cats purr, the frequency emitted helps them to more quickly heal. https://www.purrfectpost.com/healing-purrs-how-your-cat-can-help-you-heal/ I'm not sure if humans can learn which frequencies to emit in order to heal specific maladies (would be something science would need to study). However, the fact that when you go to the doctor they never once ask you when the last time you did anything to lift your spirits was is very odd to me as a singer. Singing (and dancing, etc) lift up the spirits of us, and those around us, whether it be professionally, spiritually, or in solitude. Even "bad singers" can heal themselves from a bad mood to a good mood. You don't have to be good at something to enjoy the act, but I digress since that's not why most of us are here. Singing can help with chronic pain, according to this article: https://diymusician.cdbaby.com/musician-tips/the-healing-power-of-your-voice-7-reasons-why-everyone-should-sing/ and it's just good for us, like running or eating a salad or social time or drinking water. https://takelessons.com/live/singing/health-benefits-of-singing The rhythm in music brings every single human together regardless of culture. We all understand that drum beat, as the sound of life. Music is such a vital part of being human that without we lose a bit of ourselves. Why is singing important? Because it could heal us and others in many different ways, and it's simple, and free.
  31. 1 point
    If you're doing it wrong. I tried for years to match these guys who were up in tenor range, because a lot of guys I listened to were tenors. I couldn't do it without flipping into falsetto and ending up with a completely different tone. I finally start working with somebody who knows and not only do I find I'm getting up in that range, I find out that I'm a tenor! After believing for 8 years that I'm a baritone. I got several opinions on that. Some thought I was a baritone, some weren't sure. It just goes to show that it doesn't matter how many times you do something or how hard you try if you're doing it wrong. Failure does not mean you can't do something. An important lesson.
  32. 1 point
    Lord, That is part of what led to this post. If you do not know how to tell if you are breathy or not or you do not know "How" to use call mode or any other type of voice production you can struggle for years thinking you are doing everything right and you still cannot make gains. Sometimes it takes someone else to listen to you to know whether you are actually in "Call Mode" or if you are trying to add too much air to get "Louder". It is not just saying "HEY" as loud as you can that puts you in call mode.
  33. 1 point
  34. 1 point
    I hope you figured this out. You really need a mixer, even if a very small one. I'm sorry I didn't answer sooner. I haven't been on the forum since July.
  35. 1 point
    Everyone I've taught speaks near the bottom of their vocal range and shouts closer to, or just above, their primary bridge. As with singing, when trying to add volume to the lower range, it's easy to overflow the acoustics and cause too much strain on the vocal folds. Also as with singing, using a horizontal embouchure, lifting resonance to the soft palate and out from there, your voice becomes much easier to hear and unwanted tension is taken off of the vocal folds. Regularly practicing resonant tracking (nasal buzzing consonants like /m/, or rather humming while buzzing the lips) will help both your speaking and singing voice in many ways. For example, it will help you better balance compression with air support, help lift the voice away from the throat, and be very therapeutic for your vocal folds. Singing is helping your voice for the same reasons. However, it doesn't rule out other possible medical issues. There have been plenty of professional singers who sang for many years with polyps and the like. Asthma meds will dry you out and make it more difficult to get good vocal fold closure. I've experienced that first hand and with a number of my students. A personal steam inhaler, salt inhaler, and drinking plenty of water can all help with that, but only to a point.
  36. 1 point
    Lately, I've been pondering this metaphor in an effort to effectively convey some ideas about singing to folks who have had little exposure to good singing pedagogy yet, comprehend guitar amplification and effects. I'd appreciate any input on this, how it hits you, is it effective, improvements, any debate or opinions are welcomed. I often think of the physical vocal modes as similar to the knobs on a guitar amplifier. . . . . . and the acoustic vocal modes & effects as functioning like the e.q. and effects pedals.
  37. 1 point
    That is a good way of thinking about things. Before I found out about "TheFourPillarsof Singing", The other books and videos I found made me think you were not supposed to "Do" anything other than use support and let your throat relax. Whatever sound came out is what you had to work with. Anything else was manipulation,and manipulation is bad. At the same time these teachers were saying things like "Bring the voice forward" "Sing in the mask" "Add Twang" "Tilt the larynx" "Raise the soft palate"..... I was trying to "Let these things happen" without "Doing" anything. With "TheFourPillars" Robert would run through the coordinations......"Hum on an EE sound"...."Open to "EH" while keeping the Twang of "EE"" "Dampen the larynx"..... Not only were you ALLOWED to DO stuff....you were supposed to and instructed on HOW to make that sound.. Of course, these are extreme sounds and what you use for Exercising. But they also teach you how to control the amount you are using and HOW to dial in more or less of the effect. I was also under the impression that if you used one effect you wouldn't be able to use another or the one prevented the other from happening......Like if you were adding "Twang" you could not also "Sob". But, as you show in your Effects box, these are different controls that are controlled by separate actions of the voice box and vocal tract. I guess if I keep on there is a danger of your head exploding again...... I am still trying to fit the time to record, soon I hope. I will send you an Mp3 of my progress plus a recording I made of "Honesty" about 10 years ago. You can let me know if I have improved or lost focus over the last few years.....No pun intended but be honest in your evaluation.......I can take criticism, especially when improvement is the goal.
  38. 1 point
    Hi there folks! I just joined today, my name is Liza Jean (stage name, granted), and I sing for a KC-based rock band. I'm an alto/mezzo and my chest range is roughly F3 to D5, and my head voice is about Eb5 to G5. That being said, I can belt an Eb5 in chest, but it comes and goes, as that area is where my vocal break sits. So I guess I'm here with a few questions! I take singing lessons currently, but I'm pretty certain my teacher doesn't have formal training in the sense of knowing the pieces of the vocal chords. She has her own solo project and usually teaches children, and while we've made some great progress with where my voice was last year, I'm still hitting some roadblocks that I'm not sure how to explain, and that neither of us are sure how to overcome. So I thought I would turn to y'all! So without further ado, I'll try to word these in a way that makes sense: 1. When I initially started working on strengthening my head voice, I did by using a lot of nasal-y 'nya' vocalizing. However, I've found fairly recently that this seems to create a lot of tension in the back of my mouth/back of my tongue. When I sing in head voice, it's hard to not fall into it, and if you put your thumbs under your jaw and right at the back where it curves up, that soft space always feels 'weird' when I sing head voice. The best way I can describe it is like someone's stuffed cotton into the space or similar. I'm pretty sure it's tongue tension but I'm not positive. Thoughts? 2. My chest voice is very deep-sounding in tambre, and pretty warm. Even when I belt, there's still a decent richness to the tone, but once I get into head voice, I lose it. My upper register sounds like a completely different voice: it's a little thin in tambre (but not breathy), very bright, and just generally not what I want. I'd love to bring some of the richness of my chest voice into my head voice, but I'm not sure how to. 3. The dreaded vocal break. I definitely have it, and it's very noticeable. What are some good exercises to smooth this out? It tends to sound a bit like a yodel, but there's still a patch of graveliness when I make the switch, even if I slow down the exercise I'm doing. Being able to switch seamlessly between my two registers would be absolutely ideal! 4. In general, I tend to break fairly easily in my head voice. I know this is probably a matter of strengthening my breath support, but in particular words that start with a vowel or glottal stop have a high tendency to break and/or crack, and so far my only real method is to just very slowly go through the vowels while in my head voice, but I'd love if there was a better set of exercises I could do. Songs I tend to sing for practice on these things include Stone Cold (Demi Lovato), Praying (Kesha), and more recently Who You Are (Jessie J). They all have a lot of runs and switching between the registers, and I'd love to be able to sing them and have my voice sound like one seamless, well-mixed register. Any advice is appreciated! (And if I can, I'll try and get a vocal recording up one of these days if it's easier to hear what I'm talking about.) -LJ
  39. 1 point
    Thanks for the guitar track. I never tried to use alternate tunings. I may dedicate one of my yardsale guitars to DADGAD tuning to play around with. If I can think of it as a separate instrument it may make it easier for me to learn. I have played Mandolin, banjo and Dobro before. Dobro is like a slide guitar or simplified steel guitar. I think the Dobro was tuned to open E or open G. As for voice sculpting ... I was also a product of the 60's and 70's mid east coast USA, cartoons were my babysitter. When singing I was told to not imitate others...do not strain and to sound like other people was "Forced" and bad. Having said that,Several elements are mentioned in Vocal pedagogy: sub-glottal and supra-glottal pressure, TA engagement, CT engagement, support, Thin fold, Thick fold, Fold Compression, Breath compression, False folds, Epiglottis(epiglottic sphincter , tilt...) Thyroid tilt, Cricoid Tilt, arytenoids, Larynx(lowering,raising,dampening), and last but not least Formant tuning... . What does this have to do with anything? Although most singing teachers/coaches would tell you NOT to manipulate the voice, when you are doing nothing more than singing a pitch without the worry of sound-color or emotional content or formant tuning and such, IF you are having trouble or things do not sound pleasant, they will tell you to Raise or drop the larynx, add or subdue twang(Epiglottic sphincter, throat narrowing and opening) , or add a "Cry" to the voice, or Add TA or CT, or raise your soft palate......on and on. How is any of this this NOT manipulating? Also, Any of these things will "Change" the over all sound of the voice. I will preface this next part with this statement......A dedicated singer speaking about imitating cartoon voices is almost as taboo as an airline pilot speaking about when he piloted a martian spacecraft........ Ok. A while back I recorded a song for the review section.....I was told I was too nasally(Even though the Pinched nose test revealed no changes in sound) , I sounded strained like I was reaching for notes, I lacked support and over all had a bad sound. Everything seemed free and easy to me...I kept my ribs expanded like I was told to do for support, I was singing in the "Mask" like suggested(at least as far as I understood it)......So what to do? I decided to rerecord with the most choked up no soundcolor, most aweful sound I could think of for singing....A cross between, Bullwinkle Moose and Granpa Simpson......Wheezy,hard to control and like singing through a nearly closed throat. no twang, no mask resonance and pretty much no high overtones at all. The result? according to the reviews it was the best I had ever sounded and whatever I was doing keep doing it. My conclusion......If you do not like the sound of your voice use someone else's. Think about some of your favorite singers.... Dio, Freddy Mercury, Axl Rose, Bon Jovi, Elton John, Adele, Bruce Dickinson Elvis, Michael Bolton, Michael Jackson.......Do they really sound the same when they are speaking as they do when singing?. Maybe when trying to speak to 1000 screaming fans at a concert or while on stage but not when speaking "Normal". Their singing voices are "Sculpted". They have gone through a process of finding a sound that fits their style and the music that they use to back them. What does this have to do with Cartoon Voices? Cartoon voices sound the way they do from exaggerations of one or more of the elements I mentioned before plus a specific dialect or accent. Because of not being able to feel or see the muscles and ligaments that make the voice work it is not easy to isolate the different elements and use them or work on them. , Drop the regional dialect or accent and you have a way to access those elements and work on them. For instance, the Bullwinkle sound is a matter of vocal fold compression, larynx dampening and a little air bleed-through. The Grandpa Simpson thing is Over compressing to the point of closing the throat completely. From all the talk and books on singing that emphasized "Open Throat" and "Feel Nothing in the throat" I lacked compression and that also leads to lack of "Support". Even though people would tell me I lacked support or compression, I had no idea HOW to access them especially when told to FEEL NOTHING in the throat. A voice like Bugs Bunny would be an example of "Twang" or a "Narrowing of the epiglottic sphincter" or the Bright Bratty sound that youtube teachers keep mentioning but never tell you that it is just to help keep the vocal folds or TA muscles engaged, not a "Sing like this" kind of thing. I am not sure how to wrap this up now.....I started this at 10 this morning and have been doing "Drive by" typing while taking care of other projects......I hope it is useful to someone out there........
  40. 1 point
    It seems to me that more people would have replied to this thread. The subject of Vocal Sculpting itself is rather interesting. It is one thing to sit and learn the melody of a song or figure out the basic chords and quite another to actually think about how you want it sound and then work on fitting the voice to the music or fitting the music to the voice. I am the type who for the most part just sings and plays and whatever it sounds like is what it is. There are times that I hate the sound so much that I just move on to another song and then there are those times that it sounds as if there is something more there that can be brought forward if I just change the Inflection or sound color or maybe the mood of the song. How others make the choice and what their process is for changing a soundcolor or mood would be an interesting conversation. Was there something special about "In My Life" that made you decide to go for a softer more personal delivery? As I have mentioned, the walking bass line is what I chose to follow and build apon for "In My Life". When first learning a new song I will usually listen for the bass line to help me figure out the chord progression. Even though I had no idea what I was doing, I played bass for a working band before I finished grade school, so that is the first thing I hear when listening to or working on a song..
  41. 1 point
    I think you nailed it. I am not even sure why I did not try that. I am already using it on "Hardly ever heard", H-ah-dly......
  42. 1 point
    Almost everything I do has a John Prine feel to it. "In My Life" has a walking bass line that I like. It almost has a swing feel to it when played by itself. As I would build the song around the bass line and rhythm guitar you are playing a chordal melody( Which sounds awesome by the way). Did you work out this arrangement on your own? I do not even really hear a problem in the singing. Perhaps, you are just closing a bit too much on Lose because of the OO sound. The rest of the singing sounds just shy of a whisper and the OO has a closed voice sound. Other than that it is pretty consistent.
  43. 1 point
    I like this. It has a soft lullaby feel to it. More reflective and nostalgic than the Beatles version. There are places in the song that you may be trying to get a little more intense to show the emotion....this is not easy to do when singing soft and trying to keep the quiet reflective feel. It turns out that these places have to do with the word Lose. Maybe if you let a little more air escape(More breathy) on the word Lose(at those times) you can keep the intensity and not have the OO sound get too sharp and loud. Only a suggestion. I really do like what you did with this. I tend to go in the opposite direction with this song, more intense than the Beatles and a bit faster.
  44. 1 point
    I've been singing Swedish traditional music with a vocal ensemble this spring. I sounded good in the ensemble, I think. The leader (the teacher) was happy with my singing. At home when checking with a tuning app (on cellphone) I could not sing the correct intervals. Eg. I was supposee to sing G-E but would hit Eb instead of E. After some practice and testing I hit E. Is ensemble singing easier? What is going on?
  45. 1 point
    My goodness what are they indoctrinating the youth with these days. Not left school yet and to old to pursue a career
  46. 1 point
    Good point. I did not think of the interval in terms of G being the root of the scale and E being the 6th. I was thinking of the G as being one of the notes in a chord and E being a note in a separate chord in the over all chord progression. This would also lead to WHY you were able to sing the interval with the ensemble . For one, you had other singers singing that note along with you and you could hear the "Chord" being produced by the different singers. And ,if you were singing by yourself, you could "Hear" the chord played by the instruments.
  47. 1 point
    It does not have to do with a specific interval but a melody line within a song. If you are going to practice with scales or intervals use an app that PLAYS the scale or interval so you can hear the change and not have to guess the pitch while looking at sheet music or "hearing" the song from your memory. There is also the possibility that the actual words, syllables or vowels you are singing are throwing you off.
  48. 1 point
    The difference in a speaker, like you've linked to thus far, vs a more traditional PA speaker is that the ones you've linked to are meant for much lower volume situations, where all the music is coming from the same speaker. In a rehearsal room, it would be very difficult for a small speaker like that to be loud enough to compete with everyone else. A small PA System or "sound package"/"sound system"/"PA package" would probably work great when the speakers are positioned correctly. 15" speakers tend to work best in a band situation, as long as the speakers are at ear-level or above. I've heard from 100 watt to 900 watt work both well or horribly, depending on the band's sound level. Yes, if you can't hear yourself very well, you will naturally begin to push your voice too hard to compensate. In-ears will help you with that problem immensely.
  49. 1 point
    This is some real nice singing and I'll probably be on this post by myself, but the man can sing. He has such a tonal consistency and a richness to his voice.
  50. 1 point
    HOME RECORDING BASICS - A FOUNDATION FROM WHICH TO START!   THE DAVID LYON SET-UP.     When it comes to recording any instrument, people always get way too caught up in gadgets. This is especially true of recording vocals, especially for do-it-yourself recording studios. People tend to think that a better gadget will always translate into a better recording, which occasionally is true, but rarely. Yes, the better tools and equipment do have certain advantages, but you shouldn't bother proceeding to buy (and potentially wasting your money on) the more expensive recording stuff until *AFTER* you have first mastered the basics of recording, because otherwise it won't really make much (if any) improvement in your recordings. My current vocal recording & mixing setup:   -- Dell Latitude E6420 laptop (almost 3 years old, Windows 7 Pro 64-bit, Intel Core i5-2520M 2.5 GHz CPU, 4 GB RAM - In other words, nothing fancy or special) -- M-Audio FastTrack USB 2 (the cheapest DI that I could find at the time, less than $99) -- AKG Perception 120 condenser mic (a good quality mic, but also inexpensive at $99) -- Livewire Advantage 5' XLR microphone cable ($15) -- A cheap pop screen ($10?) -- A cheap tripod microphone boom stand ($20?) -- Reaper 32-bit DAW (Free if you want, I chose to support them, cost $60. I stuck with 32-bit Reaper even though I have 64 bit Windows, because more plugins are available for 32 than 64 bit) -- Audio Technica ATH-M50 headphones (About $150. Don't buy the curly cord, get the straight cord!) -- A folding card table to set my laptop and M-Audio interface on. -- My basement family room (completely untreated - basic carpet, some couches, a TV on the wall, a cat weaving between my feet, etc.) That's it! What DOESN'T really matter:   1) Mac vs PC is mostly irrelevant. Digital is digital, so mixing and recording on a Mac vs PC is merely a matter of user interface preference, not results. I've personally found that Mac is the most "popular" platform recommended by musicians, but that Windows is the most "functional" platform that has the most plugins and recording/mixing software available for it. So I use Windows because I get more software options (plus it's much cheaper than Mac). 2) Condenser vs. Dynamic / Cardoid vs. Super-Cardoid / etc... is also mostly irrelevant. Actually these do matter a little bit, but not really for a beginner recording engineer. Different microphones will definitely have different "warmth" and "character", and also different sweet spots, but usually the difference is quite minor and very subjective. Just start out with a good quality mic and use it A LOT until you really know its quirks, strengths and weaknesses. Getting to know a mic is like making a good friend - it takes a lot of time together to really know it. Over time, you can begin to work your way into other mics as you begin to learn the subtle nuances of each different mic. What DOES matter when studio recording:   1) Nothing replaces a good performance. Bad vocals recorded in a world-class professional studio are still bad vocals. Relax, have fun, and let your experience and training take the lead. 2) NO CLIPPING! If your microphone is clipping, you either have the gain turned up too high, or you are using the microphone incorrectly, or it's a sh*t/broken microphone that needs to be replaced. Every microphone has a "sweet spot", which will differ depending on the microphone and how loud you sing. Do some experimentation to find your microphone's sweet spot. Keep experimenting until you can record your vocals cleanly at about 60-70% max. In a modern digital recording and mixing environment, there is ABSOLUTELY NO advantage to recording at or near clip! That's an old paradigm from the analog recording days when the tape imparted some "hiss" moving over the heads, which no longer applies when recording and mixing digitally. So, record your tracks normalized to about 60-70% (leave lots of head room), and then adjust volumes to blend properly during the mixing phase, and worry about normalizing only for your master track after it's all said and done with mixing. 3) Use a microphone stand. Using a mic stand helps you keep your mouth in the microphone's sweet spot, and also creates a more consistent recording volume floor. It also eliminates extra noise created by bumping or holding the microphone, plus you can't really use a pop screen without a mic stand. When recording, to control volume for vocal dynamics (like when you're going to shift from a quieter to a significantly louder vocal projection, or vice versa), move your mouth, not the microphone (you can see me doing this on many of my videos, like SOAD - Toxicity). 4) Use a pop screen. This will help reduce the harshness and wind-blow noise from "plosives" - like "B", "F", "P", "T", etc. It can also serve as a convenient visual cue for where to place your mouth to stay in the microphone's sweet spot. Pop screens don't help much as a de-esser, but that's pretty easy to fix in mixing with some fairly simple EQ-ing or plugins. 5) Shut down any unnecessary applications or services on your laptop/workstation when recording. Maybe also temporarily disable Anti-Virus scanners if yours is processor heavy (many are). Definitely shut off email and browsers - you don't want those distractions anyway while recording. 6) Do multiple takes. I'm typically better on my 3-6th take than I am on the earlier takes (warmer, more relaxed, more familiar with what I'm going to do vocally, etc.). Tracks are free in your DAW, so don't be cheap! Make a new track for each new take, and save your work often. 7) Take your time. You are recording at home. It's not like you have to pay per hour for the studio or a recording engineer. If your voice just isn't cooperating with you today, come back and try again later today or tomorrow. 8) Avoid wireless microphones for recording. The conversion and transmission of a wireless signal, even on a really expensive high-quality wireless system, still results in lost fidelity. Use a good quality microphone cable (shorter is better) plugged directly into the mic and the DI. 9) Record tracks DRY with no effects! You can add all the crazy effects your heart could ever desire after the fact during the mixing process. By recording dry, raw tracks, you have unlimited flexibility to mix and add effects to it any way you want in the future. 10) Really, REALLY study and learn how to mix! This is a lifetime achievement goal, one you will definitely not master overnight, if ever... But the more you study, the more tutorials you watch on YouTube, the more real mixing you do, the better you will get at it. Learn what kinds (and what settings) of reverb or compression plugins sound best for your voice in different scenarios. Learn when and how to use a delay or a chorus plugin. Learn how to do doubling and layering of multiple takes. It all takes time, but the more you do it, the better you'll get at it. Those are the basics! Good luck!   Check out my videos on YouTube and Facebook, especially the more recent ones. I hope you'll see that a good quality recording can be made using very basic equipment. In fact, maybe check out some of my older recordings too, because the difference of recording and mixing experience becomes very clear when compared to my newer ones (my recording setup has stayed exactly the same, but my mixing experience continues to develop). I hope this is helpful! -- Dave     Some extra info: HOW TO AVOID CLIPPING:   1) Use a DAW to do your recording and monitoring. Reaper is a perfect one to start with because it's free, and it's probably perfect to stick with forever because it is as good (or maybe better) than almost any other DAW on the market (including ProTools, Studio One, Audacity, etc.). 2) Basically all decent USB Direct Interface ("DI") boxes have at least a Gain knob for the microphone, a master (headphone) volume knob, a Direct Monitoring switch, and a Phantom Power switch. Don't buy a DI for vocals that doesn't have at least these minimum requirements. 3) Plug your microphone and earphones into the DI. Turn ON the Direct Monitoring switch (this way the DI will send your microphone back to the earphones, so you can hear what you're singing, with zero delay). If you have a Dynamic mic, leave the phantom power OFF. If you have a Condenser mic, turn phantom power ON. 4) Launch your DAW, and create a test track to set your volume levels. Set the vocal recording test track to MUTE - you are already monitoring your voice via the DI's direct monitoring, so turn off feedback from the DAW because it will be slightly delayed. Sing into the microphone and watch the recording level indicator in the DAW. Adjust the gain knob on the DI until the recording level tops out at about 60-70% in the DAW (just barely above the "green" and into the "yellow", absolutely NO "red"!). IMPORTANT!! ONCE YOU HAVE BEGUN RECORDING, DON'T TOUCH THE GAIN KNOB AGAIN FOR THE REST OF YOUR RECORDING SESSION, EXCEPT IF YOU FIND YOU ARE CLIPPING!!! 5) Import your instrumental music track (the song that you'll be singing/recording along with) into the DAW. It is critical to import the track into the recording session. Don't try to play it in one program while you record in a different program, or you will end up with lots of sync problems when you try to mix. Now, here's the magic, how you hear yourself while recording, without the microphone clipping. Remember, DO NOT TOUCH THE MICROPHONE GAIN KNOB!! 6) Start playing back the song from the DAW, and start singing along to it. Listen to your earphones. If your voice is too quiet, turn UP the master (headphone) volume knob (but *NOT* the microphone gain knob!!) on the DI box. If that makes the music too loud, turn DOWN either the master volume or the instrument track's volume in the DAW! Keep tweaking these two settings until you are able to hear yourself and the music at the same time at a reasonable volume. If you have done all of this correctly, you should now be able to hear both your own voice, and the music track in the earphones at adequate levels; and you should be able to sing as loud (or quiet) as you need to for the song, with the maximum volume in your vocal recording track maxing out at about 70% (nowhere near clip, just barely into the "yellow" area of the level meter, a little bit above "green"). There is (of course) more to it than just that, but that is the basic starting point from which to begin.