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

  1. 3 points
    Draven Grey

    Silent Night and Purple Rain

    You tend to default to a really good cry vocal mode, which can do amazing things for your voice. If you purposefully use the cry reflex throughout your singing, it can help immensely. (I encourage you to look up Robert's and my videos on Cry. Certain vowels and consonants seemed to knock you out of that beautiful cry vocal mode you kept finding your way back to. A big help for that could be touching your tongue to your upper molars while singing. This keeps your vowels on the tongue, resonating at the front of the soft palate or in the hard palate, while still being able to utilize cry behind it. On higher notes, you want to be able to first sing it lightly without constriction or tension. Then you can learn to use what I described above to hold resonance and increase it (like a ball of sound getting bigger) from good appoggio/breath-support/sigh. Just going for it without first being able to control the fine-motor skills involved in lighter mass, you'll just end up yelling. Try light and whimpering at first, then slowly increase resonance the sound color of your liking - similar to a classical Messa di Voce exercise. Most of your issues are from inconsistency. While the above will help, the only way to work that out is through a regular training routine. Are you a part of one of Robert's or my courses? If so, I can go much deeper into what to do.
  2. 3 points
    It is amazing to me how Bollywood manages to churn out these beautiful tunes. What genre is it? (Sometimes, not understanding the language is a blessing. I am often disappointed if I see the translated lyrics. They are usually very average. ) Anyway, listening to you singing, I would say that you have good pitch appreciation (you may be thinking, "of course", but it is a big deal for some beginners). You do have some problems with execution as the pitch ascends (or occasionally as it fluctuates quickly), even though you seem to be aiming for the right notes. It sounds to me as if this is mainly to do with breath regulation and is made more difficult with a genre of music that uses a lot of melisma and arpeggios. I would recommend finding an appropriate diaphragmatic breathing technique. However, as I have not come across any coach or trainer of Western music who has correctly characterized the unique sound of this genre of singing, I can't really say which diaphragmatic breathing technique will work well. Somehow the Indian singers manage to get a lot of "cry" in the upper range, while keeping the lower range mellow. Some Western trainers confuse this with breathiness. In your singing, I think that the mellow lower end is going to come naturally. Breath control will be required to find the resonance in the upper range. That's my two cents worth of opinion.
  3. 3 points
    WhatsUp Guys, I want to know what is it that really actually happening to the singing voice and the high notes when singing publicly & spontaneously I feel like These days we live in a Technology world that is near taking over our social life as human beings lol so i just thought we should be more social to each other. And an idea came up in my head, why not Practicing my vocals in a such enviroment! Remember this is just a part of my Training Routine, so i'm glad if you give me alot of feedback! Mash up with all the feedbacks you can get! Peace!
  4. 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
  5. 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.
  6. 2 points
    Dude at least try to make some sense. Some good quality trolling would be cool but this is just too boring...
  7. 2 points
    Yeah the statement is a bit silly when we take it at face value. No one is born a singer obviously, we can observe newborns and their vocal capabilities are rather restricted due to lack of coordination and simply not having a mature enough body. During growth slowly the skill for speech is acquired and perfected. Probably during this stage our experiences with music, singing and how our parents deal with us can have a huge influence. There are also personality aspects, certainly someone that is more creative, has more intelligence, or just downright loves to sing, will have an easier time to learn. How can we address all of this and know who is who before learning happenings? I don't think we can. And another way to look at it, is that people that have an easier time to learn, learn it *faster*. We could very well say that Talent = speed on getting results. And if you don't learn at the same speed, you have to put more time to it. I don't think there is a way to predict who is talented and it seems to me that effort can to a reasonable degree tilt this equation. Another aspect to this is that singing involves more than one skill. Sometimes people are not very talented with music in general due to lack of exposition early on, but once that barrier is overcome it flows nicely. Sometimes the person might have great musicianship and sensibility but lack the control to express what is in their minds. Due to all this I think that talent matters but you can only know how talented you are by actually trying. Often also, the fear of realizing this *potential* to whatever it may be, prevents a lot of people from giving a shot and truly commiting to learning.
  8. 2 points
    MDEW

    So I Saw This On A Youtube Comment

    I saw a video about a deaf person who wanted to learn how to play music. As would be expected most teachers did not want to take her on and colleges would not accept her in the music programs. How do you teach a deaf person to recognize and reproduce pitches? One teacher did take her on and accepted her in a college course. I think she now has a PHD in music. First she started by Touching the walls of the studio to feel the different vibrations and the "Beat" of the music to get an idea of rhythm and syncopation. They ended up inventing a device that would give off a color that would correspond to different pitches and vibrations.She learned to imagine these colors while feeling the vibrations of sound. So, you can teach people to do things that others would think is impossible. I think being born with a natural talent is BS. You may be born with a natural desire to improve and work on your talent, or rather to pay attention and change the things that do not sound, feel or look right or correct to you. My brother had a desire to sing at a young age. To me he is a better singer than anyone else I have heard. People think he was born a natural singer, but I know he worked on every song he sang. If there was something he did not like about it he would work on it more. Even if he did not have formal training he did hang out with a LOT of different singers. I am sure the question was asked "How did you do that? and "How can I do that?". Or suggestions from other singers "You sounded a little off there. Try this." It was not that he opened his mouth and a beautiful expressive voice came out. I have had to "Work" on my voice, and I continue to work on it. I have plenty of work to do but I am way better now than I was 3 years ago and I have been "singing" since I was a toddler.
  9. 2 points
    Robert Lunte

    Silent Night and Purple Rain

    Hi Arj, sorry for the wait. Nice sounding voice. Lot's of cry in your singing. Why is there is no backing track? It would be better to hear you singing on top of the karaoke track, can you offer that for us to listen to? Are you doing any training? If so, what are you working on? Any programs? Do you have a teacher? Coach
  10. 2 points
    sp3c13srock

    Working on a song

    This song is out there. I like it, I'm happy with it, but I want to learn how to take my voice higher obviously. I'm a baritone I think. I can hit A4 but not with agility. This song goes up to F#4 which is typical of baritone. Constructive criticism is appreciated. Take a listen to my voice and let me know what you hear. Thank you! https://drive.google.com/open?id=1socIDJTGXkjGqf01oIiebfCOlYT3M06d
  11. 2 points
    kickingtone

    Working on a song

    [Constriction and "choking" can also be a protective reflex. If the body detects that the pressure or airflow at the throat is unhealthy, it says, "forget the singing" and reflexes to shut off the problem. Just like your "blink" reflex, it is not a good idea to try to simply override it psychologically. You need to address the thing that is causing the reflex. For singing this is likely to be something like inadequate breath support.] Anyway, back to the OP. Decent vocals, imo. With proper diaphragmatic breath support, your voice will glide effortlessly straight over the passaggio, and you will get that responsiveness and agility you are looking for. I notice in classical training techniques that they make a big deal out of breath support (probably coming from traditions of singing without a mic), and relatively less of a deal about the passaggio (even though the term comes out of that pedagogy). Once you are able to employ a good diaphragmatic breath support method, .like appoggio, the passaggio is no longer a big challenge. It gets "fixed" almost automatically. Add that to the fact that you are able to siren up to G5 (wobbly, but an impressive foundation), I think you can really take your vocals places. Yup, I am not a coach. Just my personal take.
  12. 2 points
    Erik Robles

    Working on a song

    It's so true what you say, Kevin. It's all psychological. I still suffer from constriction from time to time as my mind gets in the way and my body interprets the coming note as a "high note". If I remember to step back and use my prominent leg and backside muscles on the higher frequency, it tends to help a great deal as it takes my mind off the "high note" and mentally changes it to what it really is: tilted T.C and thinner chords. The results are amazing once I remember to take the thought of the high note out of it.
  13. 2 points
    Kevin Ashe

    Working on a song

    spc3c..., Excellent composition! Great style and arrangement, good air play material, catchy hooks, lots of melody! Very good musicianship! Your voice is very marketable as well! Reminds me a little bit of Tyler Joseph (21 Pilots), maybe a dash of Matt Shultz (Cage The Elephant)! I like it a lot! When you sing the lyric, "with no place to go home" - Sounds to me like you're singing with good connection in the lower realm of your head voice! Double check with a coach, but I'm fairly certain. I would predict that with just a couple months of committed training with a good coach and training system, you will sing much higher! You should check out Robert Lunte's Youtube channel and search for lectures on the subject of Baritone's singing high notes. Lot's of good solid facts that will power you up with confidence about the reality of expanding your range to include notes more common to a tenor. The truth is, you'll learn in those videos that vocal "Fach," (Bass, Baritone, Tenor, Alto, Soprano) are essentially a distraction in vocal training. Proper training leads to expansion of range, coordination, strength, respiration, and also, confidence, projection, release of tension, vibrato, distortion, . . . . the list is long! The point is, it takes work in the vocal "gym" so to speak, that being vocal workouts that bring the above mentioned qualities to your singing voice. Are you training? Do you have a vocal training program or a coach you are studying with? It's never been more affordable than today! peace, k
  14. 2 points
    Robert Lunte

    Crazy Deep Voice Help

    Welcome Sapper!
  15. 2 points
    Draven Grey

    Movement While Singing

    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.
  16. 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.
  17. 2 points
    kickingtone

    I'm desperate for help

    I hear voices in the background. It may only be my (vivid) imagination, but you sound to me as if you don't want to attract too much attention to yourself. You sound as if you are singing to yourself. If you are singing somewhere where you are not yet comfortable, I advise that it is an absolute MUST to find somewhere where you can relax. If you don't, you could end up training all kinds of inhibition and nervousness or tension into your voice.
  18. 2 points
    Draven Grey

    Best vocal course

    https://thevocaliststudio.com/the-four-pillars-of-singing/
  19. 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.
  20. 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.
  21. 2 points
    Very nice Kevin!... super cool post.
  22. 2 points
    Since I'm already here for giving paid reviews, I thought I would go ahead and take a moment to review yours as well. Great character and stylization! One great thing about getting over a cold is that, if you have a voice, it forces you to sing more correctly. The lower/neutral larynx position you're using will hold you back once you get into higher pitches. It gives you a great sound color for this song though. I highly suggest a bit more breath support and volume (just a bit), and then try learning to sing more from a cry vocal mode - the same feeling you get in the soft palate when you cry or are really excited to see someone. Cry will soften and round out your voice to where you can get a similar sound color to what you're using the neutral larynx for, but also have a lot more control and flexibility because of being able to utilize much more breath support. It also neurologically places your body into a position it associates with extreme emotion, which can cause a much more emotional performance. Additionally, it adds very specific sounds colors to your voice that other people associate with extreme emotion. It can take some getting used to, but once you learn it, you'll hear just about every pro singer using it.
  23. 1 point
    Robert Lunte

  24. 1 point
    Good for you... it really is sad that some people are led to believe by ignorance that they can't pursue a dream. BS. Post my video link in there as well. Let them see it. Thanks.
  25. 1 point
    @MDEW Humm I am not sure it's related. If my memory is right Fauchtinger idea was to train to have a tongue groove, making the case that high level performers such as Caruso showed such groove. Even if the video talks about the pharynx and it's constrictors, and that he probably talked about it to in his writings, I really don't see they are related since a big part of his theory was that you did that to increase space, she is making a case about how to create the constrictions that leads to the specific quality *twang*. @Robert Lunte I don't particularly know how to make use of it. Given what she said, kermit voice, while making sure that the tongue root was the cause of it, could be a way to acquire the coordination? Not a big fan of this type of reference... I have some ideas about the pharynx that I am trying to organize for a while now for different reasons, mostly using unvoiced, white noise sounds while observing it (since this one you can at least see). It's one of the reasons I would like to hear what people make of it since it introduces variation to exercises done based just on the sound.
  26. 1 point
    Robert Lunte

  27. 1 point
    nap.attack

    Honest review please :)

    Honestly... Adorable!
  28. 1 point
    Does she have a quiet breathy speaking voice also? Have you heard her when she is complaining about something? Most people use a voice that has stronger vocal closure when complaining. They get a little louder and use better support and have a more confident sound because "You KNOW what you do NOT like and want your opinion heard". Some teachers may use the analogy of "Singing to the Back of the room". Basically you would be using the voice you use to call to someone across the street. Also the typical New York tough guy voice(accent) will help with cord closure. "EH, Wadda ya doin' I'm tryin' to work heah..." or it will at least help teach how to stop the breathiness...
  29. 1 point
    MDEW

    Crazy Deep Voice Help

    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.
  30. 1 point
    Draven Grey

    Tenor Humming Vocalizes

    Resonant Tracking, Nasal Buzzing, or humming while buzzing the lip ("M", although could be n or ng too), can bring the resonance into the mask and out of the throat. This will cause better control over the compression and air pressure balance, and cause more resonance in the soft palate by engaging twang vocal mode. Another semi-occluded phonation he could try is humming into a cocktail straw and trying to get light and whimpery on higher pitches. This activates cry vocal mode, releases pharyngeal tension, and also thins out the glottis which then requires much less pressure to phonate.
  31. 1 point
    Milly

    Choir Student Breath Applicaiton

    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?
  32. 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.
  33. 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...
  34. 1 point
    Yeah, so great course. A lot of useful info, like A LOT. But made great progress. Still not close to the level I'm aiming for, but its getting better. https://1drv.ms/u/s!Aswc74K62WP_5ESOLvajN6OkYCgK
  35. 1 point
    MDEW

    I'm desperate for help

    You are more likely a Tenor like 80% of the males in this world.Most of us think we are Baritones because we are more comfortable singing below F4 and we sound funny above that. But it is the Quality and strength in our voice below C3 That makes a Baritone or Bass. This mirrors what I was saying about Confidence. "Being confident and questioning whether you sound good or not makes a difference in the sound being produced. When confident you naturally take on a stronger more focused full sound and when not confident you end up with a week timid shaky small voice which just makes it harder to control." The weak(yes, I wrote week before. so sue me....) Timid, shaky, small ,voice comes from not wanting people to hear an off pitch so you sing more quiet on those parts and mess yourself up. So, like Kickingtone said, practice somewhere where you can screw up without feeling self-conscious and let loose the singing god within.
  36. 1 point
    Draven Grey

    My voice type

    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:
  37. 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.
  38. 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.
  39. 1 point
    Hey Cats, missed you, man
  40. 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.
  41. 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
  42. 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......
  43. 1 point
    ilovemyself

    Singing intervals

    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?
  44. 1 point
    MDEW

    To old to become a pro?

    If you love to sing you are never too old. To be a professional is to get paid for doing something no matter how good or bad. Fame is a matter of perception and degree . You can be famous in your home town and not known anywhere else. Or you can be known by millions on Youtube but still the average person may never know about you. You can either be true to yourself and learn/ practice/improve because of your own standards or you can chase the ideals of the present fad which changes from year to year.
  45. 1 point
    @Draven Grey Thank you so much for your feedback! I will definitely utilize all of your tips and keep working to enhance my voice - especially the breath support, which has always been my achilles heel Thanks again!
  46. 1 point
    Draven Grey

    Motley Crue - Home Sweet Home

    A lot of what I mentioned in the Journey review applies here as well. However, I want to specifically address your distortion in this song. What you're doing sounds throaty and compressed. On higher pitches, that type of distortion can be very harsh both in sound and wear and tear on the vocal tract. If you're in The Four Pillars of Singing, I suggest you work more with the lesson on decompressed overlay distortion. Otherwise, or perhaps in addition to, instead of squeezing that distortion out, try to bleed the glottis. That means allowing more air through without all the extra hyper vocal twang compression. One way to help develop that is, while still trying to keep the voice lifted to the soft palate, and still utilizing cry vocal mode as described in my Journey review for you, try alternating between a spoken smoker's voice and singing clean at pitch above your bridge. At some point, while alternating back and forth, you'll feel like you can combined the two. Then, instead of squeezing for distortion and getting a throaty sound, it will feel like you're simply using more air than you need to and thereby activating the false cords for distortion. If it hits your throat, you need to lift more, and move towards /ae/ sound colors. Again, this is similar to what I described in the Journey song review. If the distortion still feels like it's hitting your throat, rather than above the throat, spend more time trying to raise pulse/fry up in pitch, where it sits on top of the throat, rather than in it. That area is a good placement for distortion, especially if a lot of the vibration is then transferred to the soft palate.
  47. 1 point
    SwedishSinger

    Journey - Open Arms

    Here it is recorded on Smule https://vocaroo.com/i/s0L56jlQ217k
  48. 1 point
    VideoHere

    Studying and Exploring Gary Puckett

    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.
  49. 1 point
    Felipe Carvalho

    Beyonce's Vocal Technique

    Well but that´s the training she received indeed! When going for the extremes of tessitura and loudness, even the neck will be part of the coordination, which is consistent to what I saw her doing (she uses a lot of belted notes). Observe how she sings as if it was easy as breathing, that´s what correct support should be like! The execution does not need to look like you are doing a breathing exercise... Powerful, natural and totally under control, what else is there to it?
  50. 1 point
    Felipe Carvalho

    Eddie Vedder technique

    I think there is some kind of fixation about "technique" as if it was something valuable on its own. Technique concerns only the singer, technique alone does not create musical content, and a singer that does not have good technique can be excelent provided that he/she sticks to what is possible. Possibilities vary depending on the person. In my opinion Vedder is badass as it goes. Not technical, just rock n roll. Singing Pearl Jam songs without training is not such a miraculous feat. Making a band like Pearl Jam and all these great songs, now thats something else.