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Showing content with the highest reputation since 12/12/2014 in all areas

  1. 11 points
    Hey guys and gals check out this video when I did a masterclass a couple years ago for VocalizeU students (teachers as well but not on site), 90 min rasp/distortion etc. Hope you enjoy it
  2. 10 points
    Robert Lunte

    Practice A4

    ok, first of all, we need to start with...    What is the whole "... or should I quit" thing?  That is confusing to me, I don't understand what that means?  "Or should I quit"?  Huh?! I seriously do not get what you mean by that, but Ill take a guess... are you trying to say, that if you try to sing an A4 two times... as a beginner, and it isn't perfect, you might consider quitting?  Quitting what? Quitting for the day? Quit drinking so much coffee in the morning? Quit chasing that cheer leader that is playing you like a puppet? or ... quit singing all together?  You got to be kidding me... I truly hope you don't mean, "quit singing or training all together" because if you did actually mean that, you truly are delusional about what your doing... and the good news, what your potential is if you only got serious.   Thats Maestro Lunte tough love, but that is very concerning... Im trying to help you. Put the iphone down, put Facebook down, put the xbox down... get off the couch and go put a microphone in your hand, put "The Four Pillars of Singing" or any other GOOD home study program on and start training your voice for something REAL and amazing one day. Get out of the whole, ".... if I just do this one new tip, maybe I can get it to work" mode... The voice is a muscle. You have to work it out, stretch it out, flex it, contract it, open it, ... vocal training is an athletic endeavor. Your voice will NEVER do what you want it to do, until you work it out and build the strength and coordination to do these things... and sing a lot on top of that to apply it. This means about 1-2 hours a day, at least 4-7 days a week when you are a beginner. When your not with your band, you are working on songs and training your technique scales...     You are perfectly aware that a guitarist and a drummer have to practice, right?  What makes you think that the voice isn't an instrument just like those instruments that doesn't require a life time of practice? If we look at singing as an athletic sport, ... you know that a gymnast, a basketball player, a golfer and a hockey player all have to practice, right? What makes you think the human voice doesn't need to have the same repetition and muscle memory requirements as those sports?     Now, about your A4... it blows... it barely is an A4, not sure you actually even sang an A4, but giving you the benefit of the doubt, lets just say you did, kinda...    The best way to NEVER get an A4, is to do exactly what your doing... keep shouting like hell at it. That is never going to work. Shouting like frickin hell at it, doesn't work. Been there, tried that my self a few times... everyone on this forum has... we can all save you a lot of pain and frustration and assure you with absolute certainty, shouting like frick'n hell at it, ... isn't going to work.  It actually makes it worse. Shouting at an A4 like that is like standing in the kiddie pool up to your waist, and slapping the water with your arm. You can slap the water like hell ... as hard as you can, and it will never go into the water smoothly... it will always smack back at you and sting your arm... The physics of singing are similar. The more you shout like hell at it, .. the more its going to lock down on you, get tight and turn into a choking duck... you need to balance your formant. Balance the physics of the acoustics of your voice to make the A4 release and resonate. "The higher the pitch, the lighter the mass".   Your embouchure is all messed up... I can't see this to verify this, but I'm quite sure it is. It usually is with beginners. It is one of the first things you learn, how to hod a decent embouchure. No doubt, I would bet my life that you don't have an embouchure at all. If you do, its the embouchure you need when you .... "shout like hell"... you probably have the "shout like hell" embouchure... so I'll give you that, you DO have an embouchure, but its not one for singing, it is the one for shouting real hard at something.   Your vowel is not right because you haven't been practicing any vowels and really don't understand what they are, how to use them, etc...   Your workout, isn't really a work out... its sloppy sweeping up to "some note" that has no care what so ever to the first note (the onset) or any of the notes in between... your not thinking, "... I have to make a coordinated, fluid and balanced movement from this note to this note (A4) in a smooth and controlled way"... No, your thinking, "... I gotta hit this A4. I just gotta hit this thing!  If I try go get more ae/a (cat) about it, maybe that will make it go... maybe Im not hitting that note hard enough"... you'll never get it with that view of how to sing a note.    Now I'm picking on you a bit here, to make a point... there are about 4-5 good reasons why the A4 isn't working for you... all are things you learn when you decide to train and practice and really get serious about this. Until then, you're just in the kiddie pool, slap'n the water... and it will always be that way, until YOU decide to make the commitment to train and learn how the voice really works.... if you want to go into the deep end, where the rest of us are "swimming"... follow me...
  3. 9 points
    I still study. I study because my coach is WAY better than me..He gave me specific exercises which in turn unveiled exact registers and makes sure i sing the vowel we are singing no distorted wonky sound ing vowels. I understand everything we work on however his execution is perfect every time...2nd set of ears yes always need that. Not a lot of new ideas as its not rocket science once you understand and execute the principles you just need to do it over and over for 15 years ;). And he makes sure I do it right.. It keeps me humble and wanting to reach his skill level..
  4. 9 points


    GREAT NEWS!!!   I have been invited to teach at the VOCALIZEU ARTIST INTENSIVE SUMMER JULY 10-19  2015!! Mt. St. Mary’s College..   checkout: www.vocalizeu.com/event/vu-artist-intensive-2015/   My course will be called ROCK VOCAL MASTERY!   I will be teaching too and along with other Vocal Coaches, Songwriters, Dancers, and other Industry Professionals.   Mom and Dad said I could never go to college now I am going to teach at one!!! AHAHAHAHAAAAA!!!      
  5. 8 points
    Felipe Carvalho

    The Dreaded A4

    I know it sounds simplistic and that there are many things that will get in the way of doing this, but well: You will need to learn how to take that "belty" A4, and make it go both STRONGER and SOFTER. I suggest thinking like this, no matter what note you pick on your range, in order to have an exact match of quality on the immediate next seminote, you will need to be louder than you are currently. So, if you are on a A4, and you are already at 100% of your dynamic headroom, to have a B4 consistent you would need, lets say... 110%. Which is not possible, that means strain, blood spilling the walls, and your larynx flying out of your neck. So, you have two choices, either you learn how to go louder than you currently are, and so you have headroom to push it a little bit more on the B4, or, you learn to be quieter on the A4, so that you can still push it a little more on the B4. In any event, you will need dynamic control, and you NEED TO KEEP THE NECESSARY HEADROOM for the peak notes. This last part is very important, you could become a monster of a technical singer, capable of doing whatever you want whenever you want. If you still apply all the possible energy you can and then try to make the high note using IMPOSSIBLE energy, the high note will sound thin, and you WILL strain, because that's just really what happens as you ascend in pitch, no matter if in falsetto or belting! 666 upvotes! \m/ rock n roll! hehehe
  6. 8 points

    Rainbow - Stargazer

    you dont have to "quit" something just because it doesnt come easily and you dont have to quit just because you wont be a star overnight. Sometimes you just have to take your time and look into it a little bit ANYONE can sing to one degree or another and maybe you are just missing something basic like decent breathing or something similar? Many people told me I cant sing or play guitar etc....but I cant quit because I suck at gaming too...so im stuck.
  7. 7 points
    This is a new forum, for which I have been asked to be available as an expert. I'd like to begin by asking for your opinions on the awareness of overtone singing and throat singing today. We all know it has been around in the west for quite a long time, but the rest of the world has been very slow in coming to know about it, much less understand it. Recently, one of my colleagues, Austrian Anna Maria Hefele posted a brief demonstration of polyphonic overtone singing on Youtube. (Meaning a moving fundamental, not simply a drone). She is quite skilled at it. It very quickly reached over 7 million views. This was unprecedented. It even seemed to have a trickle down effect for others in the field. She then started posting a series of 'how to' vids.  I look forward to her future postings, to see where this all leads. Definitely a lot more awareness going on. That being said, there are loads of short instructional videos out there. Many of them give the impression that mastering this art can be done in about 10 minutes or less. I'd love to hear what you think of the training that is available, what is valuable information and what is not.
  8. 7 points
  9. 7 points
    Robert Lunte

    Why are YOU a Singer?

    Cool philosophical question... You might guess that my response would be something like, "... because when I sing, I feel my soul speaking from the inside of my heart and I love sharing my soul and the emotions with the world, it is the most beautiful thing to share my inner child with other people and give them joy and happiness for all of mankind as we all join hands and sing Kumbaya...". ... But THAT sort of thing is like #4 on my list of why I sing... To be honest, I don't do it for other people.... at least, that is not the main reason... that is a nice benefit that I appreciate and enjoy about singing..., but it is not the source of inspiration as to WHY I DO IT. The main reason I sing, is because I get off, specifically,... on the sound colors and motor skills it takes to make the male voice sing powerful and HEROIC above the passaggio. The skill set, the motor skills and the sound colors and feelings this kind of singing produces, really turns me on.... the ability to make vocal sounds and produce emotional vibes, that are "heroic", "masculine" and look, feel and sound "super human" , is the source if inspiration that drives me to dedicate my life to this. It is like a fetish... a strange thing that turns me on, and always has. I adore it. Thankfully it is very hard to do... which led me to take lessons and began my journey of discovery about how the voice works and how to teach it. This is why when I sing my originals, my songs tend to be rock, metal and proggy. I love this vocal sound and approach, which we hear in so many singers and I can do myself these days, but when I was a kid, THIS is what changed my life. I would not be the voice coach or singer I am today if I was not challenged by the desire to sing JUST LIKE THIS...
  10. 7 points
    live https://app.box.com/shared/n8z7dq2mi4
  11. 7 points
    "Bridges" are spots in the voice where the voice shifts resonance. For a man, both tenor or baritone, the first bridge begins at about E flat above middle C. For heavy voices with thicker vocal cords it will be a bit sooner. With a bass it can be as low as B flat below middle C. It is important to mention that regardless of where a man’s bridges are, the sensations brought about by the shifts in resonance and the vocal cord adjustments are the same. The intrinsic thickness of an individual’s vocal cords will determine how low or high his bridges will be. A tenor or baritone will begin to experience a shift in resonance around D and E flat entering the mix at E natural. The resonance begins to leave the mouth and go up behind the soft palate. This split resonance leaves some in the mouth, and some in the head. The second bridge is at A and B flat above middle C. This is the bridge that many are not aware of. This is why there are so many tenors who have no high notes and therefore think that they’re baritones. It’s also why we have tenors that cannot get above an A or B flat. At this second bridge the vocal cords make an adjustment (if allowed to), that sends the resonance even higher in the head. The third bridge is at E natural above high C. Again the vocal cords adjust to send the voice higher into the super head. The fourth bridge is at B flat above high C and is also a super head voice sometimes referred to as the whistle register. its not pure chest..
  12. 7 points
    2). The ability to commit to training, singing and practicing. That is what separates the winners from the drop outs.. Sorry to sound so gruff, but ... to commit to vocal training and singing regularly takes a special kind of individual. There is something in this particular point that I believe to be very important. People often talk about psychology on singing and how it can affect some higher notes or how it can cause fear. But seldom I see the debate on a real psychological level about the issue. Lets talk about this girl I just invented, that is now interested about learning how to sing, her name is Ana Bella. Ana is now 23 yo, she sang a bit on her church when she was a kid but nothing serious, and the people there would always praise her voice and tell her about her potential to be a singer, that she had talent and so on. However when she was a teen, singing was not very important. There were other aspects of her life that were more interesting and were priority. No harm in this of course, but she would always think about that potential she had and remember it, thinking that some day it could become a good thing. Today, at age 23, Ana is thinking about singing, and may choose to do lessons. She is worried however about finding the best way to allow her potential to come true, so she is searching slowly, going to a number of teachers, looking at internet training, and just playing around with songs. This behaviour described on the later paragraph is quite problematic. The potential vs commitment dilemma is very true for a lot of people, and often they don't realize that. There is fear involved. How so? Simple. The potential to which she held to for long, those praises she received as child that we don't even know if were due or not, will no longer exist after the commitment. Commiting will remove the hidden "potential", and will reveal her exact and precise state in regards to her singing and skill on the craft, that may very well not be something as special as others said. Besides that, when we try, we can fail. If we try very hard, failing will be very unpleasant. And we will probably fail quite some times during training. How does this holds when thinking of the potential and the gift/talent? Some people just can't see out of it, and won't do it, which is sad but there is no way to beat it out of the person. There is also another problem related to how we present ourselves and what we decide to say and write. You see, when you are training and you talk about technique with other people, I don't see a problem on it. Specially for feedback, this is invaluable. But you can create some issues by trying to provide information you are not really in position to give. Guys, when you are still training and trying to control an aspect of technique yourself, and you come in whatever media it is, as coloquial as you may believe it is, defending views and debating, sometimes while opening your strong beliefs behind it, you may very well create barriers that will not help you at all. Because in the event of being wrong, and that can actually happen believe it or not, and needing to correct that view yourself in order to solve a problem in your own voice (not others), you will have all this luggage were you wrote and defended your position so strongly that it will actually cause you a conflict to even considering changing it. Even if you do realize now that it needs to change. So really, before writing about technique, I always advice to take a step back and consider it well. Do you really know all the aspects about what you are saying? This thing I am defending, am I already using it with good quality, am I sure its what I am doing? How many sources do I have about it? What about people that disagree, what are they saying? So I recommend to go easy on the assertions and replies, specially on written media. I often see people that are not training for that long making strong statements and that's really not a healthy path to follow. Its always a good practice to not try to preach what you don't practice, even if you are sure about it. In the event of wanting to talk about it, do it, no problem, but refrain from the assertions and keep the conversation light. Don't create an unnecessary set of dogmas to uphold, just learn... These things are very real, some forums on singing are full of perfect samples on that. I don't believe its the case here, but even so, it doesnt hurt to think about it. Felipe
  13. 7 points
    Thanks MDEW,   One of the BIG problems we see in the culture of voice training is... the mythology of heroes. People really need to get past the hero worship long enough to get factual and realistic. There is a lot of mythology behind famous singers that tries to assert that... "said" famous singer didn't have to work as hard as the rest of us, never had any voice lessons, never studied any technique, never spent hours upon hours in the bathroom just trying to figure things out (MDEWs point... which I agree, that counts for something... I think a lot of guys did just that before the days of the internet and home study programs. If you throw darts at the bullseye enough times with your eyes closed, eventually you'll start getting better)...    I get comments on my YouTube video of "The Rooster" from purist, Layne Staley hero worshippers that try to tell me that Layne was just a "natural" and never had to do anything for his voice... they don't realize, I live in Seattle and I know the scene around AIC. I briefly met the guy back in the 90s, I know his personal history and know stories about him that only people in Seattle know... Layne Staley studied voice technique with Maestro David Kyle for about four years, then he worked with another Seattle coach for another four years... he spent many years singing in a  glam-metal band wearing makeup and spandex... then he joined AIC, made some great songs and died of a heroin overdose after locking himself up in a dark room in Bellevue for a year. The real person had a great voice and is now a legend, but he also is a person that had voice teachers, worked hard and then committed suicide.  Ok?  So thats the real Layne Staley...    Just let go of the hero worship and mythology of famous people and realize they have many of the same challenges and concerns we all have. If there is one thing that stands out that makes a difference between our heroes and the rest of us is... these people were gigging every night... night after night after night... any singer that sings night after night after night, is going to get very strong and find their own sound, etc... that is what 80% of the strength and agility we hear comes from, singing from dawn till dusk... training can hasten that process and is great for beginners and solving problems... and understanding how the voice works... so if you sing night after night... and you have some technique training, you have more going for you then most famous people had prior to 1992 when there were no home study programs, youtube and the internet.
  14. 7 points
    HM Darius ( Conrad Noto)

    Vocal Identity

    I can see from the reaction to some of my post a few people think I'm crazy.. absolutely Thank God! I can also see my post are being misunderstood. I certainly do not mean to insult or offend anyone, nor diminish in anyway their work. I want to clarify a few things, then hit this topic.   I in no way mean to suggest, nor imply you need to sing or learn opera to be a good singer. I in no way deem any other vocal style less nor inferior, each has it own skill set, each it own difficulties. When you love many different styles it can be hard to choose what is in your best interests. I have performed everything from thrash to corny little love songs. In retrospect it was a great for learning as a teacher, however I also could have had 2 full careers as a Dramatic Tenor had I not wasted my time learning to sing like the vocalist from AC/DC lol.   I think after all is said and done Vocal Identity is the most important thing, people with no skills can still deliver and capture an audience with that. If you have all the skills in the world and don't know yourself and the identity of your voice, there is no way in hell your going anywhere. Non of my posts/ replies were in anyway, shape or form intended to be bashing on anyone, merely trying to find out who you are as a vocalist to give appropriate advice. The how to sing like Steve Perry video was excellent, if that is who you are ,it will work wonders for you, but if your a Layne Staley personality, singing that way will make you sound like an artificial robot. The voice is a tool of expression.   You will notice when any great accomplished singer does a cover they still sound like themselves. I have looked over some of Roberts video's and other vocal courses, his is really great , some of the others are great ( Seth Riggs etc.) however it is my professional opinion if you want to be a truly great one of a kind individual artist you have to beyond to some degree and specialize. There is ONE Steve Perry, many clones and many with influence there from that go on to be there own thing. like and the same One Geoff Tate, One Mariah Carey, One Whitney Houston. In all honesty I most likely see greater potential in many of you than you (yourselves ) yet recognize. I've also seen many people throw potential in the thrash. because we get miss informed or try to do to many things impressing friends instead of being true to ourselves.   All exercise is good for you health, but if your going to be a sprinter you train for sprinting, if your going to run marathons you train for marathons. You can do both if you know how, but you wouldn't be training for both at the same time, they defeat each other. one is for pace and endurance, the other is for maximum short distance speed ( you'd burn your energy maximally for the burst of speed) A powerlifter doesn't do 4000 reps with a 10 lb barbell it would just waste energy. Someone getting in shape to be a model wouldn't deadlift 800 lbs. daily, they would become too bulky.   This was by far the hardest thing for me to learn as an artist, vocalist. IT IS OK NOT to be good at everything and every style.. learn to be great at what your good at and always be who you are and make them eat it! don't become what others want, don't try to impress, nor seek validation. DO IT EXCELLENT, WITH YOUR OWN INDENTITY and it will always kick ass.   Amen.. I'll shut the hell up now lol    
  15. 6 points
    Just started a new singing podcast my first guest my teacher and great singer Alexander Kariotis . He studied with Pavarotti 's teachers and some others. Great podcast with some high notes for good measure and stories about Bel canto lineage etc enjoy or not whatever I like cake...also multi platinum singer can't disclose name but he studies with alex as well...
  16. 6 points
    Felipe Carvalho

    R.I.P. Chris Cornell

    Did a cover as tribute just now, we should make a tribute tribute thread. You guys in?
  17. 6 points

    Writing Lyrics & Songs

    I usually start with the melody and work lyrics around it. The reason I do this is because my belief is that the melody is more important than the lyrics. People listen to songs for the melodies. A song with a great melody and alright lyrics is a great song but a song with great lyrics and an alright melody is only an alright song. However, If you already have lyrics written you can still turn them into a song. Keep it simple at first don't play any fancy licks on the guitar or piano just play basic chords to get a melody down. Also, be prepared to change words, add words, and take out words to fit the melody. To find a good melody a good way to do that is to listen to good songs and copy parts from them.
  18. 6 points

    Concentrate on the Right Things

    Lately I have been lurking on the forums more than answering questions. I am finding that a lot of the questions that are being asked can be answered very simply but are being answered very wordy and creating confusion. I want to say that maybe I was lucky to study with who I studied and study with and also how I made my career singing for a living. It wasn't easy but I put a lot of work into my voice many many years 20 + and many years on the road away from an apt whether it be in NYC, CA, ATL,CHICAGO, CT.. I blew out my voice many times and studied with whomever I could never once did any of my teachers worth anything bring up terms like Twang,compression, hold or hold back your breath, embouchure,dampening, sphincters of any kind;), this anchor that anchor,chewbaca sounds, guinea pigs,curbing,overdrive etc etc etc.. Of course when I started teaching 7 years ago(after mastering technique In other words sing anything I want and diagnose problems quickly) I started seeing all these terms and had to know what they meant to keep up with the young guns term wise. So what I am trying to say is if you want to be a great singer you only need to concern yourself with a FEW principles/exercises Practiced Perfectly. Ask yourself these questions and listen to yourself closely when you practice. Does the vowel I am singing sound like the vowel i want? Is my voice ringing and buzzy? As I sing higher in my range do I stay consistent? Does my teacher demonstrate exactly what his "method" says it does? Hope this helps and doesn't sound like I'm looking down on the new terms. But TRUTH be told I got my technique down from perfect practice,vowels sound like vowels,and keep the buzzy ringy sound constant. hard hard work no b.s. years not months at least 15 years of perfect practice…Anyone of my musician friends/band mates would tell you the same.. Hope this helps.. Daniel
  19. 6 points
    As we just about come up on the halfway point of 2016, we've unfortunately lost several big names in music. Prince, David Bowie, and Maurice White of Earth, Wind and Fire, just to name a few. This is a challenge where we will challenge ourselves by selecting a song from the catalog of one of these great artists and attempting to sing it ourselves. The only requirement for this challenge is that the song must be by somebody who passed away in 2016. As far as time limits for this one goes, I was thinking about 45 days but suggestions are welcome.
  20. 6 points
    Robert Lunte

    Thinning out on high notes problem

    Wow... Rude and very ungracious for all the time that everyone else has put in to help you! What an truly abnormal attitude. You know what? Not only do your vocal tracks need a HUGE amount of work and musicianship, and believe me, I am being polite.... but on top of that, you will never make it with this defeatist, inconsiderate attitude. If I had a $$$ for every time I had my pride and ego kicked int because what I did actually wasn't as good as I thought it was, I would not be sitting right here now. Understand this before anything else these guys are telling you,... whether you are amazing or shitty, you have to have thick skin and iron will to keep going. That is part of the lifestyle of being a singer. People are trying to help you and instead of being gracious, you act offended and play "sour grapes"? Ok, what ever... don't let the door hit you in the ass. As for The Four Pillars of Singing program. It is real. I have not spent my ENTIRE life creating the Method and product to support a "commercial" or scam. You don't need to do that much work to sell a scam. Read these reviews: http://bit.ly/TFPOSCUSTOMERREVIEWS These are real people. Real people that made an investment in time, sweat, fear, hope, dreams and most of all, perseverance... and with the help of Pillars and perseverance, they made it happen. As for your ungracious attitude to these guys, I think they will know exactly how to deal with you again in the future, that would likely be, simply not to. As for your rude insult to me and my program, consider this to be your first and only warning to escorted out of here permanently. GROW UP.
  21. 6 points
    Robert Lunte

    How much practice is ideal?

    There is no way to express in a post , but I'll try... None of this means anything if your not practicing high quality techniques with high levels of understanding of that your doing. Notice how we all went straight to that point. You have to be training smart!!!! How? - get a good program that shows you how and has workouts, not just a book!!! - presuming the above ... I highly recommend an understanding of the acoustic modes of singing; vowel modification, formants, resonance , etc. - physical modes; twang , belting - onsets, and how they can be used to isolate muscle strengthening, trimble shoot problems and how they appear in lyrics... And the critical importance of being aware of that, and what to do with it. - a good coach that can actually bridge their Passaggio , knows how to belt, does not teach fear of feeling muscle movement and co reactions in the voice ( stay away from "sing like you speak " people). Said coach should be able to sing well. - always practice with a keyboard near by. Real or app. - find a place where you won't be bothered , and can have some privacy, especially if you are a beginner. - train with amplification if you can. It is not totally necessary , but to have the option is a great advantage. For many reasons, but most importantly, amplification keeps practicing fun. Pure and simple ... Burning out or quitting due to boredom is a big risk for beginners! Having a little bit of reverb, a mic in hand, a way to sing over tracks , etc... Keeps the interest high.
  22. 6 points
    When it comes to learning, some aspects that are important to keep in mind in my opinion: 1 - You need to understand what you are trying to do. 2 - Retrieving the information is more important than the amount of repetitions. 3 - Keep it as close to the final application as possible. 4 - Keep the challenge levels adequate. Number 1, 3 and 4 were often debated around here. Number 2, is not intuitive and in my opinion, overlooked. It goes like this, lets say that you are learning one particular coordination, you are "belting". So you understand what you need to do, and you try to do it until you get it right. Eventually, you find it, and it works. Intuitively you may figure "I will repeat this 300 times in a row now". But that's actually not good. You see, what you need really isnt just repeating, you need to allow yourself to let go of the immediate information and, without trying to use other references, simply try to do it again. It is very useful to "mix" other fundaments on training so that you shift your attention and allow yourself to forget what you just did. Also, to make the retrieval of information more effective, its very good to NOT use any other "help" as you try to recall it. If you fail, THEN resort to references, your teacher, a video, or whatever to find it again, the simple attempt of trying to do it without aid will make you retain the information better. This will require much more attention and mental effort than simple repetitions. Challenge level is also important, if you are doing something too simple, or too complicated, you won't be doing much other than getting bored or frustrated. That's why shorter training sessions are more effective. But you can make it even more effective if you go for the kill (keep letting your attention go, and practice going back to it). And, as long as it is about "learning" these notions apply, so it can help you on other things besides singing.
  23. 6 points
    In short you should be practicing and know exactly where you are in your voice chest, mix, belt , etc. don't just throw your voice out there not knowing. I have a saying "how can you get to where you wanna go if you don't know where you are"?
  24. 6 points

    Vocal Coach Poll

    I read the book you illustrated, "Your Band Sucks." I know it was to be humorous but is humorous in the way that "This is Spinnal Tap" is humurous. That is, bald and honest truth. I think anyone wanting to be in a band should read that. Then, after reading that, and you want to be in a band, then do it. At your own peril, of course. It will show that you are determined. Or, a glutton for punishment. Or both.
  25. 6 points
    This is a very popular argument and I agree with the basic premise. Especially the fact that a lot of people are teaching and never demonstrate or sing anything. What is not brought to people's attention as frequently is, the opposite. Those that can sing, but can't teach, or are mediocre, which is another equally concerning problem. I have had lessons with some great singers, that are not necessarily "great" teachers by my definition. For example, telling someone, "just do this,... no, listen again, just do it like this.... no listen to me do it one more time, do it like this"... is not GREAT teaching. Teachers that teach with a primary approach of, "... listen to me, just do it like this"... are doing that because they typically have no ability to explain what it is they are doing, because... they have not bothered to learn the depth of what iy is they are doing, which would include no real methodology ( TVS, CVI, Estill ), no trouble-shooting techniques to help a student out of a confusing jam, and to be sure, always includes ... very little knowledge and understanding about the acoustics of singing or ability to explain it. Why? Because the acoustics of singing is the most difficult part to study in regards to how singing works. It and the physiology is where the science of singing resides. Coaches that can explain the acoustics of singing to students are extremely rare. Why do some people INSIST on subtly belittling the pursuit of further understanding and truth via the science? To do so, is to utterly embarrass yourself. It is to say, "... I am publicly going to pronouns to everyone that I am a dummy on the topic, not because I am not capable, but because I have chosen to be". This is sad when you realize that understanding the way things actually work does not take any of the additional benefits away from learning the organic, and intuitive way. You don't have to make a choice to use intuition or science. The only choice that you have to make is, to NOT use one or the other. Is it any surprise that the approach most people choose not to take, is the one that takes book work and study? The contentious decision to not learn your craft in as much depth as you are capable of, is not a chivalrous principle, cut the bullshit..., it is laziness. PERIOD. Let's make something very clear, that is well known in the industry, especially among teachers. It has also been discussed here exhaustively on this forum. Being able to sing great as a teacher IS PREFERRED for sure... however it does not mean you are an equally effective teacher. Singing and teaching are two entirely different professions and skill sets. Most people intuitively, know this to be true and don't even need me to remind them. The greatest teachers in any profession never belittle knowledge and further understanding of how their profession, craft and science, if necessary, works. As far as voice coaches are concerned, they also have products that not only show you what to do, but explain why and how. The best teachers are those that can do BOTH. Sing well, and explain with some depth of understanding what the hell they are proclaiming to be an expert about. Want a song... here, have a song... No, have several... Got yer, science, got yer book, got yer forum, got yer course work... got yer song... did we miss anything? A latte, I need a latte... Just saying... BE ALL THAT YOU CAN BE.
  26. 6 points
    The Shadow of the Wicker Man is rising up again!!
  27. 6 points
    Draven Grey

    Do, Ri, Mi, Fa, So, La, TI

    I have all of my students, who are working on pitch, purchase a combo pitch wheel. It's the only pitch wheel I've found so far that you barely have to put any air pressure into to get it to ring out the note. It's also the method I've seen have the most effect on matching pitch. If you blow into it to hear the note, then hum into it, trying to match the pitch/note, it gives you immediate feedback for adjusting to the right pitch. Much like tuning a guitar using harmonics, when you're off pitch, the sound wobbles and buzzes horribly; but when you match the pitch, it locks in with you. I've found the pitch wheel helps people learn to not just listen and hear pitch, but also feel it. After they get comfortable hitting single pitches, then we move onto interval training. I start with more harmonic intervals (e.g. 3rd, 5th), then minor, then extended. After they do well with a 2-pitch interval, I move to 3 random ones. I've found that solfeggi and song association with intervals helps greatly with interval and relative pitch training. I'm not going to take credit for that method either. I took it from how many of my friends have trained in various colleges. I've come across the most curious thing with at least 80% of the students I've had that needed help with pitch training, at least at first. When asked to match a pitch, they usually sing a perfect 4th beneath what I play.
  28. 6 points
    Sexy Beast

    Compression Training?

    There may be a number of reason as to why you loose cord closure and break. Adding more closure or compression could just make matters worse. Off the top of my head: - If you have a tendency to squeeze and force the voice you will most likely break around "A4" (guys) adding more closure will not help. - If you are "yawning" your higher range you will loose cord closure. Adding more closure will not help since you are just compensating for a poor coordination and treating the symptom rather than the cause. - If your vowels are not tuned properly your larynx will have to work more than it has to.
  29. 6 points
    Robert Lunte

    Love yourself

    ... do you think? In regards to rhythm... here is the best firkin advise I can give you... listen up. Stop counting music in quarter note tempo / meter... and start counting all music into 8ths. "1&2&3&4&..." Add the "&"... Without 8th notes, you have no syncopation and without syncopation, you have NO GROOVE! Students that count only in quarter notes, have shitty rhythm and cues. Students that learn to sub-divide into 8ths and accent the syncopated, upbeat 8th, begin to get their rhythm tight and groove on... try it... you'll see... great rhythm starts by... locking in upbeat 8ths.
  30. 6 points
    Don't know that there's not about to be a stampede of people on their way in here to tell ol' Gsoul he doesn't know what in the heck he's talking about, but I'm not seeing anything that's unbelievable here.
  31. 6 points
    Hahahah man you are crazy. All this talk of Greyhound buses and road trips is unnecessary. Surely an event that included two TMV moderators would justify the use of the official Modern Vocalist Private Jet. We'll just have Adolph leave us the keys for the weekend. We can all get together and back home in under 12 hours.
  32. 6 points
    To be completely honest, ... why people are concerned about how to practice and produce whistle voice escapes me. I appreciate that is cool and has a level of "fun-factor" to it, but it has little to NOTHING to do with becoming a better singer. Apart from the fact that the frequencies in question are just about 98% impractical for anything you would ever need or want in a song, the physiology and acoustics for whistle are entirely different then singing. One of the things that has happened in the industry, I think largely due to Brett Manning's whistle trick he uses to get people to buy his stuff is... students tend to conclude that if you can do a whistle voice, that some how means you can sing high, or sing better. Of course this is what Brett wants you to believe, even though apparently the ability to do whistles doesn't seem to helping him to sing any better? Hmm?... fooling consumers into thinking that because whistles are high, ... that means you can sing high and teach people to sing high. It is totally untrue and is an idea that is designed for foolery of consumers. How many times would you do whistle voice in your singing, if you actually put the time and energy into developing it? Once? Twice? Three times maybe at best? ... does ANYONE really plan on putting a whistle into every song? If you did that, you would be laughed at. It just has very limited practical application and it does nothing for your technique or singing. The best I can say for it is... it is a niche vocal effect that can be used maybe once or twice in an entire career as a gimmick and beyond that, it is a really funny thing to do with your beer drinking buddies. Case closed!
  33. 6 points
    I tried multiple times for a cover and I was bad every cover haha... although I do have this one which is kinda alright but it's a pretty unknown tune: http://picosong.com/NAQD/ Kinda cheesy early 60s Bee Gees tune rather than the crazy disco stuff everyone knows.
  34. 6 points

    Do I Really Have A Crap Voice?

    No you dony have a crappy voice, sounds good. But i would guess you should work abit on your confidence, why? cause there wioll always be people who dislike your voice regardless of how good you get! Heck i i sometimes get to hear i dont sound good and im bloody amazing so chill and have fun
  35. 6 points
    Hi Elise.... I love your videos... your adorable... Always decent if not really good.... you have a future as a singer... keep going!! 1). I like that you are now experimenting with vocal processing... YES, use some reverb, however, this is a little too much. Turn it down a little bit, but just a bit. Never sing with a "flat" signal and no special sauce... Also, if you can, get some compression on your voice. You can get compression on a TC-Helicon pedal like the new Performance-V (see my review of this cool singer effects system in the vocal gear > processing forum), or one of their pedals. Some PA boards/heads have compression as well. 2). You might try improving your intonation by paying attention to not onsetting low and then scooping up. Singers do this ALL THE TIME... so be aware of it! No "poop scoops" into the notes or out of the notes... straight in and straight out as much as possible. There are some blue note exceptions to that, but generally speaking, 90% of the time, no scooping!!! I really don't have a lot of critiques on this performance Elise because it was pretty solid. For me, it almost comes down to production at this point on this song. How to get a better audio, a better video, etc. for your presentation. If you were my student, we would be working learning how to make recordings now... not live recordings like this.. which are fine, but you really need to begin making real recordings... singing into a microphone, into a DAW (digital audio workstation)... or software for recording, learning how to get levels, learning about compression and effects and then... learning how to take your audio and synch it to video so it looks real. Especially if you are presenting on YouTube. Below is a new song I recently completed... Im not posting this to steal your thunder, but to show you the level of production I think you need to begin striving for. It will make you look more pro. SECRET... This video looks like Im singing it live right there... it is an illusion. Now to be sure, I am NOT lip synching... I am actually singing the song and it did actually sound about 90% the save as the audio you are hearing, but the audio you are hearing was done before the video. Audio is produced first... made to sound as amazing as you can... then synced to video for the final presentation. The Audio is actually the hard part. Getting a good performance and mixing, etc... the video is the easy part. You just look pretty and 'act' in front of a camera. This is how the pros do it... very rarely are you going to get this quality of recording, live... and that is the point... if you up your game in the quality of your audio... which you need to do at this point... you may as well synch it to a nice video since you are 90% there. I can teach you how to do this btw... I can give you audio and video production lessons. So I really think that is great advise... you need to learn how ... and get experience recording and start capturing all these songs your doing, at a higher level of production. Your ability to sing, has out grow the quality of your productions. Ha! You thought I was just a rocker didn't ya... If you can take your singing... and turn them into productions like this... you will have the complete package and really start sounding and looking professional. And I think you are probably ready for it. The art of recording Elise, is 40% of the art of singing. It is part of the overall art form... you really need to learn how. A great place to start is if on garageband... if you have a mac book or iPad, you get garageband automatically and it is a great way to cut your teeth on recording and you can make a good recording with garageband... don't let anyone tell you otherwise. When you are ready to get more powerful DAW, you should move up to Macs LogicProX... that is what I use... it is the pro version of garageband... or something like Reaper for PCs... Ron actually knows a lot about Reaper.
  36. 6 points

    Is Head Voice Pretty Much Full Voice ?

    The answer to this question is simple... Who cares... Our voices are capable of million/billion diffrent sounds over 4 registers now we are gonna divide them into fullvoice and not fullvoice. 1. Does it sound full and is to your satisfaction? if yes keep doing it. 2. Do you like the sound? if yes keep doing it 3. It doesnt sound full but still sounds awesome keep doing it. 4. Full is relative, do we talk about a register or a soundcolor or vocalweight? In the end even that does not matter, what matters is you get the correct training for the intended results.
  37. 6 points
    There is no "ready" to start singing there is only singing. If you wait you will wait another 10 years and then what? Will you be ready then? you need to just get out there and sing. The more you sing the more you understand it. The less you sing the more you "try" and understand it. I personally decided to sing in my twenties and booked a gig. Realized I wasn't doing something right on that gig. Got a couple vocal lessons, used the warm ups and practiced singing songs everyday. Maybe 5 months later booked a gig singing the songs I had been practicing and never looked back from there I met more musicians, learned more songs auditioned for bands etc. all a while gathering info on singing from books cassettes (yep I'm old) but never stopping to say "I should wait till I'm ready".. I still don't think "I'm ready" and I believe if I do think that, I will be bored and stop singing. but singing has not only been a challenge, a career, but also very fun. I don't think it would have been very fun just struggling with scales and hard phrases from songs. Getting out there and performing, entertaining, and singing whether I missed the notes or not made it fun and a good living..... dont wait!!!!
  38. 6 points

    Head Voice Thickness

    Hey guys! Im trying to get the hang of singing in head voice so i was wondering is this correct sound.   I wasnt able to do this a while ago and it was pure falsetto, but since i got Pillars alot of good stuff happened so i just wanted to see if this is a good direction in which im going.   Take not that it isnt really crazy full or great cuz im just getting used to this configuration. Its a bit uncntrolled and very "new" to me but its a new sound that is starting to take some shape compared to crazy chest pulling and falsetto.   I sang a phrase from Led Zeppelin's Black Dog that ranges from F#4-Eb5. First i sang the phrase in falsetto and then i used what im working on these days, a lil more full sound.   https://app.box.com/s/mxdgxlzcrc1u2j0n9lodzglns9dfn89p   P.S. when i say "correct" i mean full and not whimpy and falsettoish
  39. 6 points
  40. 6 points
    I think what Bob is saying is if you can sound good just yelling and pulling do it. which is fine if you dont want to achieve the ability too sing many different styles.  Cobain didnt need to sing like steve perry or stevie wonder or david ruffin, he was an artist. Artistry is artistry.     that is all fine and dandy but this is a VOCAL TECHNIQUE forum not a "hey if it sounds good go for it forum"
  41. 6 points
    Here's a quick lesson on not holding your breath or holding back your breath which is "putting the cart before the horse". and sam smith by request (go easy its live and i learned it about 10 minutes ago.)  
  42. 6 points
    Ive made a video with a suggestion on how to work on your interpretations and write it down so that you keep track of it:       Of course you will not study ALL of your songs in this manner, but I find that doing this on the songs that you find more difficult, or that are more complex really helps.   Specially if you plan on singing 15 minutes long prog metal songs full of crazy stuff, writing it down can free your mind to focus on the singing.
  43. 5 points
  44. 5 points

    Training head voice down

    I am still young and stubborn, if that is what you are implying. I am aware that you can use twang in various degrees, and also its function is not to sound southern or like a metal singer. But let's put aside all the theory stuff, such as: "If you are twanging, then you will totally need more support, till the point where your diaphragm feels like a literal brick." (as if you could feel your diaphragm stiff like a brick) What I am disputing is you don't need extra support to use twang higher up in your register, not more than in your median range. Especially for a mere G4. However, you do need more support to sing high notes in general, especially above G4 and if you want them to sound meaty. Twanging in the high notes will actually make your job easier. But you don't need to take my word on this. Additionally, if you think you gave a pretty clear example of twanging in a pure sense, I think you should work on your demonstration skills, because straining to sing a G4 is not heavy twang. My 2cents. Peace
  45. 5 points
  46. 5 points

    Most important thing in singing technique

    Confidence. Best described by what happens when you do not have this........ A timid stance tends to "Bend" or collapse your body, your larynx is apt to rise because of lack of control, Not enough fold closure because you are afraid of how you will sound, lack of air pressure because you may not wish to be heard ................... Watch Paul Rodgers, Lou Gramm, Freddie Mercury, Steve Perry, Stevie Wonder, Elton John ......... Their very walk and stance exudes confidence. Confidence sets you up for success, Fear causes everything that makes you fail.
  47. 5 points
    Reverse Summer of '96' and what do you get? Bryan Adams you aren't fooling anyone, welcome to TMV.
  48. 5 points
    Paul... I read your original post again, and now realize what you implied you wanted to improve... Your 'consistency', particularly for its effect on your performance, how that feels as it is occurring, and how you react to those feelings. If this interpretation is correct, there are several, tried and true things you can do to improve the singing consistency, and through the success that follows, more fun. The following are in in priority order, most important first (from my perspective... Others may have different priorities) 1) You are a professional, working Musician, even if you may do other things with your life to make money. So, like professional athletes of all disciplines, you must train to raise your game toward your aspiration...wherever you want to take it. IMO, first thing to do there is acquire lifestyle and game-day practice habits that get you ready for your best performances. Most practically, this means adopting daily practice habits that contain realistic assessment of adjustments you must make to work through any daily variance in how your voice feels due to health/weather and other circumstances. 2) Groove your technique, that is, incorporate it via repetition into mental and muscular habit. Even small improvement in some problem notes during a set will reduce accumulated strain, improve overall pitch consistency, reduce fear, and increase your sense of performance enjoyment. 3) Plan to sing mostly in your 'vocal comfort zone'. In a song, in a set, in a gig, in a career... build on your core capability. Be prepared, too, with optional songs, to Skip or Include something based on how your performance is progressing. Going great one night, swap out a regularly performed song with one that you'd like to do in its place. 4) Always be training, (not just coaching) with a teacher and program that will help you build your chops. This not only will help with endurance and range, but also widen the scope of what you can handle vocally. Sure, you can be coached on style, but you need to be grounded in technique Growth. 5) Antipate that your adrenaline will show up before the performance. When it does, interpret it as excitement, not fear. I personally find that verbal acknowledgement works very well. Though it seems a little funny to describe, I pump my my fists in the air (like a footballer that has just scored a goal) and say firmly, "I am getting excited about this performance!" I try to carry that attitude on to the stage as well. 6) Let the clams go. Once a note is out there, you cannot change it, nor affect how the listener experiences it. What you focus on instead (as has been said) is what is now going on, and where it immediately leads. Be in the 'now' of the song. 7) Accept praise and appreciation from your audience graciously, even if you could have done something better that gig. Most audiences have no idea when you are not at your best, they just know what they enjoyed hearing, for whatever reasons they have. So, when you receive a complement for a performance, respond in a manner that affirms their enjoyment..that does not make them wrong. I hope this is helpful, and that you will continue posting.
  49. 5 points

    Joining a band or going solo

    Say yes to every project as some will become something and some will not. You will meet new musicians and create new music and other friendships, and you will learn something from everyone ...Solo will always be there . #advicefromatrueoldtimer
  50. 5 points
    Robert Lunte

    Inspiration in Training

    I was inspired by other artists as anyone is in the beginning. Today I am inspired to produce the best singing tracks I can before I die.   As a coach, the best way to beat the hassle of dealing with incompetence in the industry is to just rise above it and give people what they really need... but that sort of thing never changes, that is present in any occupation.   To Ron's point, one thing that drives me forward with my product development is I want to leave a legacy... something that will survive after I am dead. Something people will enjoy and learn from for years to come. Something to be remembered by.