Robert Lunte got a reaction from Kevin Ashe in This is Bad! And I Don't Mean Good!
Pretty simple. Compressed Overlay Distortion. Squeeze like hell in the head voice until you create so much noise in the upper vocal tract that you have distortion. Effective, but hella fatiguing and if you are not doing other things properly in your technique, it can destroy your voice.
This performance is awful. It is the head voice he used to use, without the compressed overlay, resulting in essentially, falsetto. Why he can't squeeze the hell out of it like he used to back in the day at least for one night, IDK.
Training for this technique is found HERE:
Robert Lunte reacted to Felipe Carvalho in RIP Adolph Namlik
I got news from @Robert Lunte that our friend and team member Adolph Namlik passed away earlier this month...
This is sad news and I feel we should do something in his memory, perhaps a song with everyone adding their voices, or perhaps those who want to record something on their own could send it too.
I will be recording a song if anyone wants to help or collab doing something please let me know.
Robert Lunte got a reaction from Nyman in Robert Lunte Was My Voice Coach! Hear my Story!
?? Many reasons that are obvious and many that are not. His "techniques" ... what are they? How are they being executed? what is he working on in my program?... this could go on forever... his age? His anatomy for singing? His native language influence? ... I am barely grasping the point of your question... just because someone buys my program and trains with me, it doesn't mean they start sounding like me. Steve is a metal belter, I am more of a clean singer... the techniques don't necessarily give you a sound or style, they just make you strong and build motor skills... the sounds you produce after that could be very different then the person that taught it to you... And let's hope so... everyone should use the techniques to find their OWN voice.
Robert Lunte reacted to RNBJR in Bridge area notes
I am working on my singing and have been taking lessons. My issue - I seem to do okay with head voice when I go above G4. However, when I try to see in the F4, G4 area on certain songs, it comes out “shouty” and harsh. I can hit the notes fine, but I am not getting quality. If it is a softer, quieter song, I don’t have this issue. I have this issue when trying to do fuller sounding notes in this area.
I would greatly appreciate any feedback anyone cares to give. I am not a great singer yet and am trying to learn.
Robert Lunte reacted to MDEW in Bridge area notes
The first thing to do is change the idea of HITTING the notes to singing the notes.
You have to lighten up a bit in this area. There are 2 main muscle groups in the Adams apple that control the voice. One set for thickening the cords and one set for stretching. The thickening set is stronger than the stretching set. You have to back off a little so the two sets can work together.
There are several ways to help balance things out.
Vowel modification...Some vowels work better in this area.
Think lower to sing higher.....Like when someone is using a pulley to lift something heavy. You pull down on one end to lift the object on the other side of the pulley. So bend you knees a little and drop into the higher notes.
You can think of the notes being farther away instead of higher.
Or you can think of the notes as getting smaller and tighter instead of higher.
Robert Lunte reacted to kickingtone in Bridge area notes
Here's another consideration.
The attitude and shape of your vocal tract is very important, which is why some vowels work better than others in certain situations.
Resonance is "sound build-up" due to favourable vocal tract geometry (not extra effort). It is resonance that produces fuller sound without getting shouty.
When you sing, you are continually tuning the vocal tract geometry for resonance, according to the pitch and timbre that you want. Where the tuning is less accurate, there may be a tendency to try to compensate by pushing the sound out (getting shouty), or limiting yourself to softer sounds.
You can experiment and practise getting a relaxed and fluid vocal attitude, and finding good resonant configurations. Experiment. Play around with different sounds/noises. See where you feel them resonate. Bridge of the nose? Eyes? Tip of the nose? Back of the mouth? etc. etc. Play around, and get relaxed with the configurations. That will start to reduce the effort and shoutiness.
Robert Lunte reacted to Felipe Carvalho in Bridge area notes
Depends on how this shouting sounds, the songs you are trying to sing, and what your teacher is trying to get you to do.
For most males shouting is the very first step that is necessary to learn how it feels like to use your voice with a moderated amount of energy on the middle range, and to correct possible posturing problems related to vocal fold closure. If you start to avoid this before you control it really well, you are setting yourself for frustration.
Can you provide a sample of how you sing one of these problem songs?
Robert Lunte reacted to Giovanni Djojowardi in I started the TVS course of Robert Lunte | This is what i sound like right now, feedback is welcome!
Almost a year later into the program.
Any feedback is welcome!
Robert Lunte reacted to Dulcidancer in Please Review My Niece - She Used to Be Mine from Waitress
I came across this site and want to ask for feedback for my niece. She is 16, has been taking voice lessons for a couple of years, and wants to be a singer (preferably on Broadway). She just competed in a local talent show, and my sister got a recording of her song, "She Used to Be Mine" from Waitress. I would appreciate your reviews - both positive and constructive - so I can share them with her to help her continue to improve her talent. Thanks so much!
Robert Lunte reacted to Felipe Carvalho in "Jack LiVigni on Understanding squillo in the tenor voice"
In regards to the harmonic content:
On the first example where the 6th harmonic should be amplified this is the spectral distribution:
Both 6th and 5th harmonic have a boost, this is very consistent with the idea of *twang*, being close to the 3khz area.
On the second example, where he says it´s 5th harmonic:
Indeed the 5th harmonic is stronger on the twang region, but it´s on a very similar level to what it was before, it´s likely the darkening reduced twang and separated the clustering. Reducing twang is also consistent with the lowering of the energy level on the second partial in relation to the fundamental when compared to the first example.
Then he demonstrates a vowel on the low range, again the profile is very similar to twang, and of course now that the note is lower, the 3khz band is affecting much higher partials:
Finally on stage voice, there is a situation closer to the initial sample, only now because of the higher level of closure, the energy content of the harmonics rise in relation to the fundamental:
Twang and 3rd partial are the dominant areas, with a slightly lower 2nd partial, and the fundamental bellow all of this. This is the profile you get with *covering*, also fits CVT *curbing*.
Robert Lunte reacted to MDEW in "Jack LiVigni on Understanding squillo in the tenor voice"
You can go with the resonance angle and ignore the physical or go with the physical and ignore the resonance. But in truth they go together. I do not mean that you have to concentrate on either one, I mean that they are linked. A different mouth shape and tongue position not only effects the resonance chamber but also effects the tension and direction of tension on various muscles around and within the vocal tract and Adams Apple(larynx). Changing the angle of the vocal folds from front to back and individually on the surface area that is touching each while vibrating. Not to mention the amount of material vibrating. You cannot amplify, filter or focus a frequency that is not there.
Just as he says in this video it is not one aspect at a time but several together. The amount of each that is required is what tends to get these discussions off track but the important part is that these different aspects are independent and can be used or focused at the same time. ex. Lowered larynx and "shape" of an "OO" vowel WITH the higher tongue position of an "Eh" or "i". Instead of being thought of as "Modifying" the vowel It can be viewed as "Shaping" the sound. The "Sound" can still be shaped regardless of the vowel(Although some are more difficult).
I was approaching the same thing with my audio clip. I was going from the physical aspect rather than the resonance. What do you suppose happens to the root of the tongue and the eppilarynx when he shifts from a flat low tongue position to a high rounded one?
Robert Lunte reacted to kickingtone in "Jack LiVigni on Understanding squillo in the tenor voice"
What caught my attention here was the statement that modern day tenors tend to emphasize the SIXTH as the dominant harmonic. I recall an argument in which someone was trying to convince me that asymmetric vocal fold closure (due to high closed quotient) was critical for full projection, and that that is why the THIRD and FIFTH harmonic are dominant. Well, that is not consistent with what we have here.
(I am aware that Livigni has done a video on the "importance of" the closed quotient, but I still think that the science behind it is shaky.)
Robert Lunte reacted to HiCu in Eddie Vedder Technique
Thanks Robert. I guess what I'm trying to say with word natural talent is they find the property vocal configuration early on. Then they just work on dev songs because the mechanics are already in place. I have seen this over and over again with really natural singers I grew up with.
Robert Lunte got a reaction from The Future Vocalist in Would You Agree With Him?
IDK... Wednesday morning quarterbacks?
In the past I used to be inclined to add comment or argue with something like this that I feel is lacking in some way, but these days... I just don't care anymore. It's a waste of time...
Who is this guy? Is he a teacher with credibility? Can we seem him teach? Can we hear him sing? It just looks like another way to do a reaction video, which in my view is .... I can't find the words to describe without being rude... but, I think... the ultimate form of "free secret tips". People that typically don't want to train and will never train and will never spend 100 hours singing songs and working on parts. I am SO disinterested in this person's opinion on Russell Allen, that I'm not going to watch the video. His opinion means absolutely LESS than nothing to me.
Although I appreciate you making the post and sharing James... it is great to have you as a member. I don't want to seem lacking in gratitude for your participation. Only commenting on the value of the video to me personally.
I did notice this however... which I think does have value for both of us.
My name is James and I'm a possible future student of Rob Lunte.
If you have questions about the TVS training program and becoming a vocal athlete on the program, I am available to serve.
Let's get you actually training and singing better by doing it, not by talking about others who do.
Robert Lunte reacted to MDEW in Eddie Vedder Technique
It is hard to find references and videos from things that you have heard through the years. And yes, on the promotion end of things, the hard work gets hidden. Now that we do have the internet we can find recording out takes and listen to what was going on in the studio, at least from times past. Hearing George Martin having a fit with the Beatles and exclaiming "Take 204" then hear John in the background with a voice crack or Cracking a joke, then, even more frustrated "Take 205" is a real eye opener.
Plus the songs you hear recorded were worked out and polished....it could be years in the making before you hear the finished product on the radio or recording. Songs are cut and pieced together from different recordings and put back together. The "Band" learns the song from it's finished product before playing to an audience.
Sure, you hear stories like Aerosmyth renting recording time and writing the songs while in the studio. I still think most of that is hype to promote the "Talent".
Robert Lunte reacted to kickingtone in Eddie Vedder Technique
Examples? Videos? Interviews? That would be handy...
Part of the problem I have noticed, and it is not only among professionals, is that people often like to hide the hard work, and then "step out into the limelight glistening and glowing with 'talent'...". Maybe it is pragmatic marketing? Maybe they don't want trolls circulating the fact that they are "human". Fans like to believe that their heroes "wrote a number one hit in 3 minutes flat while in a fit of rage and then sang it perfectly in one take..". I think that marketing pressures perpetuate these myths and the idea of that you may be one of the "lucky ones" who "just sing" and chart-topping stuff flows out at once.
As one lucky person said, "the more I work my bollox off, the luckier I get".
Robert Lunte reacted to MDEW in Eddie Vedder Technique
I have seen several cases of an artist/musician/'singer confronting the comment "such a natural born talent" and the reply/look on the face says "Natrural? I worked like hell on this "Natural" talent."
Learning, improving, training never stops.
If you are taking lessons and the training stops when you walk out of the Teacher/coaches studio....then don't blame the teacher.
Robert Lunte reacted to Felipe Carvalho in Eddie Vedder Technique
It´s true that there are people that are significantly better or worse at the skill, it´s also true that everyone works for it in some manner, and it´s true that for the extreme cases normal instruction might not be very efficient, either by being bellow the capability of one of these genius level individuals, or because it´s just totally beyond what a person that has extreme difficulty with singing can cope with.
The core of the matter is this: If you consider that everyone that gets good worked for it somehow, and that one of the common points on extremely competent performers is that they were singing at high level from a very early age, the inevitable conclusion is that this talent, if you will call it that, can be resumed to learning speed.
And what can be done about learning speed? It seems to be:
- Keep learning;
- Learn as fast as you can.
Two things that seems to be extremely important to stick to this plan:
- Sing everyday;
- Record yourself singing songs and evaluate it by the same standard you evaluate music you consume.
First one is straight forward, if you are not singing, you are not learning. End of story.
Second one is a tool that is pretty much of free access nowdays, recording, which gives you a very reliable feedback on what you are doing, but the crucial part is to NOT lower your bar with excuses.
And then there are learning tools, voice teachers, programs, coachs, communities. On our messenger group you can very easily sing to a bunch of people that are also learning and get feedback and different ideas on the fly for example. All of these can speed up learning, effectively making you more *talented*.
TL/DR It´s a race to skill.
Robert Lunte reacted to kickingtone in Eddie Vedder Technique
There's formal training vs informal training.
There's instruction vs self-teaching.
There's coach vs no coach.
(Let's say that an instructor or teacher is focused more on building technique, and a coach more on regime, exercise and maintenance.)
You can be self-taught formally, or receive informal instruction, so there are all sorts of combination.
Even teachers who give formal instruction (standard methods and exercises) encourage their students to experiment, explore, and use a certain amount of improvisation. So informal training can encompass informal elements.
Do you absolutely have to train using bub-bub-bub-bub and meeeeeeeeeeeh and all the other standard god awful sounds. Of course not. People were singing long before these methods became standard. Are singers getting better over generations, as method evolves? I've not heard any evidence of that.
I don't think that you are stuck with either extreme. Prepared method (formal training) has the advantage of giving you direct access to the benefit of research, but without the customization you get when you devise your own exercises. On the other hand, each way can lead you to practise things that are not optimal for your personal instrument or goals. You just have to be vigilant and have a good instinct for what is good for you.
As for instructed vs self-taught, there are too many scare stories knocking around. If you don't get an instructor you "WILL" damage you voice......you "WON'T" know if you are doing the exercises correctly (but the instructor "WILL"?)......you "CAN'T" hear yourself properly and you "NEED" an instructor to tell you how you "REALLY SOUND"......you will take forever to improve if you improve at all, blah blah blah. It's mainly marketplace blurb. None of these things are a given. Ultimately, the buck is always with you in deciding how much instruction you need, where to get it from, whom to "trust" or listen to, and how much to trust or listen to them. People can get very frustrated through not realizing that the buck stops with them.
As for coaching, well some people seem to need a coach for motivation, others less so. I know a girl who would pay a fitness coach forty pounds for an hour for a fixed exercise routine. When I asked her why, she said she'd otherwise lose motivation and stop going to the gym. (The "date" with the coach was a psychological boost that took away the physical pain.. )