judyrodman

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    “Singing In The Studio” (capturing vocal performance magic) is a one-of-a-kind training package for singers and production teams. The multimedia package includes: A jam-packed 130 page book. 7 audio “interviews with studio pros” (about 3 hours of discussion about studio singing with top engineers, producers and session singers). 1 audio vocal warm-up; can also be used for warm-down after performance. 1 video demonstration of vocal warm-up exercises. This program is a culmination of over 4 decades of my extensive professional experience in the studio as a staff jingle singer, session singer, recording artist, vocal coach, recording producer and vocal producer/consultant. It gives advice that has been proven time and time again to quickly enable vocal magic in practical studio situations. It also includes insights from 7 other top studio pros. What others say: "Judy’s teaching is so condensed that every section reminds me of that scene in “The Matrix Reloaded,” where Neo asks Trinity: “Can you fly that thing.” Trinity calls in, asks for the helicopter training module, blinks a few times, turns to Neo and says: “Let’s go.”Forgive me for sounding a little jaded, but the odds of having a real career in music are really stacked against you."Singing In The Studio" is full of what you need to know to actually break through." - Michael Moore, head of promotions responsible for over 1 billion dollars in music sales [read Moore's full independent review; reposted by permission] "This guide is something the industry has needed for a long time" - Milan Bogdan, producer/engineer on over 200 Gold and Platinum records in multiple genres “Singing In The Studio” is going to be a part of required reading for all of my developmental artists from now on. The wealth of invaluable information contained in these pages is presented in a concise, unambiguous manner. Judy’s forty-plus years of experience in every aspect of vocal performance is immediately apparent from the first page. Judy Rodman is the true definition of ‘professional’ ”. – Ron Oates, multiplatinum, multigenre producer, pianist and arranger “Singing In The Studio” is a great comprehensive work that helps any singer at any level. Recommended reading for all musicians and recording techs to aid in the understanding of what singers deal with”. – Salem Jones, lead singer of rock band 'One Soul Thrust' !SITS Brochure 123111.pdf Singing_In_The_Studio_by_Judy_Rodman.wmv

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  2. My two cents here: One of the secrets of good mic technique is this... less is more when dealing with pressure. Many people who apparently have huge voices through their mics actually don't sing with massive air pressure. This allows John Farnam is definitely controlling his air pressure... he is, as I call it, "pulling volume" rather than pushing. This allows his chest and throat to remain open, which allows his instrument to operate the most efficiently. The notes can just "float up". And yes, size matters as far as sound quality goes, but even a largely endowed vocalist must find the mic that best captures those frequencies. There is a bit of aural illusion that goes on; when the voice is the richest it also seems to be louder. Interestingly... when we sing to hard and loud in studio, the compression which must be applied makes our voices sound small and thin. I learned that the hard way... and when I eased up at the studio mic- allowing less compression and more resonance to be recorded- my apparent volume carried my voice much better in relationship to the track.
  3. It is my understanding that the voice has registers that are created with different sets of muscles. AND... that if there is sufficient coordination in and between those muscle sets, one can "mix" (not a scientific but a sensory term) the registers into what "feels" like one register. The goal would be for the top of the chest voice and the bottom of the head voice to sound as much alike as possible. I have a little exercise I use to enable this FOR CONTEMPORARY, NOT CLASSICAL vocalists. If the registers are sounding too different, with that telltale break between, I give my student an ascending and descending scale of some kind. When on the lower "chest voice" notes, I suggest they touch their nose and to try to "pull the chest voice from the nose (if they are doing it properly, it will flare). When they transition to head voice, I ask them to touch their mouth and try to pull the voice from there. This causes breath and throat configurations which get the voice mixing better. Does this make sense to anyone? Maybe I'll do a video...
  4. You also need to address the cause of the mucous. Notice what you eat... and how it affects your mucous load. Notice what you breathe... notice all circumstances that seem to exacerbate the problem. You might want to do a detox of some kind... and learn about food combining, nutrition, etc. Allergies to pollen, etc of course have a big effect.The Neti pot can help with an airborne allergy load. http://www.webmd.com/allergies/sinus-pain-pressure-9/neti-pots Lastly, you might try using what I call 'fire water'. It's simply water plus lemon juice and ceyenne pepper, which is a healer of mucous membranes and cuts the crud. Pineapple juice diluted with water helps too. Good luck!
  5. Fun to see another genre represented on the forum! As to his technique... I don't believe he is singing in head voice. It sounds to me that he is using a light, well-mixed middle voice, with a lot of head voice influence in his mix. The big thing is, as you have noticed, he is not putting a lot of pressure on it. That's the mistake I find most singers make when trying to apppoximate that kind of rasp... pushing it to make the sound instead of relaxing and intending the sound. I look forward to Steven Frasier's coming thoughts.
  6. Hey guys, I'm going to dive in here and offer something that has worked for every musical genre of student I've ever coached or vocally produced. It's the basis of what I call my method "Power, Path & Performance". This method is NOT re-inventing the terminology wheel. (I think potAYtoes are called poTAhtoes a lot, and I hear you James Lugo). I have gained tremendously from studying others' vocal training work, including both classical teachers and new teachers such as Jamie Vendera, Melissa Cross and our Robert Lunte. But mostly, as a teacher, I have gained my best ideas by observation of myself and others as we work our voices. What I noticed in developing PPP was how synergistically important the combination of breath, open throat and the act of communicating were. In my opinion, the voice best runs on "automatic"- IF we 1. develop our vocal options and 2. practice eliminating limiting and straining vocal habits. Then the intention to vocalize a particular message with a specific emotion will tell us how "chesty" or "heady" our tone should be, how much vibration we should be setting up in our vocal folds, what kind of articulation we should be using. I think the detailed training about "curbing, overdrive, belting, pulling, breaking, crying, mixing- even what I would call "de-constructing" or dropping technique momentarily for effect.. does help a singer develop healthy vocal options. But when performing, autopilot must be developed where a correct low sense of breath power, a throat that is open enough for best sound without strain, and the intention to make someone feel something synergistically call for the right working of the vocal apparatus. Does this make sense?
  7. Great... glad you're back on your game! Happy singing... J
  8. I'm sorry you're having trouble. Sounds like you need some personal coaching. There are lots of reasons for what you are experiencing. You are, it sounds like, for sure blasting with too much air pressure. One more tip I can suggest trying is this: Put a pad of paper up to your face, just a couple of inches from your face. Sing into the pad of paper and you'll hear your voice bounced back from the paper to your ears. Try to sing confidently but NOT SCREAM at yourself. Try singing confidently without leaving "breath marks" on the paper, pretending it's a piece of glass. Make sure your eyes are communicating, and that you don't move the paper forward. Your head then should be balanced on your spine, not moving forward. Hopefully, this will get your breath support/balance back. But again, it sounds like you could use a personal lesson with a trusted coach.
  9. Thanks for letting me know... and high praise from you, Steven:) Happy to be of service.
  10. You're so right that it's the BEGINNING of a yawn sensation... not the end of it... that keeps the expansive feeling in the front. It lifts the soft palate without unduly lowering the larynx. Try doing tongue tanglers or in fact reading any passage in a crazy voice, going up and down your range, including your head voice, and making free chewing sort of motions with your jaw as you talk. This should feel very free and easy. Keep forming your words in front instead of back of your mouth. When you sing, make it feel like this free talking. Glad I could help... this is definitely a curable issue. You never need to bunch your tongue base up to vocalize; your body just learned a counterproductive strategy that can be unlearned:) Blessings Judy
  11. In my experience as we go higher, even a half step higher, sometimes we don't allow the larynx to tilt like it needs to. We allow the muscles around the larynx to "grab"... and that can include neck, jaw and tongue muscle, trying to pull the larynx up to create the higher pitch. Try the Jeannie Deva tip of putting two fingers lightly on your adam's apple. Simply purpose the touch to tell you not to tense there. Try singing with your fingers there and see if it helps. Also, try my technique of singing at the wall. If you have typical male shoulders, put a towel between your head and the wall so your head doesn't go too uncomfortably far back. Put one heel at the wall. Now put your hands up about sternum level, put your fingertips together and press into your fingertips while trying to stand very tall. By all means do not lift your chin. Try singing again. Another thing that happens is that your "mix is off"... Try doing a siren on an 'oo" or "ee" vowel. Don't start too low, but go higher than the problem area. Try to yawn the sound when you go through the problem area, and back off the pressure a bit. Rob Lunte calls this the "lift up pull back". Go slowly across the troubled note, pressing your fingertips in and squeezing your butt. You also may be applying too much pressure, trying to get that note up there. This can cause the tongue to bunch, trying to deal with all that pressure at the vocal cords. Back off your pressure, expand your ribcage instead of letting it close in. Jamie Vendera calls the resulting backing off the "inhalation sensation". I call it a feeling of reverse breathing; you are of course breathing out but you back off the pressure so much that it doesn't feel like an exhale. I hope I'm explaining this correctly. I wish I had you here in person, but see what these suggestions do for you.
  12. Tongue tension happens when you use the wrong end of the tongue too much:)... you need to learn to keep the base of the tongue relaxed while you use the tip and front sides of the tongue to articulate. Somethings I do that have helped my students a great deal: 1. Wake up the face and do tongue tanglers, trying for clarity and not allowing the voice to "fall into the gravel" at the ends of phrases. Act like you are speaking to deaf people... make your lyric show in your face. This gets it out of the back of the throat and stiff jaw. 2. Speak or sing with the jaw moving in sort of a slight chewing motion. Tongue tension and jaw stiffness go together. 3. Put your knuckle inbetween your molars (not the front of your mouth) and sing. It will sound weird, like trying to speak with the dentist's hand in your mouth, but your jaw and tongue will experience having to relax. 4. Sing only on the vowels for a while, again allowing the back of the mouth and throat to fall open. This is harder than you think, you have to concentrate on NOT forming consonants. Then allow yourself to slightly let the consonants sneak back in, but keeping the back of the tongue feeling the same and letting the jaw relax flexibly. 5. Put two fingers under your chin. You are feeling the base of your tongue. Speak or sing, telling yourself not to tense there (bunch the muscle up). btw... some people can do tongue trills and some people can do lip trills and some people can do both. Just like rolling the tongue, forming French or German syllables, for some people it is easy and some hard. It doesn't matter. The main thing is to get your articulation out of the back of your throat. Let me know how this works for you!
  13. OK I finally have found time to click on links illustrating what everyone here is referring to as "twang". Being in Nashville, I have heard way too much of what I define as excessive "twang" by people coming from other genres trying to sing country. I think one of the best correct uses of a lot of twang is by Jennifer Nettles of Sugarland. I believe it's the same vocal effect used by axle rose. However, I understand she has had vocal problems, and I do believe there is a way for her to do what she does without that vocal fatigue and strain being allowed to set in. The epiglottic funnel may narrow, but fatiging throat tightness in twang (if this is the same thing you're referring to) is, I believe, totally unnecessary. Willie Nelson, Bob Dylan, Alicia Keys (chorus of "Fallin", etc http://www.youtube.com/watch?v=j6_Tqo44xI4&feature=player_embedded) are also examples of very twangy voices, right? I get this edge in my singers by suggesting they use a bratty voice. I use the "a" (cat) sound as well, on a very bright and edgy siren. If someone needs more of what you are calling "twang" and I call "edge", I ask my singers to sound less "hooty" or hollow. I have them do short sirens with "n", "m" and "ng" using a "nerdy" and buzzy sound (other words I use which I think mean the same thing here.) But I make sure the jaw stays flexible when applying edge. This relaxes soft palate, of course. The way I get the levels of twang to change to genre or song appropriate color is to give what I call the "blind man walks into a room" exercise. I suggest a blind man would touch both walls to find the middle of the room. The middle can be a little towards one wall or the other, but can be chosen when you know where the two boundary walls are. (Hope that makes sense). To find the middle, usable degree of the edge or buzzy vocal sound, I have the student sing a phrase in "back" of the throat in as nerdy, thin a sound possible. Then I have them sing it "forward" as hooty or hollowly as possible. Neither of these places will feel good to the throat. Then I ask them to find the middle of those sounds and sing it again. I may then suggest moving the sound back or forward and experiment with these choices until the sound feels right to the song and genre. All of a sudden, they find themselves with a lot more tone color choices available. Is this what you're talking about? If so, I'd say the main caution with the twang is NOT to have engage throat grabbing or larynx freezing. Some may disagree, but I find that if the face is frozen, there will be range ceilings and floors much closer together. Eyes and jaw must be active and freely communicative. As far as this being tiring, in my opinion, anytime we fatigue the vocal cords or limit, we're doing something wrong. What say ye?
  14. Just discovered this thread, and I'll chime in here. One of the first things I do with new clients is assess their speaking voice, even before they know I'm doing it. This is because if they are going around all day abusing their vocal cords when they speak, then they are sabotaging their singing before they even start because the vocal cords are tired and usually a bit swollen. Sometimes people sing less abusively than they speak, this is true, but their cords are still being trashed when they speak. This is why as an artist I used to try and limit my interviews until after shows. The reason... I didn't know how to (or that I should) apply good breath support and control when I spoke. I just shot sound out of my mouth. As to hating your speaking voice: I was once called in by a psychologist to consult on a case where his client hated his speaking voice. I figured it out within about 10 seconds of hearing the guy speak. It wasn't the SOUND of his voice he hated (which was what he thought) it was the FEELING of speaking that he hated! As soon as I made a few simple suggestions to help him open his tight throat and apply breath support, he realized that he no longer had a problem with his speaking voice. I had he and the psychologist sit and talk as if he were a very confident rap artist, speaking with a very active face and squeezing his butt against the chair to power his voice, using the typical slang like "yo, sucka", "I am bad and I think you ought to know it".. having fun. (And you must understand, this guy was a definite middle class meek tech dude). He realized there was nothing wrong with his voice, and that it could be quite listenable. Another speaking issue that wearies vocal cords is articulating from the jaw instead of from the front of the mouth. Using eyes when articulating gets the sound into the mask. You can't even feel your cords when you do this, it's so freeing. Not to mention, you can understand the person! Sometimes people speak much better than they sing. Then I ignore the problem-less speaking voice and get to work with bringing the same freedom into the voice that holds notes out. I think this is where the controversy lies. A good intuitive coach, as Anne suggested, is vital to assess where the problems really lie. But sometimes... sometimes... they lie in the speaking voice!
  15. One thing I am suspecting... you may have tension in the base of your tongue when you try singing "N" in those places in your voice. Try putting two fingers under your chin, tell yourself not to bulk up your tongue there and try again. I look forward to hearing what works for you! Judy Rodman Power, Path & Performance professional vocal training http://judyrodman.com