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MDEW

TMV World Legacy Member
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Everything posted by MDEW

  1. Yes, here we go again with your own crap. Kicking tone is experimenting with his voice and paying attention to the changes in the sound and feel of it. THAT is how you learn and improve. Checking the difference and making adjustments. If you always do the same thing the same way you get the same results.
  2. I suppose at that point it would end up being about who has the biggest or most expensive pedal or who uses the most pedals. I see that with guitarists too. A box sitting in front of the guitar player with any where from 6 to 10 effects pedals all strung together at the guitarists feet, let alone the wall of marshal amplifiers.
  3. They never were out to fool anyone. It was about making the music and not about visual perceptions. The audience not understanding the "magic" of recording was not the end goal but the sound of the music was. Now it seems that the visual impression or perception of the audience is the goal and the music is secondary. It is still kind of backwards today. The "Star" or singer is out front and the musicians and backing vocals that make him sound good are in the background."
  4. I play the guitar. When I started I was amazed by how people could play the guitar and come up with leads and rhythms that sounded so awesome, how it would enhance the rest of the music. I guess it would be the same for any musician or singer... perhaps any kind of art. I believed that to be a good player you had to be able to come up with the lead or rhythm on the spot, so to speak.... without hearing the music or song before, to be able to just jump in and start playing it and still sound "Good". Hear a melody in your head and then just reproduce it....I thought it was cheating to sit down and listen to a guitar lead and work it out note by note and use that same lead every time you played the song. To me that was memorizing, not playing.... so I would come up with my own leads, then I would get comments that I was not playing the song the way you heard it on the radio....I thought it was cheating when I used my fingers instead of a pick to play certain phrases.....There were songs I would play that I would use a capo(a device to change the tuning on a guitar) to make the song easier to play. I thought that was cheating...... Anyway.... all these things I thought were cheating were actually the way that the recording artists did things. You learn a lead and guitar part by working it out and memorizing it before you record it....There are things to do that make the guitar playing easier and faster when needed. Hammer ons and pull offs to play 3 or 4 notes with one stroke of the pick instead of striking each note individually. You practice scales on your instrument that are played with certain chord patterns. Use a capo when it makes the fingers land in a better place that is more suited for the phrase. These things are not cheats but techniques. Back to playing songs live....another thing that I learned, is that the original artist does NOT play a song the way you hear it on the radio or recording. Most of the time the song CANNOT be reproduced live and sound the same as it is on a recording. When playing some songs live and I or the band get the comment that I did not play the song like you hear it on CD, I will inform the person that the Recording uses 4 or 5 guitars playing different parts at the same time and I can only play ONE guitar at a time or that the original band does not even play the song the way you hear it on the recording. I guess for singers it appears to be the same as when I first starting to play guitar, you get the idea that it is cheating to learn scales or use weird singing exercises to learn how to manipulate your sound and coordinate your voice to sing certain pitches with a certain sound.... It should just come out automatically if you are going to be any good.....No..... you learn how to manipulate and coordinate in a suitable manor to get the sounds you want in a particular pitch range....You practice scales so the notes you produce will conform to the music that is being played.....If you are always practicing the same scale in the same key all the time your voice will get used to making a certain interval jump that may not go along with the music when in a different "Key". Practice is essential no matter what your level is at this point or any other point. You learn one phrase at a time by repetition and memory. Just because you practice a scale everyday .... that is not sufficient when singing. All songs do not use the same scale(group of notes). Some songs will change scale and key in the middle of the song.
  5. There is a controversy about guitar shredders on instagram speeding up the video and audio to make them look like they are playing faster, but then, people have been enhancing their pictures with Photoshop since the beginning of instagram. For whatever reason it seems that no matter how good you are or what you can do....success is something better. Maybe "Success" means having people believe you are somehow better than what you are. I have to remind myself that what you see and hear on the Tv, Radio, Youtube..etc is not how things look and sound in reality. The flaws are cropped out, edited and presented in their best light. Even the videos that were made to bring to light the fact that shredders were speeding up their videos were cropped edited and different camera angles were used throughout the videos and the false starts and tongue twisted words were edited out to enhance their own video about the "Fake" shredders. So, their own video presentation was "Fake". Even in this day and age where electronic manipulation is the norm, some people are believing that what you see and hear on video is a real and a proper representation of reality and to be considered good you have to look and sound like that "manipulated image" just to appear somewhat "Normal". Success has to be better than the "Manipulated Image".
  6. I feel that way when people use backing tracks on live performances. Whats the point? you might as well just play a CD and listen with the rest of the crowd. I get the argument from local bands that it is how the big boys do it. Their point is that they can not sound like the recording when there are 5 guitars, a string section, 2 drummers and backup singers on the recording and they only have a 4 or 5 piece band. My point is that if you have the string section, horns and backup singers on backing track, no one will believe that you are not lip syncing any way and it is best to go ahead and change the arrangement to sound good with the 4 or 5 members of your band. The bar is raised too high and people want quick success without work. Then again it is still art to arrange and build a song through computer software. You are still creating the melody, building the harmonies and deciding which instruments(sound characters) are going to provide the different harmonies and put it all together to make musical sense. But I would not use it on a "Live" performance. It is a fact that recorded music is manipulated to a high degree before you hear it on the radio or cds and such. Even in the old days when songs were recorded with live musicians they would record several tracks of a song and pick the one with less mistakes and even splice the recordings and one section from one track and another from a different track and put them together to sound as if it was one track recorded at one time.
  7. Their larynx is getting bigger. That is what is happening and all that needs to be said. During this time the body grows quicker and the changes are fast enough to notice the difference.
  8. I am not a teacher. A lot of the tips that you see or find on youtube are correct. The problem is that you only get part of the process. There are exercises involving lip trills to help understand how to control your airflow. Exercises involving vowels like "Aa" as in cat to help keep the vocal folds together. Exercises involving "Nay" to help keep a forward placement. Exercises involving "Goog" and "Gug" to help keep the larynx stable. Any one of them on their own will help in one thing and get you unbalanced in another. The main idea is to gain an understanding of how to control all of these things and use them together. Exercise with scales in the lower range with all of the vowels. Pay attention to which ones sound better and feel better to you and which ones you are more likely to help you stay on pitch...which ones sound more resonant and which ones give you trouble with pitch and resonance. Exercise along with a piano or some instrument so you can hear when you are on pitch and off pitch. When you exercise try to keep the volume the same.....slightly ABOVE speaking level. Singing too quiet will make it harder to sing on pitch. Your airflow is what makes the vocal folds vibrate. Keeping the vibration steady is part of the control you need.
  9. I could not tell a difference in the sound.Are you looking for a different sound or looking for a more comfortable or natural production?
  10. I know that people use the term to mean different things. Even the dictionary definition can be used to mean anything above the passaggio because the CT must be involved when singing above G4 in men and G5 in women. The definition I use is what I stated Because there is a physical as well as tonal and vibrational change that is distinct from a modal sound , configuration and vibration. The sound can be Airy and flutey and hollow like Mickey Mouse or a Man imitating a Female voice or it can be tight and closed like Beegees singing "Staying Alive". What I am calling "Falsetto" others may call "Whistle voice" at too low of a frequency to have the "Whistle" characteristic sound. A separate physical change may take place between the "Falsetto" configuration and "Whistle" configuration. At any rate, There is a distinct difference between Falsetto and "headvoice" to my ears. Maybe it is a quality that some others do not listen for or they have been taught to listen for a different quality that I myself do not hear. I am not saying that others must use my definition of falsetto, I am merely stating the definition I use and Why I use that definition.
  11. This is the KEY aspect of falsetto and distinguishes it from "Modal"(full voice, full head voice). "Relatively free of overtones" It Cannot produce over tones because of the coordination of the vocal folds. The folds become "Locked" into position, Only the thin edges of the vocal folds are vibrating. "Typical" means most often but not always. You can use a full modal headvoice and be breathy and flutey and NOT be using Falsetto. Breathy and flutey do not define Falsetto. The coordination of Thin folds and strong CT(cricothyroid) activity and little TA(thyroarytinoid) activity defines falsetto. The outer edge of the vocal folds become "Stiff" They can still Make contact while vibrating and not sound "Breathy" but the sound will still be distinct in tone and vibrational characteristics. Full voice can "Mimic" falsetto, Falsetto cannot "Mimic" full voice.
  12. I would not call that falsetto. I would call that "Mix"", "Head voice"" or "neutral". Of course many people have their own understanding of falsetto. My opinion is that Falsetto in a male voice has characteristics of the female head voice and/or a mickey mouse sound....hollow or flutey. The vocal folds are just vibrating on the edge and there is little vocal fold mass involved. The sound is different because the voice does not produce as many over tones with falsetto as it does with full engagement of the vocal folds. Even though you were singing light and you may have felt that something changed, the sound was still connected and consistent with the lower notes or a ""Modal" sound. The vocal folds were vibrating the full length with a good bit of vocal mass vibrating.
  13. There is not much of a difference, the second clip is a little brighter/crisper . I could only tell a difference because I was listening for one.
  14. Judging by what is happening in the world, for today's mind set, you are correct. Facts have nothing to do with truth and opinions and feelings govern reality. Just like everything else, this to will pass. After the train wrecks, the railroad will be rebuilt.
  15. The issue that is not solved or resolved is why you would post a subject Titled "Solved" and have the only word in the post as "resolved". This mystery is not as yet "Solved" or "resolved". Now that you have made a "Post" I wonder if you will "Repost" a response.
  16. So, what are your thoughts? Would you rather have someone guide you in singing by saying things like Bring the sound forward, feel the tone going through the top of your skull, or say things like "You are swallowing your tongue," Dampen the Larynx(a slightly downward and backward pressure on the larynx), Lift your soft palate". Do you know what any of these things do to the sound of your voice?
  17. Although nobody else seems interested, I would like to hear your thoughts on the anatomy involved in singing. Maybe you have some insights that have been overlooked.
  18. How about expanding on this? You asked the question but have not responded to a reply. A forum needs interaction and a back and forth of opinions and ideas. There is not going to be a definitive answer. How to approach teaching of a subject to appeal to an audience needs input from both sides. At this point it seems that you do not even want to approach the subject when there is one who will ask questions or give an opinion. I think that the subject is fascinating but even on this forum where people want to get tips and find ways to improve, they want to skip over what makes the voice work and how to gain control over it from a physical standpoint. Are you a singer? A teacher? A Scientist? An independent researcher? Do you yourself understand the anatomy and the physics involved in singing? Or are you wanting information to understand it yourself?
  19. That is a good question. Are you teaching people how to sing better or giving a class on vocal pedagogy? It seems to me that people who want to sing better do not care about the physiology and teachers do not want to use it for training purposes. They seem to feel that maybe knowing about the physiology may help them as teachers but the physiology may hinder progress in the actual vocal production of students. Feeling and doing are better than knowing what causes the outcome. This is not my own opinion but it seems to be the general consensus when trying to get people to discuss anatomy and physiology involved in singing.
  20. The vocal fry is like Elmer Fudd from Bugs Bunny Cartoons. The vocal cords are held together but there is not enough air movement to keep a solid tone so the voice sounds like it has a crackle in it. The crackle sound is the cords coming together in an uneven vibration. Vocal fry in the upper register may be called Creak. Whispering does not make the falsetto. Falsetto is when the cords do not fully make contact and the cords are only vibrating on the edges. You can make falsetto with full cord closure and without full cord closure. Without cord closure and a high register you would get a sound like Mickey Mouse. With cord closure and a high register you would get a sound like Elmo and Miss Piggy from The Muppets. Lower register Falsetto sounds like the guy from King of the HIll Cartoon and Patrick from spongebob.
  21. This is basically sirens or scales using VOCAL FRY on a low volume. The sound of vocal fry is from the vocal cords making contact but it is random. The sound can only happen when you are using barely enough air to make the cords vibrate but they have to make contact with each other.
  22. I had the feeling that you were keeping the volume low so you would not disturb others. Unlike others who are always whisper singing because they think that is their singing voice. Even when keeping a low volume try not to whisper. When we do not sing with enough air flow and cord closure we do not have as much control over the voice. Even when singing quietly we should still have a solid tone. Whispering dries out the vocal cords. One exercise I have seen is a low volume(loudness) while maintaining full cord closure.
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