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Singingnewbie

TMV World Legacy Member
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Everything posted by Singingnewbie

  1. Great, remember the crowd is by your side, its not there to judge you, they wanna have fun like you do. Even if you mess up nobody will remember the mistake, they will remember the general appearence, "The guy and the girl that sung really nice" they wont add "yes, and made a mistake in that song and one in the the other"... Remember that everybody messes up, even the greatest! Also i thnik its better to mess up and be more expressive and active on stage than be like a brick that sings spot on every note, i got a cd for that!
  2. Im not an expert but thats what i would do, after talking to your bandmates fails (they are supposed to help you but anyway) Protect your hearing and Have a proper soundcheck, play the loudest parts setup everything and Have the gain in your mic as high as possible, if its on a stand its fairly easy, if hold it and move around, you need to see at what positions it feedbacks and avoid them and Maybe use a compressor pedal to gain some power and to avoid getting over the limit and Good luck!
  3. Thanks a lot Owen, helpful as always and spot on. I had a feeling it wouldnt be correct but also sometimes "pain" is on the gain, not this time. Yes i feel this strain near my limits, if i concentrate i can produce light/weak clear sounds within the range without the strain but it is not that useable, especially in a live situation. If patience is the key, so be it... thanks
  4. I got really tired back neck muscles on a high head-whistle session i did, like i went to the gym only to workout these specific part of my neck. I needed 2-3 days to get back to "normal", it happens first time like that, also it might be a cold but in any case i am worried about their role in singing. I tried to notice when they come into play on my singing, that is after a#4 on mix and c5 on head i start to feel they engage. When i try to focus on the whistle register they are much more active with more power especially when i go higher near c6. Is it something i should worry about? Is it just that they need to be strengthened?
  5. Walking is different from singing because it is the way humans are built and unless you have a condition anyone will walk either taught or not. Its not a skill with the meaning of a skill as singing is, driving, drawing etc... I guess nobody was told "Hey your walking is awful please stop walking..." or "Wow your walking is so nice, please walk some more so i can enjoy"!   Generally i agree with what you advised him ron but we all have gone through these steps, exept the lucky ones. Jameel just make a program about singing everyday or when you can and be constent to it, no matter what. Everything will come with time.   Killer thats such a pity, you didnt start at young age and started later, same i wanted to play piano when i was same age but for family reasons i did when i was near 20... Be happy with what you got and try to make it better! Peace
  6. Your voice has nice characteristics, everyone who is at a beginer level doesnt like his voice cause isnt used to it and because well... its his! Dont think about it, just practice and over time you will see results. Darius very nice post.
  7. If you make money from live shows or generally from music then i'd say to invest after you have tried one and it suits you.
  8. Considering the play in a loud volume, first of all protect your hearing so you can actually hear yourself in the future... not you but everyone in the band. You cant recover damage done to your ears and also you can get tinitus, a very annoying hiss/ringing that you wont be able to do anything about it. I would suggest softer playing (that way you can also work on dynamics, very important part!) or earplugs if they dont agree to play softer, battling decibels with a drummer and a guitarist, bad idea, you will lose voice or ears, or both! Learn to communicate as a band!
  9. I listened to both, this is a lot better and can be a lot better if you correct some easy things like the style you sing. For the next thing i say i am not quite sure but thats what i would do, try to avoid too much effects and show offs and sing right at the note like stacato, in a simple way, dont slide, you can slide as much you want later   There are so many good free videos out there that i dont believe you or anyone needs a voice training program BUT you have to filter out the information and that will take more time than lessons or a program.   Most usefull advice is what GSoul82 said, sing, sing, sing! Listen, immitate, record, get feedback, its free and will get you a long way!
  10. Agree with what Gneetap said and i think i hear high larynx at 18" and dampened larynx on the next few notes. Try to make a released natural sound and stabilise the vibrato on the held note. Also going thinner isnt a shame, it also adds to the atmosphere of the song instead full voice, chest-dragging, high-low larynx and etc. The simpler the better. Oh and by the way, very nice singing!
  11. Really good singing but i think it will be even better if you work on dynamics.
  12. JackCee, great video, amazing singer, he sounds the way i do singing 2 tones lower. I am very impressed and puzzled about HOW he managed to do this. Sometimes i start to believe again that it is also a matter of genes/, not only training.
  13. His way of not pushing this 'chesty' voice and just letting it cross over into a more heady voice as helped tremendously.     Totally agree, releasing is one of the best things.
  14. Accidentally saw an article and thought to start a new topic "Judgement is the route of nervousness" but i will post it here.     Confidence And Peak Performance With Mike Cunningham     We’re sat in the San Bernardino mountains in South California at the VocalizeU Winter Retreat. Both feeling particularly jet-lagged but listening to the song ‘My Fire’ by band Jealous Michael. Simon the drummer is the receptionist at Southampton’s River Studios. He’s a bloody good bloke! And talented too, check them out here and you can download their stuff on iTunes. We’re feeling extremely privileged here at the Winter Retreat with lots of VIPs to talk to, including none other than American singer/songwriter, Wendy Moten. Wendy began her career as a supporting vocalist with Michael Bolton. She was then signed with EMI, and is best known for the single “Come On In Out of the Rain” which was a #8 hit in the UK in February 1994. After a little chat, one thing she said really rang true to us: ‘Judgement is the route of nervousness, not actual stage fright but the apprehension of what people will think’ Which leads us perfectly to todays talk with Mike Cunningham. A peak performance coach, Mike teaches in performing arts colleges across the country in overcoming stage fright and encouraging focus. His work aims to encourage positive and present thought processes and building confidence in performance. It’s incredibly important for Mike to help people gain a shift in mindset. Working across the board with professionals such as athletes, businessmen, actors and musicians, it’s clear to see a correct mindset for peak performance is paramount in all performance industries. Essentially, it’s about the emotional state of mind. It occurred to Mike that there should be an updated way to get effective results. He draws inspiration from his varied clients, whether it be a comedian or public speaker. Though his work spans across industries, the approach to perform your best is uniform. The state of mind is ultimately the same. People who are engaged in what they’re doing, actually engage the audience more. In singing, ’peak performance’ is often defined by not worrying what people think. When you consider what some of the really amazing singers do; they are transfixed in their delivery. There is an emotional change by you just listening. Nerves arise from worry that people won’t like the performance. The state of mind is based on what the audience will think, but sense of flow is about enjoying the moment and the music without fear of judgement. This results in the audience actually being more impressed when the performer is relaxed and immersed in the experience. People find auditions challenging because of the goal they set themselves. Imagine a singer, auditioning in 2 weeks time. The performer believes if they get it, then somehow their life will be transformed. The ultimate goal is to get someone to like it. But what if they don’t like it? What if it goes wrong? No matter how much you think about it, you can’t change what someone will think. The power is out of the singers hands. That is the nature of worry, and creates a desire to sing it perfectly. In this ‘worry state’, if someone focusses more on technique and is note perfect, this can result in a lack of passion, flow and expression throughout the audition piece. In an audition situation, the singer may have already decided that those on the audition panel are the ones in control. So in order to regain control, the focus is overemphasised on technique. This can then result in the performer singing differently to normal. What’s more, an anxious performer is unnerving to watch. An approach of singing it for the love is more likely to get more positive results. Then long term happiness is ultimately preserved, because you will land the jobs right and true to you. When it comes to mistakes, the fun is in the chase of trying to be better. There’s always something you can raise the bar for, something else to strive towards being a better performer. Its never-ending, with more things to practice and build on. “You will become clever through your mistakes” – German proverb Being present is key, and this includes not dwelling on errors as they occur. Review them at a later date with a tutor or coach who can help you be objective. Remembering how singing felt in the moment when you were relaxed and singing for the love of it, when it was free and flowing, but not what you thought you needed to do to make it the best. The skills and state of mind are already there, but just apply them at the time instead of attempting to achieve perfection. The big question is – how do you replicate a performance that you’ve been practicing? The answer the performer must understand is that… YOU DON’T. This is impossible and that’s ok. Going with the flow and seeing what emerges is key. Different qualities and emotions will occur through different performances. Expectation to be perfect every time is the problem.  
  15.   Its been a while since i subed for the same reason and i dont remember being spammed, its a three part ocurse if i remember correctly, are sure it wasnt the correct mails?   If i only knew to release into head than going "all in" when i started, now i think strain is part of my singing, seems like natural and i need a lot more - mental - effort to release than belt!
  16. Videohere, i was ready to respond but after i read your comment that i agree with the bolted:   Great video Fel.  May I just offer my 2 cents?  I have found that "comfortable and relaxing" can easily be misinterpreted.  Depending on the singer, the beginner can end up under training.  There still needs to be a certain degree of focused effort and the management of tension. The key is to know how to differentiate good tension from bad tension.   Tension and strain, folds must be tensed to sing but not strained (over-tensed). Thats the point i understand she is talking about. Even when exploring new ground there could be some "weirdness" but not discomfort. One clear example that comes to mind is high notes, try to reach your highest note and even go higher, if you push, youre simply done (strain), it needs a softer, lighter approach (tension). I think youre saying same thing with different words.
  17. A very simple, mind-opening video on correct singing. Though she doesnt guide you on a specific way that will teach you something new, she says how to find it by yourself. I found it very simple and helpful!  
  18. About two years ago i was uncomfortable at a F2, i wouldnt work my low notes and i didnt need to... Recently i always start my exercises at A2 ascending and back down i can go always as low as D2 with some resonance (i say probably usable) and maybe down to C2 but "just for fun". Not talking about fry which i dont understand whats useful for.   I would like to hear something from you Darius, i want to listen to the compression on your vocals cause i think i would sing with the same compression of OP.
  19. First of all this isnt an easy song to sing, when i first heard it i was like, pff, not high notes no belting, everythings gonna be fine... not. Your voice is almost alone with the acompany of atmospheric guitar/strings and you have to perform with good tone, pitch, vibrato and whatever. Its harder than belting through the whole chorus and stuff like this.   I told you this prologue because my critique is gonna be a bit harsh but if you are new to singing, its an ok cover. Tone is nasaly, you sound strained on many places, you are missing the beat a lot, your pitch isnt stable but good thing is your vibrato, maybe because i have trouble getting vibrato myself but i liked it.   Watch some videos, take some lessons and most importantly train a lot and you'll be able to sing this at least decently pretty fast!
  20. Usually i feel generally tired after a hard session (warm-up and singing) and to be more specific my abs feel a bit more tired than the rest of my body.
  21. I like a lot your tone and not only, i could say i'm jealous... but i wont Exellent job Fellipe!
  22. Its a program by Eric Arceaneux (i hope i spelled that corectly), A(rceaneux)Aproach.
  23. First of all great job so far, i dont know how long have you been singing but i can tell you are on the right way if this is the style you like!   Now a personal critique i would like to make is that i didnt see any power in your voice, i listened two covers, "Titanium" and "Wake Me Up", i rarely listen songs i dont know so i listened to these two. I was expecting some power at least a little bit but you are thinning your voice way too early for my taste. I dont say its a bad thing or good for you but i generally consider belting a great and necessary "tool" even in the light styles, to show from time to time that you got pipes and have more dynamics in your singing.   I am a bit confused cause you say that you mimick these singers techniques, i havent listened many stuff from any of them but from what i have listened all three singers can belt more or less. So i would say you should work more towards your vocal power.   Anyway, keep it up and post some more covers!
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