carp

TMV World Legacy Member
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carp last won the day on April 20 2015

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About carp

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  1. Robert, that Justin video was really helpful. As you know I'm a very satisfied Pillars customer and so the concept and execution of it is not new to me, but nonetheless it's often useful to hear the 'same thing' presented in a different way. Serotonin, the video is the (or an) answer to your question, on a silver platter.
  2. I think Jeremy gets credit for that video, from this thread a while back http://www.themodernvocalistworld.com/topic/4740-high-larynx-is-good/. I thought that narrower was key to perfect sniling, good to have that confirmed.
  3. I think this is another example of a sniler. Although maybe he has more going on with his lower lip, and also his embouchure is maybe wider than with the pure snile?
  4. ​Well sure, there's lots of talkers. But lots of real players too. There is a particularly interesting example in the linked thread of the attitude other musicians have towards singing. One of the posters in the thread (not the OP) is a frequent and valuable contributor in the 'playing and technique' subforum, very knowledgeable and articulate about music theory, among other things, and a member in at least one band playing challenging music (so he says anyway, but I believe him) and I think with a university degree in music in some form. This same guy responds affirmatively in the thread, agreeing that it's a drag to be baritone because of his inability to sing above some (not very high) note. It's just very odd, the almost willful ignorance regarding technical aspects of such big part of music.
  5. Fair enough! I was feeling sort of self-conscious about the negative tone of the thread, it's not my normal style.
  6. Of course. But it's not just the thread creator, it's most - not all - of the respondents. I actually posted a link to the thread from here containing many examples. You'd think someone might check it out, and come back with 'wow, I didn't know...'. I've concluded that a minority of people that participate in forums do so in order to actually learn something. A great many are just there to say stuff. As in life I guess.
  7. The link is to a thread in another forum I frequent. It's old news of course, but the misconceptions about singing run strong. It's sad. http://www.thegearpage.net/board/showthread.php?t=1268253
  8. SB3D you're right, and I had realized already that it was a very vague premise for a thread, which probably explained the lack of response to it. I think I even tried to delete it because of that! Killer thanks for the reply and advice. Those examples are interesting, they really do illustrate a bright vs dark tone. However I would say even at his brightest there is not the thinness that I get from myself and from the thread I had referenced. I'm sure that the issue is resonance - getting that open throat for one thing. I had a lesson with Rob the other day and came to realize that I was really dumping my larynx, in a misguided effort to deal with my tendency to speak & sing with a thin voice and with too much tension. He also made me realize that I was not edging (getting that bright resonance) nearly as much as I thought. I'm realizing that I need to more completely embrace my tenor-ness, and work with it while getting the appropriate resonances. I've also realized that many of the singers I like most tend to use more of the forward bright resonance.
  9. I'm gonna answer Robert's question, since this very subject (excessive larynx dumping, dopiness) came up in our lesson this weekend. Namely the other mechanism for achieving vocal fold adduction is the bournelli affect, which results from sufficient air flow, which is achieved by execution of proper appoggio.  
  10.   Well I guess  you're right, because I purchased it!  And I wasn't even looking for a voice program or coach, I was just looking for a forum.    But I read about the product and bought it, and did so without seeking any further advice or encouragement from anyone on the forum or anyone else.   I was convinced that it was worthwhile, and I was right.  My only regret is that I didn't buy the entire new student package including some lessons at the time I purchased the Pillars package.   But c'est la vie! But I stand by my point that the typical beginner doesn't have an idea of how much there is to know about singing, and therefore doesn't understand how much benefit there is to the material.  And even if they read the impressive table of contents, and realize that indeed singing is a deep subject, they still may not understand how immediately applicable and helpful the material is, in a practical way, not in just some theoretical voice-sciencey way. This isn't a complaint, I don't know what you could do differently to present the package.    I'm just making some observations about why people are reluctant to invest.
  11. ​I'll chime in here on this.    I have to admit, initially it 'seems' pricey.   I don't spend $200+ casually.   You really don't know what you're getting for your money.  I think the problem is that as a beginner you have no concept of how much there is to know,  you can't imagine how there can be $200 of useful content there.      But I could tell by the first day of having Pillars in hand that it was an incredibly good deal.   The depth of information in the book, the video lectures, and the vocalize demos is really something.    Only recently have I been spending more time with some of the other 70 or 80 exercises beyond the Foundation Building routine, and my appreciation of the value only increases.     Also FWIW I have been taking, and continue to take, lessons from a local person.   She is quite good (I wouldn't keep going otherwise) but if I had had Pillars in hand when I also started taking lessons 18 months or so ago, I would really be far far ahead.   She was trying to explain and demonstrate and guide me towards many of the basic concepts that I find in Pillars, but with a much less clear way of articulating things. I am definitely one of those people who could have tried to sing on my own without direction for years and not made it anywhere.  I tend towards the analytical, and don't have much natural body awareness, so the detail present in Robert's program is really appealing and helpful.  
  12. I have to say that I admire the patience and support you (people of the forum) show to people like Simpan.  I am a very generous and supportive person to anyone who makes an effort at things, but I turn off really quickly when faced with a quitter attitude.    Your example is good for me, reminds me to not be so quick to judge and discard! Greg
  13. Really good!   You complain sometimes about your 'tenorness' but I think your voice is quite rich, not lacking in anything.   I'm jealous!
  14. The high notes / belting thread has occupied us for a while, maybe you experts would turn your attention to improving tone for singing in the range of say E3 to E4, where a lot of classic rock and similar music takes place.   You may remember this thread from not too long ago.  '&do=embed' frameborder='0' data-embedContent>>   I feel like I have a lot in common with the complaints/observation he has with his tone, and would love to hear what you all have to say about singing in this range.  Not so much as a solicitation for personal advice but as a general topic for discussion.
  15. I can match a static pitch (guitar, piano, voice usually) just fine now (except for those times when I'm a 5th out!) and actually do pretty well with 5th and Octave sirens, even without a reference sound or guide track, but it's matching pitch in the context of singing songs that I'm very weak and often wrong.   I'm not the most perceptive listener, and my melodic memory is not that good ( I wish I had had that game 'Simon' when I was a kid) among other issues.  But I keep working at it!  I do use the SingandSee software sometimes in conjunction with exercises to check that I'm not practicing making mistakes.