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Kevin Ashe

TMV World Legacy Member
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Kevin Ashe last won the day on December 15 2018

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About Kevin Ashe

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  1. Hi Mallory, I only listened to the Manson video. First, I would ask you if you know what "Fry" vocal or pulse register is? If not, check out the Draven Grey video I've linked here. First, I would not consider the Manson example "screaming." It's more of a singing with grit. A very scratchy texture with just a bit of true tone underneath. One of several key coordinations you will need to master in this style of singing to avoid vocal damage is, "fry" vocal, or pulse register sounds. You will utilize "fry" vocal to layer over the pitch of your vocalization. It doesn't hurt, and c
  2. Thanks James! It was good to see the Seth Riggs interview! I was coached by two of his teachers right around 8 years prior to when this interview was filmed. Interesting to see how my coaches were even similar in their coaching style/mannerisms. Learned so much from those guys!! Great techniques!
  3. Yes, I recall hearing about that method also. "Association" is the key here as there are likely differences from one system to another as to exactly what those associations are, i.e. this guy with the "tone generator" has one set of color to tone associations, Robert Lunte's system uses another set. I don't recall if he spoke on how the color associations were chosen for the system he's using however, the 4 Pillars is a simple logic of more cutting and edgy suggests warmth, more energy, so red is a "rational" choice, just as blue is for curbing/rounded phonations, yes? So regarding imp
  4. I heard this on the radio and thought I should post it here! I really enjoyed them! Both talks touch on related aspects of vocal training, vocal science, and vocal "ideology." Hearing Color https://ideas.ted.com/the-sound-of-color-neil-harbissons-talk-visualized/ Synthetic Voices https://www.ted.com/talks/rupal_patel_synthetic_voices_as_unique_as_fingerprints?utm_campaign=tedspread&utm_medium=referral&utm_source=tedcomshare
  5. Draven, Super insightful instruction! I couldn't help but notice that when he described the "lean" of those he knew who chose the "sternal notch," as a target of their lean, this whole approach to the breath seems like another means to configuring the larynx for cry mode. If I think of a cry mode onset, this workflow he's described is essentially the same yet, he's placed the focus on the breath control for achieving less tension. Seems like a potential double edged sword technique - cry configuration and effective appoggio. If you're configuring for cry mode (when aren't you, right?),
  6. I decided to run a little experiment and (for the first time in my life) analyze exactly what notes comprise the M1, M2, and what I'll call M3 regions of my vocal track. Just for fun, and to share with some of my fellow voice geeks here. Even though I received effective vocal coaching, it was a long time ago when popular vocal teachers did not bother explaining or analyzing anything unless you were willing to sit there and pay $80/hr. to chat (never happened for me). As a result, I never paid too much attention to notes and my "range." I would always reference songs my vocal hero's were
  7. I like Mdew's observation because this is a challenge that is potentially compounded by subtle, often overlooked issues. As Mdew suggests, as long as the speed of the articulation and scale are not increasing your student's "work load," in singing in pitch, then you can continue with the checklist of troubleshooting. I do agree, a slower speed always increases confidence for more rapid, and difficult performance standards. True with any other musical instrument as well of course. Vowel Modification: Further discussion regarding vowels being sung becomes relevant by virtue of th
  8. The lift up pull back exercise described in this video will train the constricting muscles causing her "abrupt" transition to relax, then more strength can gradually be added in until the transition is seamless. This process for most people, requires weeks of training to tame the constrictors. Then adding in more connection would be "strength training exercises, a sample of which the last video illustrates. This summarizes a potentially more customized approach you might advise for her. I curious, what is your vocal coaching experience ? Did you study voice in college or through a mentor
  9. hey sp3c....., I forgot that the review my singing cost's like $10 in here. Either Draven or Robert (there may even be others now - coaches) will review your material and refute or confirm the advice I gave you. Plus answer any further questions you may have.
  10. That siren wasn't horrible. You got a little shaky right at the passaggio. Now I would check with Robert Lunte on this but I would say 1- your right about diaphragmatic support, that will stabilize some on this and is important for most all phonations. 2- It sounds like the shakiness has to do with the weakness in your passaggio, your trying to make a good connected sound when it's not easy for you, and your probably worried (at least subconsciously) about pushing/choking, and that just adds to the tentativeness. I think if you look up the "lift up, pull back" vocal exercise found o
  11. spc3c..., Excellent composition! Great style and arrangement, good air play material, catchy hooks, lots of melody! Very good musicianship! Your voice is very marketable as well! Reminds me a little bit of Tyler Joseph (21 Pilots), maybe a dash of Matt Shultz (Cage The Elephant)! I like it a lot! When you sing the lyric, "with no place to go home" - Sounds to me like you're singing with good connection in the lower realm of your head voice! Double check with a coach, but I'm fairly certain. I would predict that with just a couple months of committed training with a good coach and
  12. This point Draven has made here, I have learned is a real cool added benefit of good embouchure! Anyone can test this and feel it for themselves! Just sing anything with, and without, good embouchure. I know that in order to achieve muscle memory on proper embouchure one must exaggerate the movement of the lips/mouth (when training) to a point of feeling strange, gradually the habit will establish and won't feel or look strange to the average person.
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