Draven Grey

What a detailed reply!, love it. Thank you Robert for answering in such a thoughtful manner. I will make sure to remember your advice here and apply it. Funny thing is before i started T4P i was doing a lot of breathing exercises, stuff like 360 breath / hiss / root the breath exercises / so i may be decent or good in that aspect. But the problem i have is remembering to conciously use it both in training and in singing. As in support. Some programs i studied with just basically said "it's natural, you don't have to focus on it". Some others basically focused all their time on it and made it out like it was like 90% of singing. So that conflicted me and i just ended up focusing on other things. Looks like i need to start forgetting what i learned from those other programs and just start from complete scratch through T4P method. I was trying to fuse some stuff from other programs with T4P, and i guess that's not the best idea. Or if anything i should evaluate what causes possible conflict with T4P and remove it accordingly.

And btw, why i bring it up is because i do feel that my voice fatigues frequently, but maybe that's not related to breathing issues, although i gotta admit.

I don't shut up!!  i'm always singing and training for long periods of time. So i gotta work on that maybe. Is tough to not sing, sometimes it just happens.

Or if anything i might do what robert suggests in this case, instead of singing all that time, replace it with being "Mr Buzz a lot" or "Mr Lift and Pull back a lot".

Anyways thanks for the answer Robert. And yes! i love that movie. Very inspirational. And relatable too as a student, he was frustated and thought he was being played because it "didn't look" important. But all along he was building a foundation without even knowing it. Priceless. 

 

It's not really tightening, it's leaning in and out. It has a similar feel and function to the push downward, but the mentality of it changes the structure enough that it tends to stablilize more and not put undue pressure on the pelvic floor. When I want to get really loud, I still push down, but even then I think about it differently than I used to and mentally push more into the abs than I do downward. Either way, you end up moving the diaphram much more slowly and controlled than ignoring the abdominal pressure altogether. I don't think it's contrary to the way TFPOS teaches it, I think it's complimentary. In many ways, it's a matter of semantics. But I think it's a crucial distinction of semantics for a better visualization and thus better support when a student is simply just pushing as hard as they can downward. See the video below. I don't like Trimble's vocal style, and there are many things he's doing to the contrary of contemporary singing. But this way of achieving breath support is someting to consider when learning Robert's method. Again, not cnotrary to, but to help adjust your sensations, visualization, and technique to achieve the end result faster.
I teach a few things differently than Robert, but again, not to the contrary. For instance, I have my students use a stirring straw for warmups, cool downs, and even when trying to get the sensation of tuning the formant, proper pressure balance, and relaxation of compression. IT's just another way to achieve the same sensation that has helped my students learn the TVS methodology faster.
 

His videos are okay. Lots to ponder. But a lot of what he teaches doesn't apply to contemporary voice or get the results that Robert does. "Appoggio" directly translates to lean, prop, bolster, support, and the like. Simply knowing the full meaning of the word in Italian helps better imagine how to use it. The idea can help you quickly get better support while training through Robert's breathing and training exercises and learning how to do it betetr and more naturally.

It's not really tightening, it's leaning in and out. It has a similar feel and function to the push downward, but the mentality of it changes the structure enough that it tends to stablilize more and not put undue pressure on the pelvic floor. When I want to get really loud, I still push down, but even then I think about it differently than I used to and mentally push more into the abs than I do downward. Either way, you end up moving the diaphram much more slowly and controlled than ignoring the abdominal pressure altogether. I don't think it's contrary to the way TFPOS teaches it, I think it's complimentary. In many ways, it's a matter of semantics. But I think it's a crucial distinction of semantics for a better visualization and thus better support when a student is simply just pushing as hard as they can downward. See the video below. I don't like Trimble's vocal style, and there are many things he's doing to the contrary of contemporary singing. But this way of achieving breath support is someting to consider when learning Robert's method. Again, not cnotrary to, but to help adjust your sensations, visualization, and technique to achieve the end result faster.
I teach a few things differently than Robert, but again, not to the contrary. For instance, I have my students use a stirring straw for warmups, cool downs, and even when trying to get the sensation of tuning the formant, proper pressure balance, and relaxation of compression. IT's just another way to achieve the same sensation that has helped my students learn the TVS methodology faster.
 

It's not really tightening, it's leaning in and out. It has a similar feel and function to the push downward, but the mentality of it changes the structure enough that it tends to stablilize more and not put undue pressure on the pelvic floor. When I want to get really loud, I still push down, but even then I think about it differently than I used to and mentally push more into the abs than I do downward. Either way, you end up moving the diaphram much more slowly and controlled than ignoring the abdominal pressure altogether. I don't think it's contrary to the way TFPOS teaches it, I think it's complimentary. In many ways, it's a matter of semantics. But I think it's a crucial distinction of semantics for a better visualization and thus better support when a student is simply just pushing as hard as they can downward. See the video below. I don't like Trimble's vocal style, and there are many things he's doing to the contrary of contemporary singing. But this way of achieving breath support is someting to consider when learning Robert's method. Again, not cnotrary to, but to help adjust your sensations, visualization, and technique to achieve the end result faster.
I teach a few things differently than Robert, but again, not to the contrary. For instance, I have my students use a stirring straw for warmups, cool downs, and even when trying to get the sensation of tuning the formant, proper pressure balance, and relaxation of compression. IT's just another way to achieve the same sensation that has helped my students learn the TVS methodology faster.
 

I'm glad I brought you here! I'm glad to help however I can!
I often go full appoggio, but it's not always necessary. There are definitely softer parts of songs. However, even on softer parts, proper respiratory balance is a must for longevity and consistency. I use extrinsic anchoring a lot too, but I'm training to rely more on intrinsic anchoring (especially in embouchure, since my tendency is to open vertically on higher notes which isn't the most pleasant sound, haha!). As for "the push" for volume. I have a couple of students who are Yoga teachers and refused to do it that way. I had to search for a better way, especially given their explanation of the horrible things that can do to the pelvic floor and your internal organs. Now I teach to pull in or tighten the stomach slightly when breathing in to the kidneys or lwoer, which causes the air to expand the obliques instead. Then when colume is needed, "lean the ladder" the other way. In other words, lean into the abs, even while keeping the slightly tightened. It makes the lungs work more like bellows, and give much more diaphramal control than breathing with the stomach out and pushing down for volume/support.

Thanks for sharing your thoughts about 4Pillars Tyrone, I appreciate it of course, but also people that want to learn more about the program also appreciate this. Your point that the program is comprehensive is a common point that many people make. I find that most people, once they get into "Pillars" and learn how to use it, really have a good time with it. There truly is a lot to explore. The amount of information you can learn and train is only limited by your time, commitment and the size of your ambition. It truly is the program for people that want to study and train. It is great to have you as a student.
On To The Question:
I have to preface this statement by saying, this is my personal experience. I am not suggesting that all accomplished singers feel this way. Likely, not everyone does. But for me, I need to keep my "eye" on the respiration from time to time. It is just a statement that reflects my personal experience as a singer, not everyone's. But the point for everyone is to insure that you are aware of it.
Yes, as a general rule, good advise for everyone. Seems to work for me... so I'm passing on the advise.
A bit of a strange question... ??  Good, balanced respiration should be... good and balanced at all areas of your voice and range. The vocalize, or intervals you are singing or training should not matter in regards to the level of attention and importance on respiration.
Thanks again Tyrone. Yes, precisely because 4Pillars is so comprehensive, I have instructed people that own it to train with the "Blue" modules and lessons first. It is one small way to help people get oriented on where to start and to prioritize. I am VERY pleased to hear that this idea was helpful for you. Thanks for the feedback!
Uh ya!? It is the best vocal forum in the world brother!  Going on 8 years strong and with rock stars like Draven, Richards, Formica, and everyone else here. You are covered!
Tyrone... I have to say. Be sure to find the video and downloadable PDF in the "My Training" page at www.TheVocalistStudio.com , where you will find the 6 respiration workouts. They are also listed in the back of the hard copy book, inside the red training pages. There is a video of me doing the workouts as well. Also, regarding respiration. The Wind & Release Onset is the BEST onset to increase your respiration balance. It helps improve bernoulli physics in the glottis and overall, will do wonders for your respiration. So..
1. The above mentioned breathing exercises.
2. Working Wind & Release Onsets into your sirens ( Integrated Training Routines ).
 
The Karate Kid Trains Vocal Onsets:
I love this scene from the movie "Karate Kid". It reminds me of the teacher / student relationship. Many students don't understand why it is important to train the rudimentary, the basics and as TVS students, the ONSETS. But after the beginning stages are over, TVS students begin to understand how power training the onsets can be. The TVS onsets build instantaneous motor skills and muscle memory, similar to the defensive moves that the Karate Kid experiences after his Sensei, shows him WHY he has been training repetitious movements. I hope this scene will inspire viewers as much as it has inspired me and other TVS students.
Let me know if I can help you ... and thanks for posting here so we could share with others.
 

I'm glad I brought you here! I'm glad to help however I can!
I often go full appoggio, but it's not always necessary. There are definitely softer parts of songs. However, even on softer parts, proper respiratory balance is a must for longevity and consistency. I use extrinsic anchoring a lot too, but I'm training to rely more on intrinsic anchoring (especially in embouchure, since my tendency is to open vertically on higher notes which isn't the most pleasant sound, haha!). As for "the push" for volume. I have a couple of students who are Yoga teachers and refused to do it that way. I had to search for a better way, especially given their explanation of the horrible things that can do to the pelvic floor and your internal organs. Now I teach to pull in or tighten the stomach slightly when breathing in to the kidneys or lwoer, which causes the air to expand the obliques instead. Then when colume is needed, "lean the ladder" the other way. In other words, lean into the abs, even while keeping the slightly tightened. It makes the lungs work more like bellows, and give much more diaphramal control than breathing with the stomach out and pushing down for volume/support.

I'm glad I brought you here! I'm glad to help however I can!
I often go full appoggio, but it's not always necessary. There are definitely softer parts of songs. However, even on softer parts, proper respiratory balance is a must for longevity and consistency. I use extrinsic anchoring a lot too, but I'm training to rely more on intrinsic anchoring (especially in embouchure, since my tendency is to open vertically on higher notes which isn't the most pleasant sound, haha!). As for "the push" for volume. I have a couple of students who are Yoga teachers and refused to do it that way. I had to search for a better way, especially given their explanation of the horrible things that can do to the pelvic floor and your internal organs. Now I teach to pull in or tighten the stomach slightly when breathing in to the kidneys or lwoer, which causes the air to expand the obliques instead. Then when colume is needed, "lean the ladder" the other way. In other words, lean into the abs, even while keeping the slightly tightened. It makes the lungs work more like bellows, and give much more diaphramal control than breathing with the stomach out and pushing down for volume/support.

You sing in key, which is a major plus  You also don't have a "weird" voice.
Training your voice doesn't make you sound "trained". I'm not even sure if that is a sound, considering the major variety in both singer who've taken lessons and those who haven't. You train you voice in order to more easily get the sound you want consistently, releave tension, and make your voice last for many years to come. You will sound like you want to and not like you don't want to.
Here's one of many examples - Simply lifting the voice to the soft palate will help with all of those things I mentioned. That means baring your teeth a bit on higher notes, and focusing on the voice going up and out, singing more towards where the hard and soft palate meet. I often have a student put their finger on their bottom lip and try to sing up and over it. Singing from the throat, where you typically speak from, does not make for a lasting consistent, and controllable voice. Also, lifting the voice as described doesn't mean you can't dampen the larynx and change your tongue position slightly to get something that sound exatly the same as you did before. But it will be a conscious decision and much more relaxed and consistent, rather than being whatever happens to come out.

I listened to your other song too. I hear what Rob is talking about concerning Sob mode, and I also think it has a lot to do with your chosen dynamics. For instance, in the other video on your channel, you have a bit more twang and compression. However, even in that video, you chose to not allow yoruself to belt when the song called for bigger dynamics. It was almost as if you were holding back, which kept the song (or both songs) from ever climaxing or taking people on an emotional rollercoaster that you could have with those lyrics. You obvisouly were able to keep your chest voice musculature engaged on higher notes, but you stayed soft in volume, which rounded out the voice, made it prettier, and pushed it much further back towards your throat (hence "sob").
By belting, I don't mean yelling either. Don't be afraid to get loud when the song calls for it or you want to show passion or emphasize parts. Get loud from pushing into your abs from behind, not from pushing from the throat. And let that extra air pressure push right into your soft palate. Then lean the voice a bit more towards your teeth for more edge, if you like. The extra air pressure will cause more twang through what's called Bernoulli's Principle, and cause more volume without pushing frmo your neck (which would be yelling). The focus on keeping the voice up into the soft palate and then out towards your hard palate will also cause more compression. 

You made a good attempt on these song. I commend you on your effort, especially since it sounds like English may not be your first language and English, which often makes English difficult to sing. I've trained a few students from other countries that spoke naturally much further back in the mouth and throat than English. I had to give them speech training as well as singing.
I think what Gsoul was asking is if you were trying to stay quiet. Your breath support and volume sound like you're trying to be as quiet as possible rather than sing out strong and proud.
I have some students who have struggled with the same type of volume and breath support simply because they didn't even think about volume control. Find a volume you think sounds good and fits the song, then try to keep all of your singing at that volume. Sometimes, different parts of a song will call for you changing your volume level, but you still want to stay consistent throughout each part. For instance, a chorus may sound betetr louder, a bridge might work better quieter, but it truly depends on the song and the emotion you want to convey. But volume control and breath support are not the main issue. It's very important, but I heard something else that could hold you back even more.
You seem to be singing a lot of speech mode vowels, rather than well placed singing vowels. Vowel placement is extremely different for singing than it is in speech. Learn to lift the vowels to the soft palate. You feel this happening if you smile when you talk. But unlike talking, you want to try and place all your singing vowels to feel more like they're coming from the soft palate than from the throat. Beside the smile, or embouchure (like the video below), you can also place your finger or mic on your bottom lip and try to sing up and over it. Try keeping all of your vowels there. 
Do you train? Do you have a teacher? I think you would benefit greatly from it. Check out the TVS Training Program linked to in the footer of this page. Even better, train with a teacher who is getting the results in their students taht you want to have yourself. And if you think you can't afford it right now, then at elast watch the video below and Robert's other videos too. He's one of the very few vocal coaches on YouTube who actually explain what they're doing well enough for you to learn from his videos. His course, which I mentioned above, is far more in depth though.
 

Great voice!
On the second verse, you started to go a bit flat. I didn't hear the same sisue on most of the rest of the song. It was almost as if you were trying to force harsher sounding vowels by squeezing them out rather than adding color to an already well placed vowel. You might try placing those vowels a bit deeper into the soft palate and using more breath support to get a more compressed sound rather than squeezing.
I can see this helping the only other thing I heard you struggle with as well. When you added breath support you tended to so one of two things: (1) you compressed along with the louder volume, causing a lot more twang/closure/harshness when you got loud, or (2) you opened your embouchure far too wide vertically, which cause the same issue, thus "splatting" the vowels. If you learn to narrow your embouchure to support the vowels being more in line with the placement of the note in the soft palate, it will release some of that harshness, and allow you more control over just how harsh you want it to sound (based on how wide you open).
This will also help a bit with the overcompression at louder parts, but you can also purposefully dampen the larynx more during those parts. Learning to dampen and stabilize the larynx will not only make singing higher notes easier and less harsh, it will make it more consistent with the rest of your voice. There are some great training onsets to help build that sort of support, but apart from training in TFPOS to learn those onsets, you can start by placing your finger just below your larynx and then trying to sing through scales while keep the larynx in the same spot. This isn't the same spot it is when speaking. It helps to start singing, feel where the larynx goes on the more releaxed notes, and then try and keep it there as you go up.
Look up Robert Lunte's videos on embouchure and vowels. I think they will give you a bit different way of thinking through how you were trying to place your voice.
You have a beautiful voice. I'm excited about hearing you with even more control over the sound colors of your higher pitches.

You made a good attempt on these song. I commend you on your effort, especially since it sounds like English may not be your first language and English, which often makes English difficult to sing. I've trained a few students from other countries that spoke naturally much further back in the mouth and throat than English. I had to give them speech training as well as singing.
I think what Gsoul was asking is if you were trying to stay quiet. Your breath support and volume sound like you're trying to be as quiet as possible rather than sing out strong and proud.
I have some students who have struggled with the same type of volume and breath support simply because they didn't even think about volume control. Find a volume you think sounds good and fits the song, then try to keep all of your singing at that volume. Sometimes, different parts of a song will call for you changing your volume level, but you still want to stay consistent throughout each part. For instance, a chorus may sound betetr louder, a bridge might work better quieter, but it truly depends on the song and the emotion you want to convey. But volume control and breath support are not the main issue. It's very important, but I heard something else that could hold you back even more.
You seem to be singing a lot of speech mode vowels, rather than well placed singing vowels. Vowel placement is extremely different for singing than it is in speech. Learn to lift the vowels to the soft palate. You feel this happening if you smile when you talk. But unlike talking, you want to try and place all your singing vowels to feel more like they're coming from the soft palate than from the throat. Beside the smile, or embouchure (like the video below), you can also place your finger or mic on your bottom lip and try to sing up and over it. Try keeping all of your vowels there. 
Do you train? Do you have a teacher? I think you would benefit greatly from it. Check out the TVS Training Program linked to in the footer of this page. Even better, train with a teacher who is getting the results in their students taht you want to have yourself. And if you think you can't afford it right now, then at elast watch the video below and Robert's other videos too. He's one of the very few vocal coaches on YouTube who actually explain what they're doing well enough for you to learn from his videos. His course, which I mentioned above, is far more in depth though.
 

Great voice!
On the second verse, you started to go a bit flat. I didn't hear the same sisue on most of the rest of the song. It was almost as if you were trying to force harsher sounding vowels by squeezing them out rather than adding color to an already well placed vowel. You might try placing those vowels a bit deeper into the soft palate and using more breath support to get a more compressed sound rather than squeezing.
I can see this helping the only other thing I heard you struggle with as well. When you added breath support you tended to so one of two things: (1) you compressed along with the louder volume, causing a lot more twang/closure/harshness when you got loud, or (2) you opened your embouchure far too wide vertically, which cause the same issue, thus "splatting" the vowels. If you learn to narrow your embouchure to support the vowels being more in line with the placement of the note in the soft palate, it will release some of that harshness, and allow you more control over just how harsh you want it to sound (based on how wide you open).
This will also help a bit with the overcompression at louder parts, but you can also purposefully dampen the larynx more during those parts. Learning to dampen and stabilize the larynx will not only make singing higher notes easier and less harsh, it will make it more consistent with the rest of your voice. There are some great training onsets to help build that sort of support, but apart from training in TFPOS to learn those onsets, you can start by placing your finger just below your larynx and then trying to sing through scales while keep the larynx in the same spot. This isn't the same spot it is when speaking. It helps to start singing, feel where the larynx goes on the more releaxed notes, and then try and keep it there as you go up.
Look up Robert Lunte's videos on embouchure and vowels. I think they will give you a bit different way of thinking through how you were trying to place your voice.
You have a beautiful voice. I'm excited about hearing you with even more control over the sound colors of your higher pitches.

You made a good attempt on these song. I commend you on your effort, especially since it sounds like English may not be your first language and English, which often makes English difficult to sing. I've trained a few students from other countries that spoke naturally much further back in the mouth and throat than English. I had to give them speech training as well as singing.
I think what Gsoul was asking is if you were trying to stay quiet. Your breath support and volume sound like you're trying to be as quiet as possible rather than sing out strong and proud.
I have some students who have struggled with the same type of volume and breath support simply because they didn't even think about volume control. Find a volume you think sounds good and fits the song, then try to keep all of your singing at that volume. Sometimes, different parts of a song will call for you changing your volume level, but you still want to stay consistent throughout each part. For instance, a chorus may sound betetr louder, a bridge might work better quieter, but it truly depends on the song and the emotion you want to convey. But volume control and breath support are not the main issue. It's very important, but I heard something else that could hold you back even more.
You seem to be singing a lot of speech mode vowels, rather than well placed singing vowels. Vowel placement is extremely different for singing than it is in speech. Learn to lift the vowels to the soft palate. You feel this happening if you smile when you talk. But unlike talking, you want to try and place all your singing vowels to feel more like they're coming from the soft palate than from the throat. Beside the smile, or embouchure (like the video below), you can also place your finger or mic on your bottom lip and try to sing up and over it. Try keeping all of your vowels there. 
Do you train? Do you have a teacher? I think you would benefit greatly from it. Check out the TVS Training Program linked to in the footer of this page. Even better, train with a teacher who is getting the results in their students taht you want to have yourself. And if you think you can't afford it right now, then at elast watch the video below and Robert's other videos too. He's one of the very few vocal coaches on YouTube who actually explain what they're doing well enough for you to learn from his videos. His course, which I mentioned above, is far more in depth though.
 

What he's doing sort of works for a more classical style. He's correct in his description of what's happening. His implmentation of it needs some work. The guy's tongue is all over the place, and his overall embouchure is horrid! In contemporary singing, that "buzzing" he's talking about is better done with tracking (like humming and buzzing the lips), quack (glottal closure), and then using opening and narrowing of the vocal tract to help tune the formant. It's similar to the "eeyah" he's doing, but far more effective in training placement of the voice.

Great showcase song for you! It's very difficult to teach emotion like that, and always a treat when someonne gets it naturally.
Watching the video, I think the pitchiness on the higehr notes is due to your embouchure being too relaxed. That's often the frist thing I go to when a student is a bit pitchy. The voice simply isn't getting enough support to stay lifted. If that's not the problem, then it may also be where you are "pointing" your vowels. You will feel the vowels go deeper into the soft palate as the pitch geos up, but it can help greatly to also keep them pointed into your hard palate. Try making a soft "K" sound while breathing in. The spot where that hits the roof of your mouth, right where the hard and soft palates meet, is a place you want to feel resonance on your vowels. Where Robert teaches formant tuning, I've found that it sometimes helps to separate parts of the formant for certain students. The two main araes I point out are the soft "K" or "reonant spot" and the pressure of the soft palate raising. Both are resonance and shaping the reonsnance chamber, but sometimes it can help to separate them in your mind. The way I describe doing it is all about keeping the voice lifted and out of the throat. Then formant tuning becomes a way to think about moving the pressure around and make singing more effortless or relaxed.

I'm 100% in agreement with Robert. I was thinking exactly the same things as I watched. 
To add, about being flat at moments: From what I could tell it sounded like you were allowing the sound to modify back too far when going into light-mass head voice on the higher notes. This put more pressure onto the glottis, and ended up both pulling the voice down into the throat rather than resonating mostly on the soft palate and opened up the glottis with more uncontrolled airiness.
There are multiple things that can cause this. The most common causes I have seen with my students is closing the embouchure too far and also thinking of modifying vowels as going deeper into the mouth rather than deeper into the soft palate. Often, this is fixed by adding a little more twang, focusing the voice upward, training to keep the embouchure shaped and tuned, and also training to get a very resonant "ou" vowel on the tongue being as far back as you allow the feeling to go (rather than going back to an "oo"). From a highly resonant "ou", I have my students open into other vowels. We often speak relaxed into the hard palate and then sing in a relaxed upward "ou" area focused light-mass head voice a lot before trying to sing a song at full volume or especially before full voice in the upper range. Almost every single time they go a little flat, it's because they let go of horizontal emboushure a bit too much, closed vertically a bit too much, and put too much pressure on their throat rather than the soft palate (up and forward).
With what Robert is talking about for intonation and tuning, you will be able to easily sing in head voice as resonant as you like, and add in only as much TA as you want for the sound you're going for. The correct placement makes it where only very fine-tnue adjustments need to happen in order to change the sound.
You have a beautiful voice. With a little more training, especially above the passagio, I have no doubt you can compete with the big league singers.
I've also coached a lot of bands and artists in stage presence. You're definitely comfortable on stage, it really shows. Now it's time to train hard enough so that when you're performing you don't have to think about technique and can instead focus on letting your whole body get lost in the music. That's a skill all it's own. Critique the hell out of your videos, and start to expiriment with what you've seen other artists do that you really liked and felt their emotion through. The "cool" things that stand out most to you about others are often because you really identify with it and it's already a part of you that only needs amplified more.

What type of feedback would you like on this?

I second Robert's opinion, including his course and lessons.

Hey Evan. If you want some feedback on your singing, you should post a recording of yourself over in the "Review My Singing" section:
http://www.themodernvocalistworld.com/forum/14-review-my-singing/
It costs, but having vocal coaches and experts take time to write you a review is well worth it.
As for AAA, they aren't singing in falsetto, but rather a connected full voice, belt range, "mixed" resonance. That's comes more easily when you learn to add in your TA mucles in your ehad voice, and tune the formant (shade or narrow the vowels) to support the notes more effortlessly. Keep at it. You'll ifnd a lot of help here, especially through the owner, Robert Lunte's course and/or videos.

Done:
Okay, so it's two years old. Does it still count? I wrote it, and even edited the video. That has to count for something.

Goofing around about two years ago.
 

Done:
Okay, so it's two years old. Does it still count? I wrote it, and even edited the video. That has to count for something.