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Found 94 results

  1. https://www.smule.com/recording/eva-cassidy-wade-in-the-water/830708093_1214803719
  2. She is straining right? or am I wrong :3 2:33 build up to a G5
  3. Hello Modern Vocalist World! I just wanna thank Robert Lunte for his labor - the secret is revealed. For I was searching, trying, doubting... And finally TVS. So practical, exact explanations, awesome! Here I am singing and playing on this video: Vinni
  4. what is the most easiest ways to develop mixed voice..and and what do i do to get resonance,neutral larynx and breath support?..my vocal range atm is a2-g#4..and head voice goes up to f5 i strain at e4 and i carry chest up to g#4...i know its a bad technique..and im thinking of getting a coach in the future..but i want to start now
  5. I want to improve my belting range. So far, the highest I can belt is up to an F#5. But I have sometimes belted up to a G5 before. Anyways, I want to improve my belting range, and I want to practice it, by singing songs that are like, at the end of my belt range. So if you guys know of any songs, that have E5-F#5 belts, feel free to comment them!
  6. I have been somewhat in a kind of void wondering what I might post. It's been a while. I stumbled across Rosetta in my hours of Youtube wanderings searching for music. I remembered the old hymn she was singing called, "This Train," though I sang it with a waspy congregation, the whiteification of the song didn't water down it's impact on me. I like the way Rosetta soften's (with humor) the potentially "condescending" anti drinking & smoking lyrics by gesturing towards one of her band members as a loyal whiskey drinker. The inspiration of course is to always strive to shed my vices and aspire to righteousness! Makes me wanna be good! So as I'm watching Rosetta with a tear in my eye, suddenly I think of Alabama Shakes, realizing what an interesting similarity Rosetta shares with their lead singer Brittany Howard. Not ONLY that, but my favorite song by Alabama Shakes, "Don't Wanna Fight" was also a perfect sentiment to my personal circumstances, and is an outstanding groovecentric tune! Both these Women really demonstrate a level of passion and emotion in their singing that I really admire!
  7. So ive worked my headvoice quite a bit over the last several months. Its responded nicely and my upper range has opened up quite a bit. Time to work some belting now. I find that when I want to sing loud in headvoice its not too hard to do, I can get a nice cutting tone etc...but when i try to really go for it in chest voice or maybe right in the bridge, it gets a little constricted, maybe a little muffy. i cant quite make the note as "big" as I want it to be. of course i also know that I simply havent trained that aspect very much...but im gearing up for it now of course, I have seen about 2 dozen definitions of belting etc. I am going to post up 4 examples of singing styles that I like and want to emulate. Would all of these be considered "belting"? (also testing the forum to see if the post eating bug has cleared up lol) are these all clearly belting, or are some just good strong headvoice? of those, David Lee tends to be more chesty. Im realizing lately that dude was a monster singer
  8. Hey guys im providing links to 2 voice clips showing what i think is my mixed voice and then my falsetto. Ive heard people say my mix voice is a nasaly/chest falsetto. Could you tell me if thats the case? I doubt myself cause i go high as G#5 in mix voice. and im 17 and a guy and dont know if i should be able to sing that high. In my falseto clip, the first sound is me making an intentional chesty.nasaly falsetto becuase thats what i imagine a nasal falseto sounds like, not when people call my mix voice that. can i please get your opinion? is my mix voice actually a nsasal falseto? Also sorry my falsetto sucks in general, its hard to sing that high without mix, ive never had singing lessons but im lookin for a coach! and sorry my voice cracks at the end of my mix voice clip, its so annoying and i cant help it mix voice falseto Mix voice.wav Falsetto.wav
  9. "White Rabbit" Tribute! I am proud to share a performance and production of Jefferson Airplane's classic, "White Rabbit". SaraEllen has been training with TVS for about two years. Excellent job SaraEllen! LOVE the curbing vowel resonance, steady embouchure, and "snappy" glottal attacks on the vowels, apart from the interpretation that captures the nuances we coached and discussed. Sounds great, looks great, a kick ass production and worthy achievement! Coach.
  10. Oh man, I'm trying to learn this song and it's just killing me. But what I'd like to ask is what is she doing when singing 'lovers' at 1:30. Is this a really fast trill/run she's doing? I'm new to this technique but I always thought it was something you kind of did with the back of your throat yet there's a lot of movement in her lips. Can anyone shed some light on what's going on?
  11. So I've never been able to sing a B4 or higher in modal voice. My range goes from C2-Bb4 with another octave of falsetto on top of that. Even when I sing a good feeling Bb4 belt the B4 seems like a physical impossibility for me; it feels like a rubber band that can't be stretched anymore. Overall a step under three octaves I consider to be a pretty good range, and through lots of training I have good dynamic control all the way up to the Ab4. A4 and the Bb4 are tricky and crack frequently. It's quite rare to find a singer that sings over 3 octaves without resorting to a brian johnson-esque distorted head tone. Do any of you experience a note where your modal voice just can't continue anymore?
  12. For years I sang as a very high soprano (I believe I'd be classified as a lyric soprano), doing a lot of Classical and Broadway stuff. After about a 20 year break where the most singing I did was in the shower due to raising kids, I started singing again, but now I'm being called upon to sing mostly Pop/Rock, and I'm struggling a little. I have a "soft and mellow" chest voice that I can mix easily through the middle and up into my upper registers, then through to very high whistle with no effort. That's good but it doesn't really work for the genre except during emotional moments. I have a mixed voice that I can access from middle C on up. At least I think it's mixed. It's strong, but it is definitely not a belt. Then I have this very limited "strong low belt" voice that I can't seem to transition into my mixed voice through. I can pop into head, but of course that's ugly and all I get is a soft head voice, but it takes me a few more notes to adjust back to mixed. In my strong low belt, I sing like a tenor (I'm female) and can't really even hit an alto range. For reference, my belt is strong from D3-G4. Above G4 it cracks badly. My head voice can go through to beyond C6. I'm very confused by all of this. I speak very low, and often times people are confused by my singing voice because my speaking voice is so different. This leads me to believe it's a technique issue but after reading and watching and trying to learn I'm not sure what I'm missing. Any pointers to exercises that may help me sort this would be terrific.
  13. This goes along with my other thread, and yes I am now a premium member I'm just starting to exercise my belt voice, and I'm wondering because it sounds SO different than my higher range whether it's ok to keep belting here or whether I'm pushing it too hard. This quick recording of Hallelujah was done on my computer with just the mac mic (so I'm peaking out) and I gave up on the recording because my husband got home and the dogs were about to go nuts. https://soundcloud.com/bevin-hernandez-1/hallelujah-unfinished The other recording of Your Song is done in my head/mixed voice.https://soundcloud.com/bevin-hernandez-1/v1_yoursong-1 They sound like they've been done by two different people My question is...is it ok to keep working low in belt to try to reach a better mix? Am I pushing too hard? Anything else that you want to share?
  14. Hi guys I'm kind of a beginner so please bare with me, and sorry if something like this has been answered elsewhere before. One of the things that really makes certain belts stand out to me is that 'ringing' quality. Not necessarily a overly cutting sound, but a nice round 'pingy' ringing sound. An example of such a belt is below (3.10-3.40, the first 'OOOOH', then 'BLIND', then 'YOUR', 'TRY TRY and TRY' - the whole climax sounds super nice but especially these notes). There are dozens of other examples but I always loved this especially. But my main question is, what is this? Is this twang? What is it EXACTLY that achieves such a round 'ringing' on notes? And HOW?
  15. Unfortunately not too many people are familiar Steve Walsh, probably because Kansas songs aren't as well known. So I wanted to start a thread to analyze his vocals. This was the song that started it all. Had to imagine that I might have never known about Steve Walsh if a classmate hadn't decided to play it. This was the first time I heard the song and that was in the post 2000s era! I didn't know anything about vocal technique back then but actually it was the lead singer's voice that captivated my attention instead of the iconic guitar riff. Below are the moments that stuck out to me the most the very first time I heard this song: 3:49 - 3:53 "Nothing equals the splendor" Very strong EE and on a C5 too! Still don't know how he does that. 3:46 - 4:00 "Surely heaven waits for you" This time an excellent OO from "you" on a B4. Pretty remarkable that it's a closed vowel at that high of an intensity! 4:13 - 4:21 "No mooooreee!" Another high intensity moment on a B4; this has got to require good breath management and efficiency Alright, here's one more: 6:48 - 7:28 OK this is pretty incredible. More than half a minute of beastly endurance! Vowels sound like OH-AH-UH to me, but I might be completely wrong.
  16. ok, so some life drama has sidetracked me for the last 2 months....so I am trying to pick back up where I left off my "training" 2 questions 1) Belting vs bridging. I guess my question is this.....at any one time a singer can only be doing ONE of these...yes? for example. Lets say a guy starts to feel his passagio around e4 at an average intensity level etc. Now, if he wants to bridge up into higher notes then he goes ahead and starts to bridge at that point...yes? BUT, if he wants to BELT on up to f4 or g4 etc then he will use more support etc and stay in chest voice and "belt" up to f4-g4...correct? So here is the question.....once he starts his belt technique he CANT then bridge, can he?? say he did belt up to g4....he is pretty much stuck there yes? he cant THEN bridge higher can he?? He has gotten the mechanisms into the wrong configuration, yes? (perhaps a mega skilled singer has tons of flexibility in these areas, but I am talking a guy with a decent basic skill level) 2) So that leads to the 2nd question. for a relative unskilled newb, whats the best way to train? a) spend more time building the belt skills/chest voice. start working on bridging right away? c) combine the 2 approaches any ideas? thanks
  17. Robert Lunte - "Nocturne" I love this song, I hope you do too... Some of you have heard this. This is the Final production. Special thanks to my team Zack Uidl, Jason Shavey and Clay Copeland.
  18. What do you all think of Beyonce as a vocalist? She seems to have excellent control over her instrument. My only gripe is the clavicular breathing with the audible inhalation. Here are a few good videos of singing for you all to analyze: What do you all think?
  19. This song is darn good. Addicted to the song since the first listen. I can sing in that range but I get louder on the top notes. It doesn't hurt but I have this weird abdominal pressure that feels like I'm pushing air with my abdomen and my vocal cords are resisting the air pressure. Is that belting? Would it harm me?
  20. Ok this is the time of my life where I'm really really vocally frustated.. Started off 4 years ago with Brett Manning's stuff brought MM, SS, MV, etc. I've improved a lot but not as much as I'd like. I want a consistent working vocal range from E4-C5 and then I'd focus on other stuff. I can already hit those notes but I've to put much effort and when I sing with a little less effort, I sound like whining. I'm thinking about moving to Ken Tamplin's stuff. I've already brought his program too (all 3 volumes) but he looks like he's straining and his notes sound extremely heavy. I do not want that. I'm an engineering student and belong to a broke family. I cannot afford a vocal coach or any other program for now or atleast for 4-5 years until I get a job. What are the vocal techniques of these guys? They're notes sound so full yet effortless. I can do that but it sounds like crying and takes much effort. G#4-A#4 at the starting. This guy slays the notes at the end (F#4-G4). The most difficult notes for me. Any help would be extremely appreciated. This guy is currently at the pinnacle in India.
  21. Hello. I joined a choir, so my interest is in developing my head voice, which was totally abandoned (I was in a choir as a child). I saw Felipe's video on low notes and realized I was singing too often in my high notes now, so started singing some in my low notes but in Head Voice. But do you think it would also be good for me to sing some in strong chest voice? My throat was totally underused until I started now in the choir. I hope I was able to make the question clear. Tell me if I didn't.
  22. Robert Lunte, "Timeless Chains". A song about my "x" Anna Christina. Enjoy. Silently your, beauty took my breath away... Now comes the rain, can I feel another day. So much time has past away from that fateful day. So much time has passed, since you turned away. Chorus Now timeless chains, there's no escape! You walked Away Just when I started to get my life back under me. Berlin skies of gray, so cold I cannot breath Cause I lost, mean Frau in the storm, that marked my destiny! But here I stand defiantly mending a heart ripped to shreds of tragedy But my face to the wind, Im washed from my sins, but you still keeps haunting me Chorus Timeless chains, there's no escape! You walked Away Just when I started to get my life back under me So much time has past away from that fateful day. So much time has passed since you turned away. Chorus Timeless chains, there's no escape! You walked Away Just when I started to get my life back under me!
  23. HERE IS AN EMAIL THAT WAS DISCOVERED WHERE ROBERT LUNTE, FOUNDER OF THE VOCALIST STUDIO, ANSWERS QUESTIONS ABOUT KTVA VS TVS TECHNIQUES. HERE IS AN EMAIL THAT WAS DISCOVERED WHERE ROBERT LUNTE, FOUNDER OF THE VOCALIST STUDIO, ANSWERS QUESTIONS ABOUT KTVA VS TVS TECHNIQUES. Hey Rob, So I noticed that there is a difference in definitions between TVS and Ken Tamplin's program. Ken Tamplin refers to head voice as a mode; basically a strong reinforced falsetto. WELL, ... IN REGARDS TO THE TRUE DEFINITION OF VOCAL MODES, THAT IS NOT A DEFINITION THAT IS AS ACCURATE AS IT NEEDS TO BE. IF WE ARE GOING TO TALK ABOUT MODES, IT IS BEST TO REFER TO THE ORIGINATORS OF PHYSICAL MODES, THE ESTILLIANS… WHICH IS MORE OR LESS WHAT THE TVS PHYSICAL MODES ARE INSPIRED BY. FALSETTO IS A PHYSICAL MODE, HEAD VOICE IS NOTHING MORE THEN A METAPHOR FOR THE UPPER REGISTER… HEAD VOICE ACTUALLY DOESN’T MEAN ANYTHING, IF YOU WANT TO BE STRICT ABOUT IT. IT IS A “PICTURE WORD” TO REFER TO THE UPPER VOICE SENSATION WE ALL HAVE… TO CALL IT A VOCAL MODE, IS TO CLAIM THAT IT IS A PHYSICAL AND TANGIBLE THING, WHICH IT ISN’T. THERE IS NO SUCH THING AS ‘REINFORCED FALSETTO’. THERE IS ONLY A PHYSICAL MODE CALLED FALSETTO AND IT IS CHARACTERIZED BY A WINDY, OPEN GLOTTIS THAT ESCAPES RESPIRATION. IF THE PHONATION DOES NOT HAVE WIND, IT IS NOT FALSETTO. IF YOU “REINFORCE” A PHONATION ON A HIGH NOTE ABOVE THE BRIDGE, IT IS MORE ACCURATELY GOING TO BE VOCAL TWANG… WHICH IS ANOTHER PHYSICAL MODE. In TVS falsetto is a mode, but the head voice is just what you call notes that resonate from the head, in whatever mode you are singing. WELL DONE, THAT IS MORE OR LESS CORRECT. HOWEVER, NOTE THAT THIS DEFINITION OF MODES IS NOT JUST THE WAY TVS SEES IT. IT IS ALSO THE WAY ESTILLIANS AND CVI SEES IT. ESTILL ARE THE ORIGINATORS OF VOCAL MODES, SO PEOPLE THAT CARE TO BE ACCURATE ABOUT VOCAL MODES, TEND TO FOLLOW THEIR ORIGINAL FOUNDATION ON THE TOPIC, WHICH TVS PHYSICAL MODES DO. I prefer the TVS definition. However, I think that makes the whole bridging late vs bridging early debate between the two systems inconsistent. IS THERE A DEBATE? ... OH YA, KTVA WOULD LIKE CONSUMERS TO BELIEVE THERE IS… THERE IS NO DEBATE. TVS HAS BOTH BOTTOM UP AND TOP DOWN TECHNIQUES. THIS IS A TIRED, OLD IDEA THAT STARTED ABOUT FOUR YEARS AGO THAT HAS BEEN PROPAGATED TO CREATE CONFUSION IN THE MARKET ABOUT WHAT TVS STANDS FOR... KTVA HAS GOT A LOT OF MILEAGE OUT OF PROPAGATING THIS MISINFORMATION. IT IS COMPLETELY STUPID AND I HAVE CREATED NO LESS THEN FOUR VIDEOS TO COMBAT THE CONFUSION. Ken's criticism of what he calls late bridging seems more apt to describing some classical voice teachers who teach bridging to a falsetto mode instead of a twang mode, or metal screamers who rely on a distorted reinforced falsetto. His criticism being that early bridging over time breaks down the "mid voice," of which he doesn't define. HE TALKS A GOOD GAME AND CERTAINLY SINGS A GOOD GAME… BUT WITH ALL DUE RESPECT, IN MY OPINION AND FROM FEEDBACK FROM HIS CUSTOMERS, HE DOESN’T ALWAYS DEFINE OR EXPLAIN A GOOD GAME. IN REGARDS TO EARLY BRIDGING AND VOCAL ATROPHY… ON THIS POINT, I AGREE WITH KEN. THE LACK OF BOTTOM UP TRAINING WILL RESULT IN WEAK TA MUSCLE STRENGTH AND ENDURANCE. BOTTOM TRAINING IS ESSENTIAL TO BELTING, BUT ALSO JUST TO BASIC VOCAL HEALTH. THIS IS WHY THE NEW 4PILLARS SYSTEM HAS AN EXTENSIVE BOTTOM-UP AND BELT TRAINING EXPLANATIONS AND ROUTINES. With the TVS definition, I'd say I mostly bridge early. But it's not such a big difference it seems. I can still bring a bigger boomier sound up higher, but from learning early bridging techniques, I'm not stuck to an overly heavy phonation with constriction. It's dynamic and free. PRECISELY!!!!!!!!!!! YOU NEED BOTH APPROACHES! DIFFERENT PEOPLE NEED DIFFERENT APPROACHES BASED ON THEIR NEEDS. YOU DESCRIBED THOSE NEEDS NICELY. I TOTALLY AGREE. KNOW THIS… THE REASON ANY COACH WOULD BE LIGHT ON TOP-DOWN TRAINING TECHNIQUES IS SIMPLY BECAUSE TOP-DOWN TRAINING TECHNIQUES ARE MORE COMPLICATED TO UNDERSTAND AND TEACH. IT IS A LOT EASIER TO TEACH BOTTOM-UP TECHNIQUES. TOP-DOWN TECHNIQUES REQUIRE MORE PRECISION AND MORE UNDERSTANDING OF THE MUSCULATURE AND OTHER DETAILS. "PUSH FROM THE BOTTOM UP ON AN AH VOWEL"... IS A FAR EASIER STORY TO TELL, THEN BUILDING FROM INSIDE THE HEAD VOICE. I think part of the confusion also stems from the SLS / singing success terms, where the mixed voice is their term for twang, and head voice is defined as a strong falsetto. WHICH IS AN AWFUL DEFINITION OF TWANG… AND PAINFULLY INCORRECT. AGAIN, IF ANY OF THESE PEOPLE, WOULD BOTHER TO STUDY VOCAL MODES AS I HAVE, THEY WOULD NOT BE TALKING INACCURACIES TO CONSUMERS. SLS AND SS SEEM LIKE THE LEAST INFORMED TEACHERS SOMETIMES. TO BE SURE, THEY ARE NOT TRAINED IN VOCAL MODES AND ARE WAY OF COURSE WHEN IT COMES TO BELTING. VERY FEW PEOPLE WILL EVER BUILD A STRONG TOP REGISTER BELT WITH "SING LIKE YOU SPEAK" TYPE METHODS. It's kind of silly considering the actually mixed resonance we feel is only from around c4 to E4. Mixed voice is just a bad term. YEP… THAT IS WHY I KILLED IT IN MY “MIXED VOICE IS DEAD!” VIDEO… IT IS A TERM THAT SOME TEACHERS USE TO KEEP THEIR STUDENTS CONFUSED. THE MORE YOU CAN KEEP YOUR STUDENTS CONFUSED, THE LESS YOU HAVE TO REALLY UNDERSTAND YOUR SUBJECT MATTER AND BE ABLE TO REALLY EXPLAIN THINGS AS A TEACHER. Am I understanding this right? TOM, I THINK YOU HAVE A LOT OF THIS PRETTY SQUARED AWAY. IT SEEMS THE TVS CONTENT IS HELPING YOU TO SORT THIS ALL OUT, WHICH IS GREAT. Tom