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Found 136 results

  1. I have been trying to work on developing a mixed voice but all I ever get is this weird brass sounding tone once I get past the bridge. Can someone tell me if I'm in mix? Do I need to just keep practicing and it will get strong and sound more like chest? MumRecording.m4a
  2. @ronws said a while ago my voice reminded him of Peter Cetera, so with that in mind I sang this. Sits pretty high the whole way through so I tried to lighten up, twangify and keep the sound bright as much as possible. Any and all feedback welcome.
  3. I have often read that a tenor will experience their first bridge around a D4 - E4. But contrary to that, I have also often read that the voice "changes gears" roughly every perfect 4th. Whether the above statements are true or not, is it possible that there would be a natural disconnect for a tenor around an A3 as the voice changes gears?
  4. How you see i go to the Bb2 to the D5 at least, but it's connected my register? I leave the link below link: Test Sound
  5. Hi there! It has been requested that I move the said article to the article posts page. Thank you!
  6. Dear All, I recently did a cover of I Will by The Beatles, with the attached Soundcloud link as follows: Your comments and review are absolutely appreciated. Thanks all! Regards sincerely, Tim
  7. Hi everyone i wanna know my vocal register based on my colour (timbre, intensity, etc) i am bass? i am tenor? baritone? There is the link of the file (sorry for my english) https://soundcloud.com/fernando-salvatierra/listo
  8. Good morning Ray, thanks for randomly playing on my shuffle this morning as I drove into the studio. Keeping it real, and reminding me why the hell I started doing this...
  9. Well, first of all Hi everyone im from Chile and how its say in title i need your help, i really wanna know what is my vocal register... i mean im a tenor? im a baritone? bass? you can note, can you tell me what my vocal range based on the audio attached ? what is my colour, etc, and an opinion about the music would be very well received. That's all I gonna waiting for your answers Listo.mp3
  10. Hi guys, I know the question title seems to hold the easiest answer, but bear with me, please. When I manage to find time to practice, I usually do both lip bubbles and tongue trills as part of my warm up, starting a bit lower in my range (chest voice) and going through my bridge to my head voice, always keeping the resonance in my head. What I noticed is I have a much harder time bridging when I'm doing tongue trills because my folds usually come apart many times, even after I'm warmed up, if I don't pay attention. So, I was wondering why this happens to me , and if it is common with other people too. Cheers
  11. My first evidence afinnity/natural approach was with soft melodical songs like "If I fell" "here there everywhere" from the beatles I sang in a choking, ugly chest register. Then I took lessons for two months and was classified as a baritone because of the strength of my thick cords but the problem was I did not know how to use the head voice and the teacher made his students sing really loud searching for the "fullness" of each note" and he wasn't acknowledging my thin cords passagio notes due to lack of strength despite my effort but I sensed I was well higher than the teacher and my classmate in some notes like he was robbing me 3-5 notes after A3 and overall after C4. I found my niche on my own in spanish barroque pop from 70 and 80 but only in the baritone songs never in the tenor notes because I can only sing those in my not so pretty ligth voice. my speaking voice is confused very confused I can be confortable talking like a posh brittish woman or like a whispery brittish girl or even little boy normally is closer to bieber's speaking voice this one tone I find undesirable voice although I use my thicker cords and sound manly a lot of the time. Since my thick cords shift gear to my thin ones after a few minutes I'm now practising with love yourself and sorry from justin and human nature from michael I notice that Justin's speaking voice is like mine undesirable and he sings as a strong soft tenor normaly I sing above him thinning the cords without choking or using head voice now I can use too many tones in the head. The thing is thinning out I can find a child tone in which I'm comfortable that still retains some undesirability or I can go to head in a range of tones including that one. But my voice is just starting to develop the one song that is challenging my voice to get better is baby from Justin but I don't know how my voice will develop. at the moment the difference from me and Michael is that I can sound like an baby talking child or whispery woman he Can't. Between me and Current justin I can go higher than him with ease and for me it's child like voice or thick voice he has a stable ground and does not sing deep nor strong. between me and the old Justin is that his voice was clear and desirable but my voice is actually softer than that when acompanying. What are your general thougths? Do you think my voice is unfit for singing or will it develop a desirable tone with time? I can get to head voice with the thick cords but the transition happens quicker. Also do you think that Justin abandoned his old voice because a late puberty at 18 or because a personal decision? I'm 21. Thanks.
  12. Okay I've been training with Brett Manning's programs for about 3 years now. Got better but I'm frustrated with my vocal range. A vocal range upto A#4 is all I want for my singing. I'm a Tenor. So I've been hearing these concepts related to high notes. What I've realized is that people refer to the same thing by saying stuff like yawn, lift soft palate, cry and support. Also is the 'cry' necessary to hit the high notes in full voice cuz it sounds weird to me when I keep a cry on my notes. What are they doing? Singing in mix? Belting? Also would that be more towards SLS or classical typa technique. 2nd Thanks!
  13. I've been able to sing in a much fuller sounding voice in higher notes (let's say D4 and above?). I think that what I'm doing is more mix than belting. When a high note, let's say an A4, comes out full I'm sometimes surprised with the result while I sing. It's not a fun: "wow, I sound so full in high notes!" but more like "it came out very full compared to what I was expecting, am I off-key?". Usually - the answer is "no". However, when singing, this moment of doubt is problematic and might cause mistakes in the next notes. Anyone ever encountered something like this? ideas on how to deal with it? I'm trying to sing quite a lot to get used to my high register but I didn't manage to enirely resolve this (crazy?) problem...
  14. True to the original, not taking many liberties. Double tracked vocals and distinct nasality. Dedicated to an elusive lady in my own life. http://picosong.com/Dwtx/
  15. A song that everyone knows. It's a bit out of my range at parts but still fun and manageable enough considering the relative low passages throughout most of the song. I suppose it's stuff like this I should be posting as it demonstrates my singing in a range where I'm learning to improve on.. any advice or criticisms are appreciated. http://picosong.com/t56V/ *the volume is pretty loud so keep your speakers down, or it may blast you lol
  16. I want to do a good cover of this song, I have fun with it and it allows for plenty of creative expression but the high notes are hard to transition into. I can feel a higher register opening up but transitioning and varying support/commitment seems to be holding me back. first take posted (Chicago 2) has more belting and less transitioning, whereas the second take has more transitioning and less belting.
  17. 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.
  18. So after a long while of training my chest voice up and doing hard and heavy singing, I think it's time to work on a headier placement. I've felt the Ct musculature take over before when singing high songs but typically certain words and vowels tend to trip me up, as well as certain pitches. A few questions I have hopefully you guys can hopefully help with is does the support always have to be super intense? High head voice should have one of the highest airflows of any of the registers yes? Also with practice is it possible to use a high and heady placement to sing mid range/low notes?
  19. Hello, again! Here you have my maximum ability. Head voice, chest voice and mix, all in the same song. Unfortunately i have too much of the pharyngeal voice in the verses (sorry, but i have sang too much Judas Priest). What do you think?
  20. I threw together a nice little vocal jam track for me to practice with. It's sort of loosely based on the Heart song "Rage". If you listen to that song you see the idea It's basically emphasizing these notes as it steps up higher and higher. E-F#-G#-A-A#-B-C. Next one I make wont skip notes...I skipped notes on this one because I started with 7 drum sections. Obviously its not deal to skip thru those low head tones but I wanted it to end up on high C. Having a basic bluesy rock feel, the track probably works well for either singing the root, the flat 7th, or the minor 3rd. for instance over the E one could easily sing E,D, or G etc When u listen you'll get the idea. There is a little short section where it previews the note for you then a section for you to sing...then the next preview section to hear the note and catch your breath etc I also put it in my 4PS student "log" and maybe i'll add more of them later Enjoy, let me know if u try it out. https://clyp.it/jsv1anfa Heart "Rage". Just first heard it yesterday, it came out in 93
  21. working on a chorus for a song. The chorus is in D minor and the highest note in the chorus is C5 So I can SORT of ease into the c5 note but its really shaky. Naturally if its doubled and heavily processed it sounds almost legit lol Here is the doubled/processed vox in the chorus snippet: (btw, be forwarned, there is a flat5 note featured lol) https://clyp.it/ybkczkss Now, here is the BARE vx, no compression, no nothing. This is each half of the doubled chorus put back to back. The first time thru was the first one I sang and it was a little better. The 2nd time thru was a little rounded off https://clyp.it/pjyyq1ke So essentially I am trying to hit a C5 on the "o" in "open" and on the "uh" in "love" Here is me JUST hitting those 2 syllables: https://clyp.it/4opbmxzu And to show the struggle, here is one that cracked: https://clyp.it/wpr4fvas So lets have some good discussion on how these sound as is, how I can best train for them to be WAY better for comparison here is a nice B4 by Joe Lynn Turner, obviously im miles from this but this is sort of a goal to aim at: https://clyp.it/o44er4fj Also any discussion on the mechanical aspect of the cracked note. Physiologically, what broke down there? (and thus, what does the training focus need to be)
  22. After being sick for a while (I still kind of am), and not being able to practice, I started again today, and probably too zealously, but that's besides the point. While doing sirens, I became aware of a break that occurs at A#4. Under this, I can sing notes with a full, throaty tone, and after, with a harsher, brighter, "screamy" tone. The tone of the upper part of my voice can be very loud, and is not breathy like falsetto. With some effort, I can relatively seamlessly connect between these two voices, but singing A#4 for a sustained period of time is very tricky for me. Also, there is no noticeable "flip" like when switching from a modal voice to falsetto. The tone just gets very garbled and distorted between. Should I suspect I'm using some type of falsetto for the upper notes, or is it pure head voice? Also, what should I work on when blending these two sounds together? They sound night and day in terms of timbre, and I'd like be able to use both when singing.
  23. I didn't use to train falsetto but when I started doing so last month I noticed it was helping me open up and remove unnecessary tensions, as well as establishing better placement in the hard and soft palate region. Now in the G4-C#5 range I feel my voice wants to release into those notes, but for whatever reason I've been hitting a wall. I suspect this is due to a mixture of factors: 1. Poor use of the breath. The higher I go the less breath I need, not more. If I blast the vocal folds with too much air, of course they just get slammed wide open. I am learning to use as minimal air as possible for falsetto to get used to the sensation of suspension when singing. 2. Sub-optimal vowels. I may be keeping the same shape as in the low & middle part of my voice, and it seems some gradual adjustment needs to done to go higher. 3. Incorrect mental visualization of the tone. Since everything starts with the mind, I need to have a mental picture of what the desired sound will be BEFORE I sing it. And this may be part of the reason why my larynx has been shooting up and choking off the sound. When I have a lower larynx I find it easier to sing because I have more acoustic space, greater stability, and a warmer, more balanced timbre. So basically I'm curious if training falsetto has helped open up your upper notes and if so, how did you use that as an intermediate step to learn your full/complete voice coordination? I feel that I am almost there but missing some steps, especially with complete adduction, proper vowels, breath management/efficiency, and a lowered/more stable larynx.
  24. Take a look at this. This singer is defying gravity. He sings light yet without breaking or sounding weak. I heard that you must sing in full voice to hit the high notes correctly. I have to tighten up in the abdomen and compress more to go high. But this singer has confused me so much. When I attempt doing it like him, I break into falsetto. I almost have the same tenorish tone quality as him. How do I learn to develop this type of technique? I am studying SLS yet I sound more compressed and "waily" than him.