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Found 203 results

  1. So I'm a tenor and 16 years old. But recently, I have gained an interest in low notes. I can usually go down to A2-G2 but it's pretty hard. Recently, I was able to go down to an F#2. I did reach a F2 and even an E2 once but i was told it was vocal fry. But really, I think the low notes are destroying my naturally high voice. I'm asking why am I gaining notes so fast all the sudden and what do I do to preserve my high range because since I started with low notes I can still hit a c5 but not as easily as I could. Please help. I don't want to turn into a baritone and lose my high range. And as a ps I have gone through puberty
  2. Hi there! I am new to this forum but I am going crazy and I need an analysis of technique or opinions of this singer! (Specifically 2:47 - 3:05) How is he able to pull so much weight up sounding full without narrowing his tone into (best way I can describe it) a little boys voice?! Compared to the 2nd video where (same song and singer) he just transitions to (correct me if I'm wrong) to mixed/head voice. or is he doing something completely different? (2nd video : 2:34 - 2:47) The singer is Korean! Thank you!
  3. My local band Rue's Glare is seeking a singer. We're New Grave otherwise known as Modern Horror Punk. We're seeking a vocalist who has a moderate range , male or female. Age 21-27 preferred. The more unique you are the better. To get an idea of the sound click below. We got big plans for the band. Once we find the right vocalist that has the ability to travel to Erie , Pennsylvania at least once every two weeks we'll start recording Asap. Have 4 Demo's finished such as the one below and 8 more in the process. We'll be mixing and mastering the 5 tracks that the band picks out. If interested contact me via soundcloud. You don't need your own equipment, we have everything needed for recording our first EP as long as you are within the Erie area or close enough to travel. Thanks for reading.
  4. Hey guys! I'm a guy, and have always had random access to which seems like the whistle register - although it seems like an extension of my falsetto and I never count it as my usual range. It comes and goes, more often not there, and usually airy and disconnected from the rest of my voice. But the WEIRDEST thing happened - I let out a yawn and made a noise. I went from the bottom of my range, up to my head voice (which stops at about E5), and went into a fully connected whistle register. I was hitting up to an E6 VERY clearly, completely connected to the rest of my voice. I was gliding up and down (to my lowest note - A2) with complete ease, and it felt and sounded more like a part of my head voice as opposed to an airy, difficult to produced falsetto. This has never happened to me before, so I found it pretty exciting I could easily get completely connected heady sounding note all the way up there. But alas, it just kinda stopped and I wish I recorded it for you guys to decipher what was going on! I was wondering if any other guys (or girls) have any experience of something like this happening. Are there any ways of nurturing this? Tried to do some lip rolls up there but now I can't access it as easily
  5. Hi, I am new here and I hope I am not breaking the forum rules by such questions So, I am 17 years old male who really likes singing but I am curre tly confused about many things. When I was a child (11-14 years maybe), I sang in a choir and I probably had one of the highest voices (so I was classified as boy soprano), but I stopped attending the choir around the age of 13/14. However, I didn't stop singing and I sang songs that I liked. I haven't really thought about such things as voice ranges until now though. By the way, classmates keep telling me that I have unnaturally high speaking voice. I have decided to join school choir few weeks ago and, to my surprise, not only I was classified as a tenor, but also I was told that my highest note they wanted me to sing - G4 - is higher than most tenors have. Well, as I've "tested" my vocal range (without any technique, warm up or so) few days before joining the choir, I was expecting they'll tell me I am a (high) baritone. So about my voice range (C4 is middle C I hope) - my absolute minimum is probably F2, but I usually can't sing comfortably below C3, my absolute maximum is A4, but I usually can't sing it comfortably (and sometimes I can't just sing it, for example when I've sung in this height for a long time - for example now ), so I suppose G4 is my "reasonable" maximum. Another strange thing is my falsetto. I have good-sounding falsetto, but the problem is that my falsetto maximum is C5, so I usually don't need to use it, as I can sing with my "normal" voice. I really like to practice singing in my boundaries, so I often try to sing around F2 and G/A4 (which leads to temporary (I hope) unability to sing A4 and sore throat. And I don't hear any registry changes, my voice sounds the same to me in every height (I can't hear any head voice or things like that)... So my questions are: Am I right when I think I am probably a baritone? Can I damage my voice by singing in my range boundaries? Is there a hope that I'll be able to extend my range to more "tenor" height (notes A4, B4, C5), for example when I start to attend a singing teacher (I think of that, but not just because of extending range, but because I simply want to practice my voice, as people tell me I have beautiful voice...) Similar question, but about falsetto - Can I extend my falestto above C5, for example F5? Even if such things are possible (I am definitely not sure), I understand it would be long and challenging.
  6. I believe I am using too much air while singing clean vocals, this is great for when I want a breathy tone and when the song calls for it, but the thing is I don't know how to cut back on the air without letting my voice distort. Whenever I cut back on the air, vocal distortion kicks in, and my vocals get a grunge like rasp tone. I've discovered that whenever I sing anything above F#4, I can't sing it without vocal distortion kicking in. I don't believe it's an issue involving breath support, because I can sing all the way up to A4 comfortably, even though I can only sing above F#4 with a distorted tone. Too much air dries out my vocal chords pretty fast whenever I sing clean, and I often have to pause between lyrics and inhale fast so I can get enough breath for the next phrase, I manage to do it flawlessly, but it is annoying. Why can't I cut back on the air without my vocals distorting into a grunge/raspy tone?
  7. have heard the song a million times. Never payed attention to the breathing but once you hear it, you cant unhear it lol Is it normal to have this amount of breathing. Could he have gotten by on about half that amount of inhales? Ooh, mama Well (breath) look what's been done (breath) You can only see the stars After a (breath) setting sun (breath) You (breath) run for the money (breath) You don't even know about wild (breath) mountain honey it especially strikes me as odd to have the breaths right in the middle of phrases such as "after a (breath) setting sun" and "wild (breath) mountian honey" wouldn't the equivalent be "and she's (breath) buying a (breath) stairway (breath) to heaven" discuss
  8. I have lots of problems with my singing voice after speaking, as my speech is very heavy and inefficient. I have NO idea how to fix this, and I feel if I can speak more efficiently, or top-down, my singing voice will be much better and my vocal chords will be much more healthy. I was reading my Four Pillars of Singing PDF and this is touched upon, but I was wondering if there are any direct tips that I can implement into my speech? Thanks!
  9. 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?
  10. In the Spanish wikipedia article for Falsete (I'm learning it by heart ) I've read this: The first sentence says: In the Bel Canto (opera) technique, Head Voice and Chest Voice are mixed and that way Passagio is camouflaged. Since my main interest is in improving some voice similar to this, I should have a clear idea about it but I don't right now... I'll keep thinking and investigating, and will be very much interested in reading what you think about it.
  11. Hey! I'm a 16 year old male. Currently my vocal range is E2 - C4 (D2 - C4 in the mornings and on a good day). I was wondering if my range would lower to at least a consistent C2 in the next couple of years, because I would love to sing bass in a a Capella group or a choir. I know E2 is a bass, but I really want to hit those lower notes. Any helpful comments and replies is greatly appreciated! Have a nice day!
  12. Ok, maybe a dumb question. The whole bridging/passaggio/belting thing. It gets confusing because we read that the male passaggio is typically starting somewhere around d4-f4. Ok, fair enough. Yet then we read that so and so likes to "belt"a b4 or c5. So if he can "belt" a b4 then how is his passaggio down somewhere around d4-f4? As a person becomes more trained does this all become a matter of semantics and/or shades of gray? for instance that same singer could probably hit a b4 in chest, or "mixed", or pure head voice, correct? And nevermind those 3 pictureword terms, he could probably hit NUMEROUS different shadings and versions of that same b4...correct? I think its just the term "bridging" that throws me. The term itself implies some sort of "digital" either/or thing when its really not that way. The term "bridge" make you think someone has done a trick or something lol. But if a guy sings a phrase from chest voice up to, say, a4-b4...its not going to stand out like "omg, he bridged!"...correct? Obviously a trained singer isnt going to all of a sudden hit one specific note and his while vocal character change So the term "bridging"...does it really almost apply more to sirens that to singing actual phrases? Any good examples out there of guys singing phrases where they obviously bridged within the phrase? Obviously there are plenty of examples where guys belt B4-c5ish stuff in pure chest. Its like there are SO many examples of belts around b4 that it makes it hard to understand the passaggio being said to be around d4-f4ish
  13. Hi everyone, Im Connor Aiden a 17 year old vocalist currently in training in London (Popular Performance Vocals) and I'm having a bit of trouble regarding my 'official' voice type. Although I have sang in classical styles I initially taught myself how to sing and mainly listen to female singers which has confused me about which octave I sing things in. I was also put in a choir as a tenor so have been reading treble clef and unknowingly singing an octave down the whole time. I thought I must be a baritone but I have a peculiar higher falsetto range: Chest: G2-E4 (Strong, Belty as I get to D/E4) Mixed: I am working on but seem to have no mixing traits currently Falsetto: F4-F#5 (Breathy, Slightly Unclean) (can bring it down to B4) If anyone has any information or knowledge to share I would be very grateful as It would clear a lot of problems up and get me on the right track vocally. Thankyou!
  14. 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.
  15. Hi there, I have one little question to all of you. When I now try to engage a more chestier sound into my singing (singing around C4-C5) I am still feeling this light mechanism in my voice, however, the sound is more powerful and when I put a hand on my chest bones, there are actual vibrations. If I then add twang (correctly) it's even louder, but not belt qualityish. So the question is, does feeling these vibrations in my chest bones actually means I am empowering the chest quality to my voice, even when singing higher pitches? hope you can help me out!
  16. Three and half years ago I decided I wanted to have a deeper voice. I did some research and found an article that suggested saying your ABC's in a deeper voice everyday until your voice became that pitch. THIS WAS A HUGE MISTAKE. It has massively hurt my communication skills and left me sounding very unnatural and unpleasant . After years of trying to correct it by speaking my way back to my naturally voice, going through phases of pain and scratchiness, I think it's as good as it can be without some help from people who know what their doing. I'm coming to this great community for advice on how to get back to my original voice and get on sounding the way I was meant to sound! Sincerely- RecoveringFromTheDeep
  17. 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
  18. 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 View full articles
  19. Hi everyone! I'm a 20 y/o guy who has always had passion for singing. I've never taken lessons myself as I can't afford them, but I have trained with Singing Success for about two years, and have recently started Ken Tamplin's Vocal Academy (with HUGE improvements!) I know it's not really that important, but I would like to find out my voice type. The problem is, my voice feels kinda weird and I'm really not sure where I fit. From birth, I have had a very easily accessible head voice going up to F5 on a normal day (NOT in falsetto), and a chest voice going down to G2 (The sound is full and rich here, and I can go lower with a vocal fry). I'm not 100% sure where I start mixing, approx. around E4. My voice is mix sounds light and agile, and I lose almost all of the weight from the lower part of my register. I'm very well connected, so I find it kinda difficult to pinpoint exactly where I transition into head. Right now, I can hit a C5 in a very heady mix (which I think is pretty good seeing as I've never had professional lessons hehe). My normal speaking voice is in the lower third octave so I can VERY comfortably sing in this range, but I can comfortably vocalise throughout my current range freely without any stress (no strain, keeping a neutral larynx, open throat, etc.) I wouldn't say my voice has any sort of booming depth, but it is quite warm (getting lighter as I ascend higher in chest), and somewhat agile, and some tendency of sounding nasal (not exactly NASAL, but I can't think of the proper word right now). So basically, my range form chest to head is G2-F5. I know it's asking a lot, but could anyone hazard a guess of where I could fit in? I would really like to see a vocal teacher, but right now I'm short of money, so it would be greatly appreciated if you guys could give me some advice until I do Thanks!
  20. I have a plain question which is bugging me. In theory and practically too, would, say, 10 minutes plain vocal fry going up and down from head to chest resonance actually result in better cord closure? I've done the straw exercise and felt next to no difference after perhaps two weeks of a losely followed schedule. I suppose the question also applies to; does singing the low register which I'm a bit wobbly in make it less uncertain? I'm talking below G3 where I have no problem hitting notes but a harder time controlling pitch and sustain.
  21. Well...Hi Im Jack, Im from Chile, first of all really sorry for my poor english but ok, here we go. Im very confused about my vocal range because I hear that the baritone have a extension of their range aprox. (B2-E4) and the tenor (C3-C5). Well my lowest note is a G#2 and is really very difficult to do, it is more comfortable for me a A2 and my higuest note with my chest voice it is a G4 or F#4, it's depends, some times with a little effor I can sing a A4 with the mixed voice i guess, im not sure it's head voice it all or a mixed voice, I think it's a mixed voice cuz a feel my chest vibrates and it's not so shrill. Finally my Highest note i can sing with my head voice it is a G5 or F#5 and with falsetto some times a D6 but sounds very noisy and ugly. My question is my range vocal only realizes between my chest voice or also it's taken into account my head voice? Oh I forget to say you I love Jeff Buckley and Alex Turner voices. Sorry for my english, sorry for the lenght of the question. Lov U bye Pd: Qualify my english pls
  22. Hello everyone! I started getting interested in singing a couple months ago, but I am struggling a lot to sing most of the rock songs that I like. I have done my fair share of research about chest, head and mixed voice, which led me to believe that I am a baritone. The very lowest note I can sing is F2, and I can usually drag my chest voice up until G4. that means I usually experience a "crack" on Ab4. Therefore I can't sing 99% of songs unless I overcome that problem. I found out that you can learn and develop the ability to sing in the passagio zone and to connect all the registers, by doing vocal exercises. I recently downloaded an app which has about 5 scales for you to sing along. But I really don't know how much time per day I should spend doing that. Also, should I allow my voice to go into head voice, or should I push my chest voice higher until it cracks? I know this may seem dumb for some people, but I have just gotten started. Thank you!
  23. Hi, Im looking for someone able to provide me with a good acapella version of Shout, in the exact style of Otis Day & The Knights. It will be used for a remix; as its gonna be a demo it probably won't be used on the final version. Im basically looking for someone with a "sound-a-like" voice. I would be also extremely thankful to anybody who knows a website where I can find singers for this kind of work... or maybe someone! I'm not looking for some crappy job, I'm paying for the gig of course. Thank you. V.
  24. Hello, I was wondering if I could get some advice about what range I should be singing in and how to tell which register I'm in. I'm a 27 year old woman; I've been singing my whole life (mostly in private, occasional church choir and school talent show) but recently began to pay more attention to technical aspects. I've done some online reading about techniques like opening the throat, lowering the larynx, and how to switch into head voice, things like that, but I'm still confused about what that actually feels like. I plan to take a few professional lessons when I'm at a point where I can afford it.Using a pitch monitoring app, I found that my natural comfortable speaking pitch is from B3-E4, average C4. Right now I can comfortably sing A3-C5 with extremes at F3 and D5. My best sound is probably F4-B4. I have a light, sweet-sounding, almost childlike quality to my voice, with a similar tone to Jodi Benson as the Little Mermaid. I can easily sing the song Part of Your World in her range, but have trouble going higher than that. I'm not sure how to develop my registers. I recently figured out how to produce bell-like ringing tones with a slight operatic quality while feeling the roof of my mouth vibrate (in the range of F#4 to C5), which I feel like is head voice and is different in quality than when I'm feeling vibrations in my lower throat near my chest. I can sing up to A4, sometimes B4 in what feels like the chest register and the same tonal quality as my lower notes. I only recently began to be able to sing B4-D5 in "head voice" without straining or airiness. I would love to increase my range but I'm not sure whether to focus more on developing the lower or upper range. I've read that even contralto voices are expected to be able to reach D5 or F5 but I have trouble with those notes, and I have nowhere near the vocal weight of Adele for example. I can sing Taylor Swift's usual range fairly well but I have a lighter tone to my voice than she does. I have mostly thought I was more of an alto range singer because of my difficulty with high notes, but I also struggle with having any resonance below A3 to B3. I have also recently paid more attention to diaphragm breathing and I'm improving my breath control. I would greatly appreciate any thoughts about what range I should focus on, and how to develop my head voice and mixed voice. Thank you!
  25. Hi girls and guys, I'm new here. A little of history first... I always had a breathy tone, and tried to sing with that for the last 10 years. Well, it never worked, my voice wouldn't last one song. And even at that, it couldn't cut through and have agility. But I never gave up and searching google found that my problem was cord closure. Started doing exercises and everything changed. Now, my question. It's clear my voice is tenor, it gets strong at C3 and can go high. Though its heavy and metallic. The lowest note I can project is a Ab2. I would like to hit lower notes but it is very difficult and wont sound good. Am I a underdoer? Since a lot of tenors can get lower than me, even Michael Jackson. Thanks and happy holidays. PS.: I know that without recordings its difficult to avail anything... Just want to know your thoughts.