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  1. how long does it actually take to develop good compression? I have twang and cord adduction, and I've found that the next goes into compression. I found that compression gives my cords a very airy feeling and better tone, but it seems like I can only hit it at certain times in my warmup, so I'm wondering how long it might take to get consistent compression. I can actually sing above the compression, but that doesn't help with tone
  2. "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.
  3. Hi, I've been a long time lurker of this forum but I have never actually made an account until now. I'm looking some help with my head voice training. My voice is fully connected throughout my range which spans from Eb2-E5, and I'm able to access my mix all the way up till the highest note of my range. Having said that, I'm not satisfied with my range and I'm wondering if there anyway I can expand my head voice past E5? From E5 onwards no matter how relaxed I try to sing, nothing ever comes out of my mouth and I think like I've hit the "roof" of my range. Can anyone tell me what to do?
  4. I haven't been here for a while, so hi. I've wanted to take lessons for a long time, but I haven't really gotten the chance. Instead, I've just been singing my own stuff or covers, and my voice has gotten a lot better (I've gotten quite a few compliments on it). I've developed kind of a belting/baritone voice, I think (kind of like Max Bemis from Say Anything, if you guys are familiar with him). I don't think it's been hurting my vocals, as I don't ever feel sore after doing it (and it's actually the most comfortable way I can hit my highest notes). But I'm still a little worried considering my falsetto range has gone from a comfortable B4 to an A4 that I have to force out (over the past 3 years). I only just turned 23, so I'm assuming it's natural, or maybe I really am damaging my voice. I really do plan to have a vocal coach soon, but is losing your falsetto around this age normal (especially if you weren't really using it much)? Then the normal range thing. My F#4 is much better than it used to be, but it's still hard to hit on some songs. Like I said, I haven't been taking lessons, and I haven't really been doing range exercises either, but I expected to be able to hit at least a G4 by now. Does this mean that F#4 is most likely my peak, or do range exercises make a world of a difference? My goal is to eventually hit an A4 in chest voice, but I'm kind of demotivated at the moment. If I do start taking lessons and doing the normal range exercises as much as possible, how fast will I likely be able to hit a G4? (If it's even possible, or if knowing is even possible) Thanks in advance
  5. Hey everyone, I am stuck with a tiny bit of a dilemma. I play in a cover band in which every member does their share of singing, but while there are some songs I want to sing, I have major problems doing so because I cant hit the notes without going falsetto. I sing a lot of rock and country and while country isn't too much of a problem, I'm starting to hit the proverbial wall with rock. The voice range that I am comfortable singing in is more of a baritone (think Trace Adkins, maybe a touch higher than that.) so when I try to hit notes in songs like This Love by Maroon 5 or even some punk rock songs (Stacy's Mom by Fountains of Wayne or Ohio by Bowling for Soup.) it sounds like my voice is thinning out and my projection just goes away all together unless I sing falsetto but then the tone doesn't fit the song. I know the best way to improve is practice and possibly professional help. But at this current point all I can afford is practice. What I am getting to here, is how can I get my range higher, and not have to sound like my voice is thin or struggling. Are there any exercises or techniques that could help me. Thank you in advance
  6. In light of some recent threads about being stumped on certain notes, I wondered if notes are "unlocked" one at a time, or if they develop in leaps and bounds. From my experience so far, it's been leaps in bounds after indeterminate periods of time, in which seemingly little development occurred; being able to sing up to G#4 with consistency in a relatively short amount of time after I was inconsistent with the beginning of my head voice (E4). What have been your experiences with your vocal progress?
  7. If I do vocal exercises in head voice, and not in chest voice, will that still improve my chest voice? Or are they like 2 different things? If I only practice head voice, only my head voice improves and not my chest voice?
  8. Hello! I am 21 year old guy, completely new to singing,(a decent guitar player) and i have tried to measure my vocal range for few days now. My problem, probably a good thing actually, my voice doesn't ever break when i slide a note up. My lowest note is C2 but as i go up i don't notice a point where something would change, it just goes higher and thinner. My voice ends around F6 where it becomes the worst, squeezed, barely sustained falsetto you would have ever heard. Is there any way to measure where head voice ends and where i enter falsetto.
  9. It started couple of days ago when I tried to sing notes that I sing fine. Those notes became an awful voice... I can't say how it sounded like even on my own language. It was like silent voice mixed with a bit scream. I don't know how my voice damaged or changed in one day. At that day when it happened I was having a little sore throat from the morning to evening after I coughed several times. I think that even if I have caught a cold it can't be the cause of my problem because I it never happened when I had caught a cold(not including times when I had my throat messed up). I'm 18 year old guy and I'm a smoker, I smoke over 1 year what I regret most of all. Also I sing in a band, So guys what do you think will my voice come back in the future? Or please tell me what caused this problem if you can... Thanks in advance.
  10. Think I tired this before and could not get any of it to work If I have a karaoke mp3 saved to my laptop is there any way I could record the track and my singing together and upload it to this forum Thanks
  11. Hi to you all and how are you all doing I saw this site from google and it looked quite a good site so I though I would sing up Anyway I am looking at taking self taught singing lessons like the English to French/Spanish lessons you buy on a tape/ CD and you play in the car I have seen for sale on feeBay lots of the download MP3 and the send in the post jobs. But I don't know what to go for, I mean I ask the question hear to all you pross; can an amature really learn to sing from a recorded lesson? Anyway hear are 2 examples of cheep to expensive I have found What do these lesson hold, and can I learn to sing like a pro from them? Thanks Toolless
  12. ( *Laryngoscopy result of my vocal folds Hello fellas out there! This is my first post in this modernvocalistworld forum and as a singer,im really proud to find this kind of forum where i can ask or share something regarding vocas. My name is Rolando and im 17 y/o singer living in Indonesia.I've been singing for many times and i'm really enjoyed it.I was part of a band that have regular concert schedule. So lets get to the point, 6 or 7 months ago,i had a full schedule of concert in one day,so from the morning until the evening i did sing without quality vocal rest,then next morning after that concert,i wake up and i realized that my voice already became breathy and hoarse.I thought it will only occur for 5 days or 7 days but i've been experiencing this damage for 6 or 7 months and i already went to the best ENT doctor on my town and i did a checkup to my vocal cords and that is the result.(on the picture i attached with this post upside) I knew it was all of my fault not to warming up properly and just sing without taking care of my vocal folds,but i'm really stressed to see that my voice is not yet recovered for many months. I already gargled with salt water and did many things as my ENT doctor instructed but it still the same,it breaks my heart. So what is the problem with me? What should i do ? Or is it a permanent and major vocal damage that has no medicine? If singer tea can fix this i will try to buy one. Thanks ^^ Note: I still can speak loud and sing but my singing quality is degradated so much,now i cant hold a note for a long time and my vocal pliabilty has gone aswell,though my vibrato is still clean and good.
  13. I had my lesson with my vocal coach yesterday. He noticed that I, firstly, was going to hard on the vocals. Meaning, I was in some instances pushing too hard or semi-screaming or yelling. Secondly, he noticed that I didn't have good connection between head and chest. So, he suggested that I start with very soft sirens in order to get a good foundation of connection, then eventually add power to it. He showed me some exercises that bring the chest up into head and head down into chest. He said that a mix between the two is what I'm aiming for, which makes sense. So, after observing me doing a few exercises, he said that I should start doing some strengthening of the connection between around A3-F4 to start, then gradually move up tone by tone. Does this seem like a good idea? I'm wondering what I should do when I reach the limits of what I can bring chest into (right now, the max I can do is A4, but it's harsh). At what point do I want to go into pure head voice? Mixed? And lastly, does what my vocal coach says make sense to you all? I look forward to hearing your thoughts.
  14. Hey, Does anyone know how i can go about singing as fast like in the links below; 1.51 to 2.41 - And here 2.13 to 2.16 and 2.23 to 2.26 - 0.45 - 0.51, 1.00 - 1.03 - 1.13 to 1.16 - A perfect example; 2.20 to 2.26 - It seems like it they are using a conversational tone/ slightly sounds like they are rapping - singing (makes me, wonder whether it is actually singing or are they just talking). Also,If they are singing, are they doing it all in chest? And if anyone knows of any exercises i may need to do, in order to gain the ability to do this type of singing automatic, that would be great! Thanks
  15. So, nasality in full voice. Is it possible for the average singer to achieve? I've gotten to a point where I can belt one of the highest songs I Know, which has a ending chorus between the notes G#4 and E5, in full voice; and the rest of the song is the same but only like one semitone lower. So listening to myself, I was impressed with the achievement and the ability to crescendo the sounds for more emotion.......but I realized that I was still lacking a huge amount of nasality and upper energy. I found that when I sang it, I had a lower level and medium level of adduction, both which worked, but the high or nasal level doesn't work at all. It's like a level of head voice that might exist, but it just doesn't no matter how hard I pinch and force my diaphragm. In my last topic I was confused as how to approach texture development, and it worked itself out. But now it's like, how do I use a texture that's already developed. Do I use the middle approach and try to employ twang? What I'm asking is, is a nasally head voice a plausible approach for an average or well developed singer. If a voice matures enough does it lose that nasally full voice? I never had a nasally full voice at any point within 8 years, so it's like..... DO I twang lower, or DO I try to get higher? Since my diaphragm and phrasing won't cooperate at such a high level, maybe I answered my question. And a weird thing for me is that my voice is clearly towards a higher tenor now. In my last topic, I was just starting to move past a low tenor, and since then my texture has lightened 5 or 6 times, but I'm not anymore nasal than before; just a lot more light.
  16. This is a hard one, at the same time we all repeat "stay in full voice" and "stay in modal voice", I understand perfectly that the question that would naturally arise is: "How the hell do I do that?" And usually, the recommendation is to go strong. Which is not a perfect solution, but when used with the correct positions CAN allow someone trying it out to figure it out and feel how its like to use the voice in this way. Its such a special and different sensation that many people label it as a new register even though its just the same voice you use to speak with. When that works, its quite nice. However, it can be very frustrating when it doesn't, and there aren't many other choices to experience it. Messing around with something that Daniel mentioned one of these days in a conversation, I kinda rigged together some aspects that make sense thinking of physiology and that I got people to do it (and it worked on both more experience and new students). So first, lets explain a bit the idea. What is the problem to begin with? Well the problem is that the use of modal voice is associated with habitual tensions, and its very frequent that the release of the tensions produces a break in modal registration. Independent control of this is of course totally possible, but can be tricky to figure out. More specifically, when the tensions are released, medial compression is lost and the body of the folds disengages from the movement. So what we need is a reference to increase the medial tension without adding the habitual tensions back in. When should I give this a try? When you have issues breaking above the first passage even though you are sure you are adjusting the vowels and supporting it well. What do I need to know in order to try this? You will need to know how to use vocal fry. You will need to know how to use falsetto WITHOUT being airy. Its very desirable that you know how to use falsetto with a piercing quality, the Bee Gees voice I often mention. How to do it: - First define what you will be working on, for example, and its a quite good example because it goes on the wound almost every time with males. Let's say you want to sing the chorus from "Man in The Box" from Alice in Chains. That A#4 is tricky, because it has a HUGE amount of power behind it and anything less just doesnt cut it. So, lets take a look at the note, the line goes: Feed my eyes. A narrow EE in there will not work (you can do it but it will start to sound like heavy metal, not good for this song), so listen to Layne and you will hear that he sang it like: Fehd mah ahs. (I know some of you got all happy with this one, but its not supposed to sound like that in the end result! ) Which is good enough for the purpose of this exercise. Ok, but wait, don't just go there yet. BEFORE, you are going to practice doing this: - Sing it as LOW as you can possibly go in VOCAL FRY, making sure that all the vowels adjust in the way written up there (Fehd Mah Ahs), trying to find a very relaxed way to produce fry, and already using the placement you normally work with. And by low I mean Siberian Deep Bass morning voice. Map down how it feels like to produce vocal fry, pay close attention to the adjustments and most importantly, what happens as soon as you intend to produce it. Practice going just for this "intention of fry" but not producing sound. Then, sing it on the normal pitch (attack in the A#4), however, in a relaxed falsetto. Try to make it piercing already because you will need it, again using the vowels you will need for the phrase, again using the placement you need. And map this down also. Now practice alternating, VERY DEEP vocal fry, then totally detached piercing BEE GEEs like falsetto. Go back and forth. And feel each. - Finally, you will do this, you will simply create the intention of singing it in the very low fry voice, KEEP that feeling, then just add the falsetto to it and go strong with this, don't think of modal voice or chest, think of this weird combination (fry and falsetto INTENTIONS) and **blast** it out. Chances are, it will be weird and all over the place, which is good. Weird and strange is better than a secure half-assed voice that can't do what you want, at least there is a chance to correct it. Insist on it, give it some shots, even if it doesnt work right away. If you feel tired, or if you are trying it over and over and it just dont work, relax, go do something else, then after 30 minutes or so, try again. If you believe the A#4 is too high for you in the moment, try another phrase that uses G4, G#4 or A4, lower than that will probably go outside the problem spot for most males, but feel free to try it. Girls can raise these references by 3 or 4 semitones (or just work on the A#4, it won't be easy either :P). What you should not do (IMPORTANT): The idea is producing the intention you have when you PREPARE to produce fry, and not to produce a fry like sound. Its NOT supposed to be a "creaky door" exercise, and its NOT supposed to produce creak distortion, the "falsetto" intention should prevent it. Sing that thing clean and strong, and make it sound good. Also, don't try to produce soft voice yet, think powerful, because it is. I strongly recommend you get the basics of breathing/support down because you won't be able to sustain this if you do not breath properly and create the necessary pressure (the attack at least should work). And that's it! I would really like to know how it goes for you folks, even if you already have the necessary control down. There are several exercises that make use of fry in a somewhat similar way, but this particular idea I have never seen explored. Video is done: Felipe
  17. 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. Heart "Rage". Just first heard it yesterday, it came out in 93
  18. Hello, I'm desperately trying to emulate the hard vocal style of Maynard James Keenan for a cover of "Passenger". I know i'm not a natural tenor, but the notes -- the fry scream sound -- it's all there. Just not the chest-like fullness of his voice during the chorus. Mine is like a whisper of my chest voice, then the head voice, and then a powerful, raspy fry (think "Sail" or Manson's scream). My guess is that most people who try sing this song fail because i've never heard a good cover : /
  19. 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?
  20. Hey everyone, I'm a newcomer to the forums so I'd greatly appreciate your help and insights! I started singing a year ago. My university offers voice class for non music majors so this semester I enrolled and that has been going well. My favorite genres are opera, prog metal, 70s rock, and legit style musical theater. I'm not into the whole voice type thing because voices seem to lie more on a continuous spectrum than the traditional discrete categories (soprano, mezzo, etc.). But when I listen to Dream Theater, it seems that James LaBrie's comfort zone and where he sounds best is higher than most guys. I don't even like the terms chest voice and head voice because there's really only one voice but in terms of describing a sound, I would say JLB uses a chest-dominant sound all the way up to the D5. For me personally, there is a resonance transition around C4 and another one near F#4. After F#4 I have a very head-dominant tone. But what if you're going for the James LaBrie sound? I like the way he sings the upper notes--very stable larynx, doesn't sound shrill. Now I'm not a fan of everything he does, like excessive vowel modification and muddied articulation but overall I think there's a lot I could learn from the way he sings open and free. So my questions are, what are your observations on James LaBrie's techniques? If you've sung Dream Theater, what were your strategies for tackling those songs? I'm interested in hearing particularly from those who aren't as high-pitched as JLB. And how do you sustain being in the upper 4th octave? He's consistently in the G4-D5 range and sings B4 for days!
  21. This question will be asking a lot, but I'm honestly totally lost. So, technique wise, I have 100% lateral adduction, that can be brought through each passaggio, and I've spent a lot of time on reducing TA strain to improve efficiency. But my voice has hit a road block. If I go with an edgy high tenor approach, my sound works okay until I start traveling into my nasopharyngeal tones. My nasal tones just cut off completely, and I really can't complete the sound wave. If I go purely nasal there is literally zero change in the output, and if I try to thin my sound by dropping back into the low pharynx, I only get a dopey and heavy tone. On the other hand, if I go with a low tenor approach and focus exclusively on my lower pharynx area, the sound produced balls up in an area that is slightly lower but there is no projection or release of this balled up sound, regardless of mouth position. It seems like the lower approach might be the better one as the sound wave isn't getting cut off, but at the same time there's no projection and all the sound is stuck in a ball. This hasn't changed for a few days, and I have no idea what to do because my voice is pretty much stuck, and confused as to why good adduction and TA balance would produce this.
  22. As I stated in my other post, I've found my head voice, or some kind of voice that makes me sing higher and with more power than I was able to do before. However, after G#4, I hit a sort of wall. I can "sing" up to a C5, but it sounds weak at best and not tonally good at all. I can sing maybe up to an A#4 with some control when doing exercises, but that does not translate into songs at all. The best I can manage to do in a song is A4, but it is not a reliable note at all, and is pretty much hit or miss. What I'm trying to ask, is if I can even touch these notes, does that mean that I can develop them enough to make them practical parts of my range? I really want to be able to sing up to at least tenor high C and make it sound good.
  23. Jeunesses Musicales International is looking for an exceptional young singer (16- 25 years old) to perform at UNLEASH , the most unconventional youth conference that will be held in Madrid between the 8th and the 10th of June. It will bring together more than 400 young people from all over the world and it is going to be a great musical opportunity for young singers to perform in front of an international audience. Apply to be The Voice of Pangea! We are calling upon the young singers of the world to send us a video of them performing live as well as a proposal for a 10 minute performance they would like to sing and why that is inspiring, dynamic and moving. The songs can be from any genre as long as they inspire, uplift and amaze. Applications are open from the 16th of March until the 20th of April. You will be notified by the 1st of May as to whether you have been selected or not. Please apply via this ONLINE FORM. Conditions: UNLEASH covers your flight to Madrid, from anywhere in the world. UNLEASH covers your accommodation from the 6th to the 10th of June 2016 UNLEASH covers your attendance fee and food during the entire event. UNLEASH will provide a backing band for your to perform with or suitable back audio. You must have a valid passport and be able to travel to Madrid (Spain) on the 6th of June, UNLEASH does not cover VISA expenses. For more information visit our website or contact us at or at +32 2 513 97 74! See you all in Madrid!
  24. 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.
  25. 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.