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Found 479 results

  1. Hello everyone! I've been working on this cover for quite some time, I think I've got it to a place where I can share it. Still not 100% with it but would like to know what you guys think about it. If you have the time and the will, please take a listen. I take all criticism so you can be too specific or too generic Link below, thanks to everyone who takes a listen! https://app.box.com/s/e6m1pnmnrxx7a5nqph7olq0nzvo1zqce Edit: New link to a better mix.
  2. 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
  3. 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 http://www.ebay.co.uk/itm/Learn-to-Sing-like-the-Stars-professional-singing-lessons-vocal-training-/322068680174?hash=item4afcca0dee:g:ZuEAAOSwxN5WaTvf http://www.ebay.co.uk/itm/Voice-Lessons-To-Go-v-1-4-The-Complete-Set-Audio-CD-/231589868999?hash=item35ebd4f5c7:g:OCYAAOSwKrhVeM53 What do these lesson hold, and can I learn to sing like a pro from them? Thanks Toolless
  4. https://app.box.com/s/6b7ki9u69qlc9ncgrzl39epmggk3yn93
  5. Hello! Tried this challenging and legendary song again. I, especially found the C5 phrase "wheel" challenging, more than the equal C5 "seen". Why is that you think? Any suggestions to improve this song? Ok, so the youtube link doesn't work so here is a link to my facebook video instead. I hope this works. https://m.facebook.com/story.php?story_fbid=10153584906741517&id=654441516
  6. Some quicky vocals from tonight's training session...working on A4 and B4 I just sang against the actual song so it was a little hard to hear the rhythm track etc etc Phrases from Rainbow "I surrender", Deep Purple "Mistreated", Badlands "Seasons", Soundgarden "Rusty Cage" Its mostly A4 stuff except the Badlands is B4. That Badlands phrase "I know its too late" is the phrase I found my headvoice on about 6-8 weeks ago enjoy, comment if u want to. Essentially I have about 4 decent days of training behind me now lol. Even that slight amount seems to be helping..so hopefully things well trend better for quite some time now Dry vocal https://clyp.it/xzn2jbpi Some light processing https://clyp.it/hiia2oqg
  7. ( *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.
  8. just going to post these here to document where I am at the moment. This is still without any focused training. I am trying to get myself to lock down some focused training so hopefully I can come back and compare in a month and blow these feeble efforts away. C5 5-22-16 https://clyp.it/qo1hlxcg different vowel, about a month ago https://clyp.it/4opbmxzu Done very hastily with one foot out the door. The last vowel was supposed to be "aww" but I probably cant hit that at c5 yet...so it just went into whatever other vowel that is. It actually sounds like a weaker version of the "love" that I hit a month ago lol. Like I said, these 4 vowels were done very hastily as I was walking out the door. The "who" and "we" were one take. The other 2 took several takes and still werent THAT great. This is the edge of my capabilities. Im barely getting those notes and cant hit vibrato on them. The last vowel cracked a few tiimes etc. The "who" wasnt that hard. Again, since this was done hastily, I wasnt thinking of technique so I probably did this and that wrong since I havent trained enough for it to be automatic. So maybe I can be 5 percent better with a good warmup etc but this is pretty much where my c5 is right now.
  9. 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.
  10. Hey, Does anyone know how i can go about singing as fast like in the links below; 1.51 to 2.41 - https://www.youtube.com/watch?v=WARyaiuDoZo And here 2.13 to 2.16 and 2.23 to 2.26 - https://www.youtube.com/watch?v=jGQA-z7ilec 0.45 - 0.51, 1.00 - 1.03 - https://www.youtube.com/watch?v=ISYSXuTEhtQ&index=8&list=PL-nIWg3Ic-BkPKTtc8OYG86iDtoFXrZwi 1.13 to 1.16 - https://www.youtube.com/watch?v=47J7efw1wPM&index=9&list=PL-nIWg3Ic-BkPKTtc8OYG86iDtoFXrZwi A perfect example; 2.20 to 2.26 - https://www.youtube.com/watch?v=NLhJacBFEv4&index=12&list=PL-nIWg3Ic-BkPKTtc8OYG86iDtoFXrZwi 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
  11. 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.
  12. 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?
  13. Hi All, I'm a 24, male and new in singing. I would just like to ask if the below is an example of a Head, a mixed or a falsetto? This is me singing a line from "Off to the races" of Lana Del Rey. http://vocaroo.com/i/s1ARwhAGcmQy Thanks,
  14. 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
  15. haha. I figured this would be a little easy cover to knock off. I struggled hard in several spots. Still had some fun though Cover https://clyp.it/lf0rbklk Bare VX, no compression, no nothing https://clyp.it/o41ljujd original song Enjoy and let me know what you all think.
  16. 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
  17. 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 : /
  18. 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?
  19. 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)
  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. Hi Folks, A few in the forum have indicated that I have a bright sounding voice, so I was tempted to cover some James La Brie! This is a work in progress version. Please indicate errors that you spot so that I can clean them up. Especially areas where you see a dipthong or onset issue! I find that to sing this song, I need to hear myself extremely well(Talking about the high parts in the latter half of the song). In a sense I have to visualize the note as it forms in my vocal chords. Even if my hearing is slightly off(through loud background) I have a big difficulty in getting the weight right. It leads to strain and off pitched notes. Therefore this is a very low margin song for me to cover live. Do you have any recommendations on how I can overcome this problem? Also any tips to improve the mix will be really useful!! Also suggestions for songs that you think will suit my voice!!
  22. For a few months now I've been trying to get accustomed to vocalizing and controlling pitch in whistle register, and at this point I can say, although the amount of time I can access it in a day seems limited, it's requiring less mental effort and becoming more intuitive to use this part of my voice. Using it in songs is another story, but for the songs I've worked on with them included, the whistle sections are among the first things I record since I find towards the end of a session it becomes impossible to utilize. By working with these songs with whistle phrases it's a way of challenging myself stamina-wise and forces me to try to recognize when to rest. The goal ultimately is to be able to have the freedom to use it whenever though, I guess as it develops. The whistle in this song is part of a longer phrase and towards the very end, contains a trill/run sort of ending and is part of a transition from chest to whistle on the same note two octaves apart which probably made it easier. Did all of the background vocals on this also. Any and all feedback welcome. https://app.box.com/s/gyy466kqtc0g4gruinhex8k0favyih11
  23. Hey there! I'm a jazz music student but I'm also a pop singer and pianist. I'd like to be envolved in any kind of project, my favorite genres are pop and r&b, but I'm a jazz listener too and I can sing it. You can check my voice here:
  24. 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.