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Found 465 results

  1. Since every single thread recently seems to derail into a talk about registers in some manner, and no one made a thread for it, this will be around for a while. So if you feel like talking about M1, chest, head, falsetto, heady, mixed, or anything else of similar content, this is the place. Posts on other threads that do not have an objective and specific point in regards to the thread subject and that start to go in the direction of "M2 is the new M1" usuall conversations most likely will be deleted. "To do that thing well, keep in your normal voice, like this: sample shown" - Fine "In 1952 when observing the M3 register using high energy plasma on professional opera rockstars, scientists figure that..." - Should be in here What do you need to know about registers: There are five different ways of seeing this particular subject that comes to my mind right away: - A mechanical register: M0,M1,M2,M3 - An area of pitch: "All above note T4 is head, bellow, chest." - A quality or intensity used: Heady -> Soft. Chesty -> Strong, Mix -> middle. - A specific position of the vocal tract. - A sensation. The way it was used on classical technique, was more about the later two, and even so on its begining it was really just the sensation, that's where the names "chest" and "head" came from to begin with. What is important to keep in mind is that since its a reference of sensation, it does have pedagogic value but it will not reflect exactly into any of the first. There are specific coordinations that are know to produce the sensations, but they were unknown when the terms were first used and the ideals of both sounds and execution started to appear. This initial post will be updated with relevant information as it appears along the way. I will do an effort to include samples for each of the ideas, probably with the help of Dan and Jens if they are up to it :).
  2. So you have been searching the internet to find out how to sing those high notes with beauty and power. Well search no more, here you go: The first 10 orders will get an extra bottle in the exclusive mint flavour. Hurry!
  3. So I can hit the high notes I want too hit but they tend to have a slight raspy edge to them, I can make it sound not raspy if I open my mouth really wide but then I can't seem to narrow my vowels and it sound kind of dopey. I Feel like I should be releasing tension and giving more power to the head voice in my mix at this point but I just don't know how.
  4. Hi Folks, It has been a while since my last post. This time I wanted to do something that is quite different from my last song(s). I have always wanted to do distortion at lower ranges. I just could not find the right support mechanism and way to do this without hurting myself. I have understood how to do this safely without injuring myself. Sometimes when I am not yet sufficiently warmed up I get a itchy feeling when I try to distort. If I am careful, it goes away after a while. I am assuming that I am not doing anything wrong because I can sing like this for more than an hour and I don't feel any effects later in the day or the next day. All in all, quite a fun song to sing with an epic sounding F#5 to finish it. I wish I could get some grit on this note, but for the time being happy with where I am!
  5. I consider myself a beginner even though I've been practicing with various different methods for a few years (online). I am able to bridge my passaggio with complete ease and sing throughout my entire range without strain, hell, even my belts in mixed sound pretty good sometimes. BUT, I hate the rest of my voice, when I'm singing softly/normally. It just sounds so boring and dull, but I have no idea how to make my tone better. I find most of the training focuses on bridging the passaggio + singing in mixed/m2 and stuff - but what about if you hate your tone? I mean, it has improved a little over the years but nowhere near as much as the other areas. Any tips for improving the softer aspects of the voice? Is it a key thing? I really wanna take some lessons in real life but I'm very short on cash and I'm shy (hence not uploading any audio sample here, sorry I know that just text isn't a lot to go on) plus most of the people I can afford are usually SLS...
  6. Just getting tips on YouTube is NOT EVER going to help you to sing better. A free tip without content and your commitment to practice and train, will do nothing for you. To sing better, you have to train, practice and sing songs. TheFourPillarsofSinging.com.
  7. So, just the other night as a part of my class, I had to sing and though I was nervous, after going through the song beforehand, I felt a bit more confident. However, it didn't show in my singing where my voice wasn't projecting as well as it should've. I was also making little body movement and I couldn't hit certain high notes like I was able to when I practiced. Overall, after the performance, my voice was a little raspy and my throat was hurting me. I will say, I'm not trained at all, but I am looking for singing lessons after the semester is over. Is this normal? I had such a hard time using my head voice and I know I could sing better than I did last time. Any suggestions on what I should do? Thanks
  8. I'm extremely confused. According to this video: I can go from G3 to C5. Now, the chart says I'm a mezzo-soprano, but my voice doesn't sound dark or heavy at all! I can go low, but as soon as I enter what I think is my mixed voice, my voice sounds bright and high. I'm talking about this sound: https://www.youtube.com/watch?v=1znaw5PugOE (She's the only singer I found with my voice sorta). What am I? I like the sound of my chest voice a lot, but it's pretty useless.
  9. Robert Lunte - "Nocturne" I love this song, I hope you do too... Some of you have heard this. This is the Final production. Special thanks to my team Zack Uidl, Jason Shavey and Clay Copeland.
  10. Simply mindblowing vocals here by Bruce. I want to comment on what I feel and I would love to hear inputs from the knowledgeable crowd here on what technique Bruce is using 1. Bruce uses very less of neutral or curbing here. He seems to be using mostly Belting. Is this correct? 2. He seems using a tremendous amount of compression with an open throat technique to produce this sound. Is this right? 3. I am not able to get my head around the difference between Overdrive and Edge in CVT. Can someone please explain with reference to this track? 4. At 3:18, I swear it sounds a bit off to me during the descent. The wonderful days when we did not have pitch correction and it could still make it into a final track!
  11. just wondering if anyone else suffers with this, every time i have a vocal lesson/ warm up my voice the tone and quality of my voice changes. i go from sounding very pop to sounding like a very weak opera singer. i find it very weird then about 20 minutes to half an hour later my voice goes back to a stronger better sounding pop voice. i asked my tutor about it and he's never had any other student who suffers from this i just wondering if anyone else suffers from/ can explain why this is happening. thanks
  12. Happy New Year! A song I wrote with and produced with "Thin Black Line". Engineered at Synergy Productions. Probably influenced a bit by Peter Murphy's album, "Deep", which is is characterized by rich, baritone sound colors, minus the super high screams of course because Peter Murphy doesn't scream like this. Hope you enjoy it. To learn more about TVS training, check out our program for singers here: http://www.TheFourPillarsofSinging.com. Cloud Burst, from unlit skies cloud bust, from unleht skuh-eez Onward – Way ward lives Now pretend, until you overcome Now Prehtend, un tell yuh ovuh come And decent, Hide from everyone hand dehsend , hud from everyone chorus I would be your eyes I well beh yuh uh-eez When you look away, and I When yuh luck uh weh Would be your dreams Wud beh yuh-r drehms At the Break of Day, and… hat thuh brehk ov deh hand I would be your fear) I wuld beh yuh-r fehr On the night we pray and I………. Hon duh nuh-eet weh prey hand duh-ee Now wonder, where secret lies And hunger - Until you realize Chorus I would be your eyes I well bay yuh uh-eez When you look away, and I When yuh luck uh weh Would be your dreams Wud bay yuh-r drayms At the Break of Day, and… hat thuh brehk ov deh hand I would be your fear) I wuld beh yuh-r fehr On the night we pray and I………. Hon duh nuh-eet weh prey hand duh-ee I!!!!! HI am this life W&R Onset I am this life I am this LIFEE!! I am this life I am this life I am this LIFEE!!!!!!!!!!!!!!!!!!! Solo---------- 3:17 SCREAMING!!! I would be your eyes When you look away, and I Would be your dreams At the Break of Day, and... I Would be you your fear On the nights we pray and I………. I am this life X15
  13. This was something that concerned my when I struck out with this singing stuff, then I basically forgot about it. Now I am looking back and I am curious. Here are some very short clips of different parts of my range. Please let me know. Thanks. (I know I screwed up the phrasing in the Rio Grande song. I don't really know it.)
  14. Hi Folks.. Trying some contemporary pop this time. I had fun doing these. The John Legend song was relatively easier except for the falsetto(just cannot figure how to slide into a smooth falsetto). The Bruno Mars song was quite difficult. The final mix in "Just the way you are" is not upto mark. I just can't get my head around using compression correctly. Any tips would be appreciated.. Yes, my production sucks! I am going to make a conscious effort to make it better next time!
  15. 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!
  16. 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
  17. hey guys, Quick question. Recently, me and my teacher have been trying to work on make my head voice stronger atm with the use of scales/exercises (the type that allows the shift from chest to head). The weird thing is that i managed to do it with ease during the lessons but now after playing the recordings, i can't seem to get that head sensation. For some reason, i keep pushing chest during the middle bit of the scale (that goes from chest to head and back again). Or sometimes, it just feels that when doing the exercises, the sound is all stuck in my throat when trying to access head or sometimes, The main issue is that, it just remains pure chest - basically me pulling chest to reach that middle bit of the scale.. It just feels like something is limiting me from accessing head. Thanks Edit; 5 tone scale on bub, gee etc.
  18. So after a long long while i returned to singing and even tough i sang this last year, i wasnt really practicing in a strickt sense of that word. But some good things happened to my voice. I will return to forum in pursuit of more vocal improvement. I wanted to share a small clip of some sirens up to C#5 for your reviewing. I understand this is far from perfect but this is something i havent been able to do before. https://app.box.com/s/xprqtqixm5zym91l4dxxenyr58ddi07d I just wanted to know if im on the right track to gaining vocal range or am i just shooting in the dark. Thanks!
  19. I just read this article about Xfactor's vocal coach who also trains Jessie J, Sam Smith and others famous singers. I found it quite interesting towards the last part of the article that he talks about needing raw talent to get the most out of your voice. What do you think? Do you agree? https://medium.com/for-life-journal/the-x-factor-vocal-coach-who-saw-money-in-one-direction-7481d565a24d#.igbgyo7zp
  20. Hi! Following up on simple exercises that touches relevant coordinations, I would like to share one idea that I find useful to aquire and to simplify the coordination for covering (head voice). Looking from the mechanical point of view, the main difference from "chest" to "head" is the position the tongue assumes inside the mouth, and the difference it makes on the vowels produced, both in terms of sound as in terms of the singer perception. On chest voice the tongue is lower on the mouth, with a lot of open space to the larynx, vowel registration is closer to spoken voice, there are more tensions overall. On head voice, the back of the tongue elevates towards the point where the hard and soft palate meet each other, increasing pharyngeal space, creating a constriction point on the mouth. The soft palate elevates to correct nasalance on oral sounds. The vowels are therefore modified to high vowels and the articulation changes considerably with release of many of the habitual tensions. This change in the articulation of sounds and the position of the tongue vs soft palate is quite unnusual due to the antagonic nature of it. The action of speaking AH for example means lowering the tongue, so for headvoice you will have another kind of AH, one that is positioned much more towards UH/OH actually. Not only that, a tongue positioned high with a closed nasal passage is unnusual for vowels. On a vowel, simply trying to make a sound become oral would trigger an action of lowering the tongue. Its logical, if the tongue is constricting the mouth, the easier way for your body to make your voice oral again would be lowering the tongue and opening more the mouth. Its important to clarify however that the idea behind this exercise is not to teach anyone HOW to sing in head voice, but instead, an exercise that will touch a common point of difficulty and construct perception and the coordination necessary to allow learning. With that said, lets begin. Initially, you will need to relax and open the jaw, and relax and elevate the tongue. To do so, get in front of a mirror and do the following: - Sliding your hands though your cheeks, let your jaw hang open, it should rotate a bit backwards and open quite well. This opening should be relaxed and easy, not forced, not uncomfortable. - Using one of your hands on your chin, without pressing it, grab your lower jaw gently. You will use your hand to monitor ANY glitches or movements while you do the exercise. - With the jaw open, in front of the mirror and your hand monitoring the jaw position, breath in and out ONLY through your nose. Most of you will notice right away that this simple attempt is not really so simple to do while totally avoiding jaw movements. This exercise can be done only in one manner, the tongue will elevate and close the mouth, preventing air to pass through the oral airway. However, you will also notice that simply trying to keep the air in the nose will cause a reflex of closing the mouth. Aim to keep the jaw open and relaxed, and find a way to release any tensions on the tongue that are getting in the way. To make sure that the tongue stays relaxed, think of "sniffing the air" while inhaling, to avoid your habitual coordinations. Practice this exercise observing how it feels when breathing through the nose in this manner, pay attention to the tongue positon and how easy it is to keep it elevated, notice the sensations of air flowing. At first the coordination will be glitchy which is quite good as it shows room for improvement. Over time, it will become simple. When you get it relaxed and easy, slide the tip of the tongue forward, and make sure its touching the back of your lower front teeth. It should be "resting" against it with its back still elevated, continue to practice it in this manner. With this position of the tongue defined and knowing how to keep both jaw and tongue relaxed/free of tensions, the next step is finding a position where its elevated but not quite closes the airway. To do so, first simply produce a F without a vowel, no voice. Observe that you create a constriction on your lips/front teeth, breath in and out through that position keeping the F sound. Now produce a V. Observe that the position is the exact same, only now, there is voice. Now produce a S, observe that the constriction is now tip of the tongue vs upper front teeth. Now a Z. Same as before. Note: On these consonants the jaw will close. We will now find a new consonant to help on the exercising. Do the previous exercise and breath through your nose, with the tongue in the position that was found on it, observing yourself on a mirror to make sure you do NOT close the jaw. Now slowly, start to find a slight "yawning" sensation, specially on the upper back of your throat. You should keep the sensation of sending air up and forward, as if releasing it through the nose. However, you will observe that as that as you produce more of a yawn, slowly a tendency of releasign a bit of air through the mouth will increase. Let it happen. Alternate between (open jaw/relaxed/totally through the nose) and (open jaw/bit of yawn/a bit of oral flow). Observe this small difference, and observe the point of constriction in your mouth now. Similar to the F and the S, this is also a kind of consonant. Not used on modern english, but it still is a consonant. Observe this sound, the sensation and now try to define more towards it, using the same positions of jaw and tongue, but now with more "yawn on the back" and no air through your nose, as if you were saying a consonant like F or S on that specific spot. Alternate between the first exercise (jaw/relaxed/nasal) and this new consonant. Again, this should trigger all sorts of tensions. Aim to make the movement smooth and simple. Besides the small sensation on the back and a really slight lowering of the tongue to allow an opening, nothing should change. You can feel more pressure on the back as you do this, because of the constrictions that are being added by lifting the soft palate. Possible glitches: - Jaw trying to close - monitor it with your hand and the mirror, find a way to let it hang there, it should not move; - Tongue tensing - Aim more on the nose, check the jaw for tensions and make sure that is dropped/open; Finally, like the with the other two consonants, find the voiced version. Say V, then Z, then on the position found on the last step, add sound as if you were trying to say Z on that particular point. It should be something like a "oral NG". Again, monitor your tongue and your jaw! This sound should be a bit sleepy/hollow/goofy. You probably will feel vibrations on the upper area of your skull, and on the back near the soft palate. Allow these sensations to increase and make it very hollow WITHOUT allowing tensions to kick in, relaxed and easy always. After your practice this a lot, go from the "oral NG" to "dopey AH", slowly, aiming to make a very sleepy/dopey voice, as soon as you get bit of vowel quality, stop. Your "AH" will sound like a "sleepy" OH or UH, you should still feel the sensation of vibrations up and the rules about tongue and jaw being relaxed and easy remains. Then, simply alternate from speaking AH really clearly, to making the position for covered AH, and then finally back to it. On a comfortable pitch you go (open AH)->(covered AH)->(open AH) without changing the pitch and without breaking the production, a single release of voice, legatto. Making sure that the movement is complete, really define the open AH, make the covered AH go into that position you found on the previous exercises, and back to open AH. Observe how hard it is to avoid tensing everything when covering if you come from open (chest) voice. Observe also that when you cover, its hard to go back to the more open position. Notice how easy it is to try to stay in a midway all the time, and how it just creates more tension and decrease quality on both cases. This movement, is often called "spin of the voice", because of how it feels when the position of the tongue changes, and it is the main aspect of passaggio that is quite constant for all voices on classical technique. Try to use this voice higher in pitch and you will observe that the quality improves a lot when compared to how it sounds on the low range. Record it and observe how different it sounds from what you hear inside while doing it. This position creates the necessary conditions for you to continue on full voice above the passaggio point without having to push more for it, however: you will need a very well coordinated support for that to happen, and, if ANY tensions remain on tongue and jaw as you try to position this, you will feel a hold near the larynx as you try to use sleepy quality which will make the higher range sound more airy, become harder to execute and you will lose the possibility of later using high intensity sounds within this same position. A good control on chest voice is fundamental when working in practice. If you strain on your low voice, it will be extremely unlikely that you will find the position for a high and more relaxed production. This particular approach of deconstructing the coordination in pieces works very well to aquire the positioning for head voice and it can speed things up considerably if you pay attention and work with focus on controlling and understanding it. That's it, I will make a video later following the instructions provided here as I've done with the other exercises, this is simpler to execute than it looks on text (hopefully hehe), again, please keep in mind that this is not really technique but more of an exercise to make study flow easier, registration of head voice requires positioning all vowels in a similar manner, both in relation to each other within the same position as in relation to chest voice, so its a really fine tunning training. Feedback is greatly appreciated
  21. 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.
  22. Hi, so I've been "playing" with my voice doing vocal fry and sirens, and right now i came across this resonance which i believe to be mix voice? Im pretty excited because i can reach higher notes relatively easy. Although without good support and vowel modification the notes just distort in my throat. the way this (mix voice?) feel its pretty much as it is usually described. i can place the note higher in my head or lower towards my chest. Its almost like breaking into falsetto but just hanging to chest resonance anyway I'll leave an mp3 so if anyone can give me some input it will be greatly appreciated!:) PD: i know there are some tuning issues hehe, but still id like to know if im on the right track! Thank you!!!
  23. one of my fave singers from late 80's early 90's. Unfortunately the BulletBoys hit at the absolute worst time so they only got like 4 minutes of fame. Dude seemed to have a good range and a lot of soul and blues feel mixed in with the good hard rock/metal screaming ability. Id love to hear some opinions and analysis of his style and what coordinations he uses etc. I picked one that actually seems somewhat "easy" since it seems (to me anyway) to be mostly head voice. Is this correct? naturally a lot of his other stuff is crossing the passaggio numerous times etc seems to be a lot of notes based near c5-e5 what is the note at 2:54? any special technique there? any opinions on his voice? in a sense it vaguely reminds me of Paul Stanley
  24. 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?
  25. Hi Folks.. Trying to do something different this time.. Please give a listen and let me know what you think, specifically on the tonality of the head voice..