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Found 480 results

  1. 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
  2. Robert Lunte, "Timeless Chains". A song about my "x" Anna Christina. Enjoy. Silently your, beauty took my breath away... Now comes the rain, can I feel another day. So much time has past away from that fateful day. So much time has passed, since you turned away. Chorus Now timeless chains, there's no escape! You walked Away Just when I started to get my life back under me. Berlin skies of gray, so cold I cannot breath Cause I lost, mean Frau in the storm, that marked my destiny! But here I stand defiantly mending a heart ripped to shreds of tragedy But my face to the wind, Im washed from my sins, but you still keeps haunting me Chorus Timeless chains, there's no escape! You walked Away Just when I started to get my life back under me So much time has past away from that fateful day. So much time has passed since you turned away. Chorus Timeless chains, there's no escape! You walked Away Just when I started to get my life back under me!
  3. Something I threw together in the wee hours of the night. I did a double track vocal to try and get the sound right and I think besides a few occasional out of syncs it works nicely. Hopefully you guys like it. http://picosong.com/E2RM/
  4. So I finally got my head voice mode to pick up my 1st formant/pure oh vowel, but now I don't really know how to approach my singing from this point, in a tonal sense. When I sing, if I do a more modal approach I sound somewhat baritenor-ish but my voice sounds too bright to be that deep/chesty. If I go with a light approach, I don't sound like a normal tenor, but rather a very smooth boyish tenor. I was hoping that by developing this head voice mode with 1st formant connection, that I would figure out where my voice sits, but that's not the case. I'm betting on being a baritenor, but then again I always only heard baritenor who where more modal voice dominant and not head voice dominant.
  5. 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
  6. 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!
  7. 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.
  8. hey guys, How does one practice a song with a metronome? I have set the metronome BPM to the actual BPM of the song, but yet when i compare the actual track of the song, the beeps (metronome) are going at a much faster tempo than the tempo the guy is singing in. When i tried to sing the song with the metronome, it just wasn't working. Any suggestions, guys? Thanks!
  9. CVI vs TVS: Review of “The Four Pillars of Singing″ BY FELIX, ON APRIL 21ST, 2015 So I finally decided to buy “The Four Pillars of Singing″ by Robert Lunte (TVS, The Vocalist Studio). Some of his tutorials and lectures on YouTube caught my attention and after a few days of consideration (+200$ is a lot of money) I decided to give it a try. When I started my singing studies I had decided to look at as many different approaches as possible and learn as much as I can and Robert Luntes perspective is certainly interesting and he definitely knows what he is talking about. I will compare his training system to CVT (Complete Vocal Institute) because it seems to be aimed at the same target audience. “The Four Pillars of Singing” is a comprehensive vocal training system that includes a book, over 350 videos, audio training content, detailed training routines, guide files and a robust learning management system that allows you to take a comprehensive course to study and master the TVS Method. It offers workouts starting in the key of C and G (to make it easier for women to use), training work flows and training routines for over 64 workouts, guide files that help you learn how to perform the workouts quickly and a very useful interface that organizes this massive amount of content. A user interface like this, is not available in any other program.. Robert advertises it as being the system with "the most content in the history of mankind". That is not only marketing but certainly a fact. But what does it mean? There is a lot of data in here, that’s for sure. The content of the book is similar to what CVT teaches. Especially the TVS method for organizing the vowels of singing into what they call, "Acoustic Modes". But unlike the CVT vocal modes, the TVS Acoustic Modes have stripped out a lot of additional levels of complexity, focusing only on where the singing vowels resonate in the voice and their respective sound colors. It is a very effective and intuitive way to learn about the acoustics of singing. In addition to ideas from TVS such as training work flows (teaching students to train with "step by step" instructions), specialized onsets and vowel modification formulas, "Pillars" also offers "physical modes" which are essentially very similar to the EVTS voice qualities or Estill modes. If your looking for CVI and Estill concepts as well as the unique TVS techniques, you can only find it in The Four Pillars of Singing. The focus is on all styles of singing. The 616 page book includes descriptions and illustrations of all the important components for singing; physiology, acoustics and mental imagery. The product is very comprehensive and a lot of work has clearly been put into it. With CVT, you only get a book and some sound samples and that leaves the less skilled voice student lacking for guidance and instruction on how to train and practice. One of the strongest aspects of The Four Pillars of Singing very well may be, that it seems to not miss the important point that students of singing technique programs have to have the content and guidance that no only teaches them the method and techniques, but also teaches them how to apply the techniques with training and practice routines. The sound samples with CVT are helpful, but the value is far below what you get with The Four Pillars of Singing. Then there is Robert. He sure is an interesting voice coach, he sounds very credible and his way of teaching is captivating. In a real-life coaching situation, that might be great and it certainly is important if you want to reach your full potential as a singer quickly. What is better, CVT or TVS? Should I buy Complete Vocal Technique or The Four Pillars of Singing?... or BOTH? It is important to point out that both systems are actually compatible together, but if you had to make a choice, given that "Pillars" already includes the main CVT premise, vocal modes oriented around singing vowels, then The Four Pillars of Singing is the way to go, given that they cover that topic with the "TVS Acoustic Modes". If you are a person who needs or learns faster with video tutorials and audio files to listen to in the care and practice with, then "Pillars" might be the better choice for you. Learn more about "The Four Pillars of Singing". Read reviews on Amazon.com. CLICK HERE FOR AMAZON.COM REVIEWS >>>
  10. 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
  11. I have sung soprano in several community choirs, and have a strong voice, a little low for a full soprano role, but accurate (far less accurate and less passionate in lower ranges). I have not picked up confidence for solo singing though because I struggle with timing, so far dealt with by following another strong singer. For the last few years, and the foreseeable future, I am living in a place with no suitable choirs to join But recently, the chance to sing solo has come up, with a pianist, and possibly also accompanied by a guitar and harmonica. This is good, but scary! For my first attempt at singing solo, I am thinking of Sinner Man, a song I have sung in choir and enjoy very much. When I look at the sheet music available, I see it available in different keys. Now, I like sheet music because I can follow the dots up and down, and can get some idea of the timing, but I know nothing of the key. Can anyone advise on how to choose the right key?
  12. 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!
  13. Hi there I often have trouble hitting higher notes during the first song of the set- or first take if recording. From the second song onwards I'm fine with my whole range. I warm up using the Melissa Cross warm up and some lip bubbles. I have tried softly singing in addition to this also, but regardless the first song problem remains (no matter what the song is I will struggle with the upper mid to high notes.) Any advice would be much appreciated, its so frustrating. Thanks !
  14. One of my fave singers from back in the day. Now that I myself am learning to sing id be interested in hearing others opinion or analysis of Lennys style etc. Obviously one of his most famous songs... One of my fave voices even though its a bit feminine lol. I dont dig the sort of quivering vibrato etc. The "scream" at 2:06. Is that any particular technique? Would that be considered a crazy range or just a nice trained voice? The high note at 4:31. Is that whistle register that he tried to hit or just a coincidental "accident"? any opinion of his voice? Any interesting technical points? Im pretty sure he has lost some range etc nowadays Thanks, JonJon
  15. I'm not sure where I should put this as I don't know whether my problems stem from bad vocal technique or pure technical/recording/producing problems. Judas Priest - Painkiller is a typical song to sing, but I've always felt it was a bit too low for me so I pitched it up. I'm still not comfortable singing it, but when listening to the recording my voice sounds very "grounded" (as in: being placed far down in my throat, as opposed high up in my throat). However, the recording sounds worse than what I experienced and heard (with my own ears) when I actually recorded it. But, if you're listening with headphones and really crank up the volume those high frequencies pertained to "placing the voice high up in the throat" start to show up, and it sounds like it felt when I recorded it. It might just be my mic/mic placement as well other non-vocal problems, but it seems weird how such things would make such a big difference, so I feel there must be some vocal-technical issue as well. So, do you have any tips on how I can "lift my voice" from the lower part of the pharynx to the higher part of the pharynx? If that's the right way to go. I might be waaay off! How it sounds: https://soundcloud.com/rednane-kirderf/painkiller-test
  16. I'm a male who has been singing in falsetto almost their whole life. Of course I do sing in chest but I find singing in falsetto more comfortable. So today I was practising and I suddenly had this idea to try singing Emotions by Mariah Carey, so I listened to the song several times to get to understand it better and I was really intrigued with the Whistling parts of the song. So instead of trying to sing then song, I tried finding my whistle register but I was only singing in falsetto the whole time, until I breathed out in between singing and I made a squeak. So I tried focusing on the feeling and I was able tooit very high notes, higher than I thought I could hit. I was concerned whether it was just a really high falsetto but it felt slightly different than a falsetto, instead of feeling the sound coming out from my throat, I could feel vibrations in my head and the sound seemed to be coming from in between the back of my nose and mouth. I was pretty happy with the sound of it so I this time I actually tried singing the song, it sounded okay until I reached the whistling before then chorus and instead of the smooth high sound coming out, a weird falsetto came out instead. After that I went and read about the whistle register and I came upon one where the author of the page talked about how whistling with the wrong technique will damage your voice. I was instantly worried so I came here looking for tips on singing with the whistle register. How do I know I'm actually singing in my whistle register and how to incorporate it into my singing. Thanks im advance !
  17. Hey! I know many people say that the larynx can be raised and lowered for different sounds and effects. But i'm wondering.. is the larynx in the neutral position the 'proper' and perfect placement where sound is created from? Lately I have been going throughout my range at all different volumes and intensities trying to keep my mouth as small as possible. No big, wide 'Ah' vowels or anything. Just a very relaxed mouth without changing the shape.. and just feeling a change in the throat, such as from 'Ah' to 'Ee'. Now when I do a Lip Roll going from a low chest note up to a higher heady note, my larynx stays completely stable. Just in the position that it's in when i'm relaxed and talking comfortably. Should my singing come from the same place as when I do lip rolls, with the stable larynx? I'm trying to get to a stage where I can also Hum all my singing.. soft and powerful with a stable larynx. Humming is quite difficult for me at times because it can cause my larynx to move and tense up but if I Hum when I come off the Lip Roll, it seems to be fine and just feels like the Lip Roll. Then all I need to do is drop my jaw to make a vowel. Oh also.. when I do vocal fry on low and high notes, this keeps my larynx totally stable. I can't seem to make the screamy vocal fry sound if my larynx is slightly too high. I can only make the sound when it is in it's proper place. Remember, this is when i'm not opening my mouth extremely wide, which I think seems to 'force' cord closure. So it makes me think that the stable larynx is the proper and healthiest placement for all notes low and high and at all intensities.
  18. Hi. My head voice is very weak. I hadn't even started to sing in it since a few months ago. I cannot make it very loud. please recommend me some exercises to make my head voice stronger. Thanks I've been doing the goo and nah noises.
  19. I tried to sing "let's Marvin Gaye and Get it on" by Charlie Puth but when the chorus comes He sing like this Charlie Puth - Marvin Gaye (Live) and I sing like this Let's Marvin Gaye and Get it On (cover). His voice sounds like the chest voice while my voice sounds like head voice What am i doing wrong? And how can i fix it?
  20. Hi there, I am having trouble figuring out how to blend chest and head voice while practicing mum, huh and nay on the scales. Does anyone have any advice or techniques that helped them? Any advice is appreciated. Also, do I continue practicing notes that are comfortable for me and eventually it will get higher or should I keep pushing to go higher? Thanks!
  21. Heres a new Video that might help clear up some questions..