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Found 188 results

  1. Hi guys I don't usually rap but I sing and this is my real first attempt to rap what do u think? and can u hear my italian accent? is it annoying? thanks for your answers and here is the video https://www.youtube.com/watch?v=8_vYEA22Ruk
  2. Hi there, It's been a while since I posted my cover songs here. Well, I've got something interesting for you to listen, maybe enjoy and critique. Don't hesitate to tell me about my singing and my pronunciation. Is my accent still thick? Any tips to improve it? Thank you in advance PS: I'm gonna post all my new cover songs in this thread. Judas Priest - A touch of evil: '> Manowar - Heart of steel: '> Whitesnake - Still of the night: '> Iron Maiden - Aces high: '> Helloween - If I knew: '> Stratovarius - 4000 rainy nights: '> Whitesnake - Crying in the rain: '>
  3. A really great deal on Nectar 2, an awesome plugin for your DAW... https://www.izotope.com/en/products/mixing-mastering/nectar/?&utm_medium=Email&utm_source=MailChimp&utm_campaign=2015-05+Nectar+2&utm_content=Nectar+2+Non+Owners
  4. I like soul music as well and this song is one of my favourite....is it yours too?
  5. SlashRock05

    Safe belt or not?

    First of all, I have this video of mine singing Gary Valenciano's How Did You Know. https://www.youtube.com/watch?v=I5vpwbMoXrI&feature=youtu.be And I would really appreciate if you'd comment positive and negatives on this cover. Better if the comment was with technicality. The song was quite high for my range though. Haha I hope y'all like it!
  6. I wanted to share this, since I am doing more and more recording these days... thought I would share what Im learning and using.   It has taken me some time and trial and error, and private lessons from a producer to get a great home recording chain going. Here is what I use to track all my vocals and comp., prior to being mixed at a professional studio with a console.  Let me know if you have any questions.     You can get most of this gear at Amazon.com if you run a search at top right of the web site, or click on The Vocal Gear Store.      Microphones:   Pearlman TM2 (Tube Mic) - 1st Choice RODE K2 RODE NT1 RODE NT1A Electro Voice Cardinal   Headphones:   Extreme Isolation - X-29s   PreAmps:   Focusrite ISA One   Universal Audio 701 Infinity     Interface:   Focusrite Scarlett 18i8 (Love this, its great!)     DAW:   Logic Pro X 10     Plugins:   Focusrite Plug-In Suite (comes with the above mentioned interface, good value!)   From www.waves.com   - Vocal Rider - Doubler - Vocal Series Suite  - Vitamin   From Izotope   - iZotope Nector 2
  7. Hello all,   I sometimes try to record vocal exercises with my TC-Helicon MP-75 plugged into the Mic Mechanic pedal, then into my Asus Xonar Essence STX sound card.   However, whenever doing so, I get distortion and clipping if I sing too loudly. I have tried the recording without the Mic Mechanic pedal but I still get this issue,   How do you plug your mics into your computers? Do I need a Digital Interface?   Thanks!
  8. If you have any questions about these products, please feel free to contact me on The Modern Vocalist or send me an email at robert@thevocaliststudio.com and we can talk your specific application. THE VOCALIST GIG BAG TOOLS & TECHNOLOGY FOR SINGERS: FROM ROBERT LUNTE & THE VOCALIST STUDIO: CLICK HERE TO DOWNLOAD TVS VOCALIST'S GIG BAG VIDEO OR WATCH BELOW! Microphones: - RODE M1 - RODE M2 http://www.rode.com/ - Electro-Voice 767a http://www.electrovoice.com - HEIL PR-35 http://www.heilsound.com - Telefunken M-80 http://www.telefunken-elektroakustik.com - Sennheiser 935 http://www.sennheiserusa.com - TC-Helicon MP-75 http://www.tc-helicon.com - AKG D7 http://www.akg.com Processing: TC-Helicon VoiceTone Pedals http://www.tc-helicon.com/voicetone-create-xt.asp - Create (EFX) - Doubler (simulates studio doubling) - Correct (compression) - Singles Pedals Wireless Microphone Solution - Samson Airline 77 http://www.samsontech.com/products/productpage.cfm?prodID=2018 Check That Mic Sanitary Wipes for Microphones http://www.checkthatmic.com VocoPro (HERO – RV) For Practicing and Writing: http://www.vocopro.com/products/product_info.php?ID=649 Extreme Isolation Headphones – X-29s: http://www.extremeheadphones.com/ex-29.html Vishudda Singer's Tea: http://aromatherapyinhaler.net/product/vishudda-singers-tea-kit-2/ Olympus Hand held Digital Recorder (The WS Series): http://www.olympusamerica.com/cpg_section/cpg_voicerecorders.asp Etymotic Ear Protection for Singers http://www.etymotic.com Hercules Mic Stand: http://www.herculesstands.com/mics/micstands.html PocketTone Pitch Pipe: www.PocketTones.com *Add this code to save $1. Special TVS Deal! (TMV08pt) Lyric Writing Software: www.masterwriter.com *Add this code to save $20. Special TVS Deal! (3059) Pen & Paper: Binder with all your bed tracks & lyrics: View full articles
  9. TMV World Team

    Top products for singers recommendations

    If you have any questions about these products, please feel free to contact me on The Modern Vocalist or send me an email at robert@thevocaliststudio.com and we can talk your specific application. THE VOCALIST GIG BAG TOOLS & TECHNOLOGY FOR SINGERS: FROM ROBERT LUNTE & THE VOCALIST STUDIO: CLICK HERE TO DOWNLOAD TVS VOCALIST'S GIG BAG VIDEO OR WATCH BELOW! Microphones: - RODE M1 - RODE M2 http://www.rode.com/ - Electro-Voice 767a http://www.electrovoice.com - HEIL PR-35 http://www.heilsound.com - Telefunken M-80 http://www.telefunken-elektroakustik.com - Sennheiser 935 http://www.sennheiserusa.com - TC-Helicon MP-75 http://www.tc-helicon.com - AKG D7 http://www.akg.com Processing: TC-Helicon VoiceTone Pedals http://www.tc-helicon.com/voicetone-create-xt.asp - Create (EFX) - Doubler (simulates studio doubling) - Correct (compression) - Singles Pedals Wireless Microphone Solution - Samson Airline 77 http://www.samsontech.com/products/productpage.cfm?prodID=2018 Check That Mic Sanitary Wipes for Microphones http://www.checkthatmic.com VocoPro (HERO – RV) For Practicing and Writing: http://www.vocopro.com/products/product_info.php?ID=649 Extreme Isolation Headphones – X-29s: http://www.extremeheadphones.com/ex-29.html Vishudda Singer's Tea: http://aromatherapyinhaler.net/product/vishudda-singers-tea-kit-2/ Olympus Hand held Digital Recorder (The WS Series): http://www.olympusamerica.com/cpg_section/cpg_voicerecorders.asp Etymotic Ear Protection for Singers http://www.etymotic.com Hercules Mic Stand: http://www.herculesstands.com/mics/micstands.html PocketTone Pitch Pipe: www.PocketTones.com *Add this code to save $1. Special TVS Deal! (TMV08pt) Lyric Writing Software: www.masterwriter.com *Add this code to save $20. Special TVS Deal! (3059) Pen & Paper: Binder with all your bed tracks & lyrics:
  10. The TMV World Vocal Gear Recommendations! This forum is designed to capture recommendations from the members of The Modern Vocalist World regarding vocal gear. Please share with the community your top recommendations regarding microphones, vocal effects, vocal pedals, home recording gear, DAWs, vocal health products and any other products and services that would be of interest for this singing community. Recommendations from the community will then be added to the customer built, TMV Vocal Gear Store. The Vocal Gear Store will save you time because all the products have been tried and tested by the TMV World Membership. Those that post and share their recommendations, we thank you for your time and contributions. Visit The Vocal Gear Store!
  11. TMV World Team

    Vocal Control for Recording Studio Singing

    A large part of vocal training involves learning vocal control. Without vocal control, any vocal recording will suffer dreadfully. With it, you can do things you can only dream about without it. Another problem with lack of control is that if you are singing with any degree of power, you are going to experience a lot more vocal fatigue and risk damage to your instrument if you sing too long. With it, you can sing all day and not experience vocal strain. Yes, it's true! And a lack of control will cause you and your recording team frustration, or you'll just give up and settle for the best you and they think you can do. Usually, it's a huge waste of time and resources. Live performances are more forgiving of slight control issues, but studio singing requires surgically accurate control. So what am I talking about? For a great recording, you need vocal technique skills that will enable you to: Control volume. (Without it, your engineer will have to use excessive compression to even out volume, control distortion and bring soft sounds up so they can be heard. Some degree of "riding the faders" and compression is normal and usual, but the less the better. The less your vocals need to be compressed, the richer the resulting sound.) Control vocal lics and embellishments. (Without it, you will not be able to sing some vocal lics you attempt; "scats" or phrasing nuances will not "turn" well or flow evenly.) Control vibrato. (Without it, your vibrato will be too much, too little, uneven or inappropriately applied.) Control tone color. (Without it, the tone color of your voice will be too "covered", "hooty", "edgy", harsh, numb and boring or just plain wrong for the message. Your choices of tone of voice will be seriously limited, and your voice will sound small and/or unpleasant.) Control articulation. (Without it, you will over-, or more usually, under- pronounce the lyrics. There are differing degrees of articulation appropriate for different genres and tempos and types of lyrics. Singers must be able to know and apply the proper way to form words for their songs. For instance, blues music is pronounced more slurry. Hip- hop generally has sharper attacks. Pop is usually articulated clearer. Musical theater diction usually needs to be very crisp, but if you try to use this kind of diction in a pop song you will sound fake. But all songs should be understood, or the connection to the audience is not going to be made well.) Control sibilance. (Without this, recording your vocal can be a nightmare because too much sibilance hurts the listener's ears! And fixing excessive "s" sounds with de-"ss'ers always limits the quality of sound. A related problem is the popping of "p"s and other consonants. You must be able to control your consonants even while you clearly form them.) Control dynamic expression. (Without it, you will over-express and sound fake, under-express and bore the listener out of their minds, or bring too many changing emotional levels to the song to sound authentic and really move the heart of your listener. You have to know how to express the emotion of the lyric like a great actor delivering lines that invite an emotional response to the message.) Control the beginnings and ends of each phrase. (Without it, you will have trouble getting the beginning of the line right. You will drop off the ends of your sentences, robbing the listener of the complete thought. You will also find yourself with a lack of other kinds of control of initiating and ending lines, because you didn't set yourself up properly before entering the phrase or you've dropped your controlling support too early.) Control rhythm. (Without it, you will not be singing with the groove. You will be too early, too late or have inappropriate placement of lyrics via the beat. Again, different genres ask for different places the lyric should fit with the beat, but you have to know what your genre norms are and have the ability to sing with the beat that way. For instance, hip-hop usually has the lyric slightly behind the beat, pop usually right on top of it, gospel and big band "Sinatra" types are flexibly in and around the beat, but you really have to sing with a lot of the masters to get this authentically right.) Control pitch. (Without it, your engineer will have to tune the vocal too much, resulting in a mechanistic, artificial sound. You may be so inconsistent and inaccurate that tuning becomes almost impossible, because the tuner "grabs" the wrong pitch or can't draw the lic well enough to sound natural. Your bended notes may be so far off there is no way to make them sound in tune. Fact: The less you have to tune a vocal, the better. Don't get complacent here and think you can just have your engineer fix it in the mix. You'll be unpleasantly surprised.) Can you think of other types of control issues you've found in the studio? Which of these would you like to know more about? This essay first published September 21, 2009 on The Modern Vocalist.com the Internet's #1 community for vocal professionals, voice health practitioners and pro-audio companies worldwide since November 2008.
  12. A large part of vocal training involves learning vocal control. Without vocal control, any vocal recording will suffer dreadfully. With it, you can do things you can only dream about without it. Another problem with lack of control is that if you are singing with any degree of power, you are going to experience a lot more vocal fatigue and risk damage to your instrument if you sing too long. With it, you can sing all day and not experience vocal strain. Yes, it's true! And a lack of control will cause you and your recording team frustration, or you'll just give up and settle for the best you and they think you can do. Usually, it's a huge waste of time and resources. Live performances are more forgiving of slight control issues, but studio singing requires surgically accurate control. So what am I talking about? For a great recording, you need vocal technique skills that will enable you to: Control volume. (Without it, your engineer will have to use excessive compression to even out volume, control distortion and bring soft sounds up so they can be heard. Some degree of "riding the faders" and compression is normal and usual, but the less the better. The less your vocals need to be compressed, the richer the resulting sound.) Control vocal lics and embellishments. (Without it, you will not be able to sing some vocal lics you attempt; "scats" or phrasing nuances will not "turn" well or flow evenly.) Control vibrato. (Without it, your vibrato will be too much, too little, uneven or inappropriately applied.) Control tone color. (Without it, the tone color of your voice will be too "covered", "hooty", "edgy", harsh, numb and boring or just plain wrong for the message. Your choices of tone of voice will be seriously limited, and your voice will sound small and/or unpleasant.) Control articulation. (Without it, you will over-, or more usually, under- pronounce the lyrics. There are differing degrees of articulation appropriate for different genres and tempos and types of lyrics. Singers must be able to know and apply the proper way to form words for their songs. For instance, blues music is pronounced more slurry. Hip- hop generally has sharper attacks. Pop is usually articulated clearer. Musical theater diction usually needs to be very crisp, but if you try to use this kind of diction in a pop song you will sound fake. But all songs should be understood, or the connection to the audience is not going to be made well.) Control sibilance. (Without this, recording your vocal can be a nightmare because too much sibilance hurts the listener's ears! And fixing excessive "s" sounds with de-"ss'ers always limits the quality of sound. A related problem is the popping of "p"s and other consonants. You must be able to control your consonants even while you clearly form them.) Control dynamic expression. (Without it, you will over-express and sound fake, under-express and bore the listener out of their minds, or bring too many changing emotional levels to the song to sound authentic and really move the heart of your listener. You have to know how to express the emotion of the lyric like a great actor delivering lines that invite an emotional response to the message.) Control the beginnings and ends of each phrase. (Without it, you will have trouble getting the beginning of the line right. You will drop off the ends of your sentences, robbing the listener of the complete thought. You will also find yourself with a lack of other kinds of control of initiating and ending lines, because you didn't set yourself up properly before entering the phrase or you've dropped your controlling support too early.) Control rhythm. (Without it, you will not be singing with the groove. You will be too early, too late or have inappropriate placement of lyrics via the beat. Again, different genres ask for different places the lyric should fit with the beat, but you have to know what your genre norms are and have the ability to sing with the beat that way. For instance, hip-hop usually has the lyric slightly behind the beat, pop usually right on top of it, gospel and big band "Sinatra" types are flexibly in and around the beat, but you really have to sing with a lot of the masters to get this authentically right.) Control pitch. (Without it, your engineer will have to tune the vocal too much, resulting in a mechanistic, artificial sound. You may be so inconsistent and inaccurate that tuning becomes almost impossible, because the tuner "grabs" the wrong pitch or can't draw the lic well enough to sound natural. Your bended notes may be so far off there is no way to make them sound in tune. Fact: The less you have to tune a vocal, the better. Don't get complacent here and think you can just have your engineer fix it in the mix. You'll be unpleasantly surprised.) Can you think of other types of control issues you've found in the studio? Which of these would you like to know more about? This essay first published September 21, 2009 on The Modern Vocalist.com the Internet's #1 community for vocal professionals, voice health practitioners and pro-audio companies worldwide since November 2008. View full articles
  13. Hi! I would absolutely love some thoghts about my singing. I am a complete beginner at this. Please let me know what you think about my singing, I've only had critique from one friend before - would like to hear someone that does not care about my feelind, haha! Thank you som much for taking the time to listen to this. (No music, just voice recording). http://vocaroo.com/i/s0WjcJjdHaz3 Again, thanks!