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  1. Enjoy this new video that provides an overview of what vocal modes are and why they are important. If you train and study vocal modes, your understanding of the singing voice and vocal technique will be vastly superior then dealing with training methods that can't explain the physiology and acoustics of singing. The whole point about vocal mode pedagogy is to make the understanding and execution of singing better EASIER, not harder. So don't let anyone tell you that "vocal modes are necessarily too complicated". That is simply not true. If you take a little bit of time to just learn how it works, you will open up a huge door to understanding the voice and singing better. And of course we cover this in The Four Pillars of Singing 4.0! Enjoy this video and hope we can have some discussion about vocal modes.
  2. Maya Baranová

    I Need Your Help!

    I am going to record this song and I am still fighting with it somehow.. I work on it already to long so I am not able to be objective - I need your help :-)
  3. WHAT THE HELL IS A "SNILE"? I have formulated a new idea this morning that is great... I share with thee... This is a technique that is used to help train singing through narrowed vowels and improving the articulation of your lyrics when singing high. This technique is also great for resonating to forward positions and amplifying the "cup" of the hard palette. A snile is a cross between a sneer and a smile. It is used in singing to help narrow singing vowels to maintain intrinsic musculature support and stability with amplification, when singing pop / rock music above the passaggio. Mastery of The SNILE will greatly train your kinesthetic feel for narrowing vowels, resonating forward into an "edgier" position, and amplifying while keeping acoustic mass low and balanced. "THE SNILE" is characterized by: A lifting of the upper lip to expose the forward teeth of the embouchure.A "narrowing" of the embouchure, to prevent "splatting".A very strong, amplified, forward resonant position in the "cup" of the hard palette and "edgey pings" off the forward teeth.Must have dampened larynx or anchoring of the larynx. Notice How Geddy Lee of the prog. band, RUSH tracks "Limelight" through the "SNILE"! Who said that "FREE" Secret Tips Didn't Exist?! TRY "THE SNILE" NOW!! ... and post your results here! Video demonstration on "THE SNILE" coming soon... "THE SNILE" is just one idea and technique. It is not a "global" solution for all things singing... it you want to get a feel for forward resonance and narrowing, it is good for that. It can also help you to sing very accurately with great intonation and articulation.
  4. A video from Ken Tamplin, voice coach and follow up from Robert Lunte, Voice Coach and producer of The Four Pillars of Singing in regards to SLS and any "sing like you speak" voice training approaches. I agree with Ken on points; 1, 3, 4 The points I don't agree are: #2. "Ah" is not the only vowel that grows the voice... but it is important. We call this the "Neutral" vowel in TVS and we train it. It is great for belting and strength building, but it certainly is NOT the ONLY vowel to train with or to help you. #5. This "meow" example may of not been very helpful, however... there are two elements to that "meow" that have merit in my view. a. Ken DID in fact bridge through his vocal break! If he teacher said, "... do this meow idea to get a good bridge", and then Ken did it and it produced a nice bridge, then...? Didn't it work? But I get Ken's point... he is trying to say that its not applicable to singing... I give you b. b. This "meow" probably has a benefit to LIGHT singing... and in regards to heavier/belt/call register singing,... it does have merits for Training! Maybe not for belt singing, but for TRAINING. You see, some vocal techniques are used ONLY for training. Not all vocal techniques are applicable to singing. I make this point in "The Four Pillars of Singing" on many tables that clarify for students what is applicable for training and what is applicable for singing. Regarding to this "meow" idea for training... /m/ is a nasal consonant and as I point out below... nasal consonants are actually VERY powerful for warming up and training. Nasal consonants induce vocal fold compression and help strengthen the TA muscle and they are just GREAT vocal health. Nasal consonants have a "healing" power to them. They are not only used by voice teachers, (including Ken), but also by ENTs and doctors that are rehabilitating clients with speech problems. So... an onset that starts with any nasal consonant can ONLY be good. The "i/ee" vowel that follows the /m/ ( m + "eeow")... puts the vocal folds into a very strong compression, adduction position. "i/ee", is a good training vowel for building compression strength! In "The Four Pillars of Singing" we have identified this and "named" it. We have 8 specialized onsets (... the way you start in training and singing. Designed for strength building and coordination). One of those specialized onsets is called, "The Quack & Release Onset". The Q&R onset utilizes the i/"ee" vowel to build compression strength. So in summary, while I agree the "meow" may not be super beneficial to people that want to belt, if you look at the consonant and the vowel of "meow", and you understand the benefits of those consonants and vowels and how to utilize them for training, you see past what Ken is pointing out and understand, that there is value there. Provided that you know how to use these consonants and vowels in training. It has a lot to do with understanding consonants and vowels, not only for singing, but what they can do in training, applied to techniques. I think the "sing like you speak" approach, if not in the hands of a more experienced and knowledgeable teacher, can be lacking in several key areas, here are my observations as a coach that has trained this stuff, been teaching for over 15 years and an author and producer of a vocal training program that is a best seller, if you don't mind me saying... 1. It has never embraced research or updating ideas that have evolved. This is why all the top teachers, including your "mentor" Dave Stroud left the organization and all those other teachers. There is a reason why they left... something important to realize. 2. Because of the, "... don't feel anything in your larynx" & "sing like you speak" point of view, it tends to teach fear of the voice. Students are afraid to contract, compress, anchor the larynx and distort. All movements that are perfectly healthy and fine... and if you want to sing "big and boomy" in the head voice, you have to do do these things. 3. There seems to be little to no understanding of vowels and resonance. At least not in a formal, methodological way... any individual teacher may know about it, but as a method, its not there. 4. Relative to #2, for many people, the techniques are too light to really get after the head voice and make it belt... of course this depends on the individual teacher, but as a method, it is really light. That is fine!... but it presents a challenge for people that want to belt high.
  5. Hey community, I know some of you have heard this already, but here is the final production with a visual. Hope you likey...
  6. Hello guys,my name is Luka I must say that only after few hours of reading book,and about hour of watching videos ,I was able to do this(It is probably bad and for sure needs more practice ,but still before this it was like dream for me to hit those notes without hurting my voice ) :
  7. A topic where I can embed videos about belt voice... I'm starting to get a few going here... Contact me if you have any questions...
  8. Enjoy... a beautiful song from Bonnie Raitt... Tracked it tonight while the Seahawks won their game to prepare for their 2nd Super Bowl win.
  9. Hey guys, so in the last few months with the help of our very own sexy Swedish bastard Jens I've made a lot of progress in honing my vocal technique and even more excitedly, my falsetto register! In days before I had completely abandoned the M2 register thinking it was a useless party trick and that if you pulled chest long enough you'd start developing "Real head voice." Obviously, I'm a complete jackass for thinking that but my bro Jens luckily had the knowledge to convince me of the true nature of falsetto and how it was a necessary component to seriously train in balance with the entire voice. So, fast forward to last monday, in the middle of the night I came down with horrible stomach cramps and could not keep any food or liquid down. It turned out my intestines had become partially blocked due to previous complications of a major surgery I had in 2011. So, all of sudden here I am spending an entire night forcing myself to throw up to relieve the built up pressure from the blockage. For somewhere around seven hours I continuously spit my guts up in the most horrible way you could concerning vocal health. This went on for quite some time before I decided to call 911 on myself and get help. Upon entering the hospital with an already completely destroyed voice (Seriously, I had lost my voice more than I ever had before) they decided the best method of treatment would be to put a three inch plastic tube down my nose and into my stomach for a week. Unfortunately, not only was this tube as painful as it sounds but it was also made my throat 100% burning soar and prevented any chance of vocalizing. Now, the tube has just come out which is an AMAZING relief but as I try my first vocalizations since the incident I noticed my falsetto register is COMPLETELY gone. Before I came in, it was soaring, easy, quite pleasant and was just starting to pick up some nice twang potential thanks to Jen's great instruction. Now, my question to the vocal experts, what would be the best method of going about healing this as soon as possible? When it comes back will it be at square one again or will it return to the same strength it was before I had this vocal trauma? Has anyone else abused their voice before to the point where their falsetto register was lost completely? Thank you and god speed!!
  10. Hey guys. I am curious on these three options. How much do they differ? What is the education background of the individuals? - no offence intended. I'm just curious if they have MAs in vocal studies. Would I be better off trying to buy university textbooks? .... Also, does it depend on what I am aiming for?.... I sing in church, and I also like singers such as Justin Timberlake, Jacob Hoggard, Josh Ramsay, and Gerald Eaton. I prefer singing in tune, melody and with skill over just belting. Thanks in advance.... as a side note... with the 4pillars I noticed that you can get the option to add on a lesson with the digital format, or you can get 3 lessons with the student format. Are these 1 hour lessons? It does not say. Though, the online lessons as themselves are 1 hour long.
  11. Hi everyone I wanna start training with one of the following proggrams 1.ken tamplin 2.singing success/mastering mix Im rock singer I really like myles kennedy and chris cornell Whould like to get ur help to choose. Thanks!
  12. Hey guys, Figured I'd start with my own thread like Anthony to show what I've been up to regarding training. Here are some sound samples from today: simple onsets and a couple of songs. One is Bleeding Heart and the other is Carry On, both by Angra. I recorded everything with my phone and nothing was a formal sit-down practice... I was just doing this throughout the day and in the car (limited practice time). In the Carry On sample, I definitely need more fold closure... not enough edging / front placed vowels. There is a lot of falsetto there. The Bleeding Heart sample is mostly chest voice, very relaxed and light, with a couple of belts here and there. Any input / feedback would be welcome! Rock on!
  13. What are the top things to remember when training narrowed vowels? Please share... I'll start. Here is my contribution. NARROWED VOWELSHow To Sing Narrowed Vowels & Their BenefitsThere are three kinds of vowels in singing; open vowels, middle vowels and narrowed vowels. As many students of singing of all levels of experience can tell you, when the lyrics of songs take the singer into narrowed vowels, the singing voice begins to become troublesome if they are not executed properly. In fact, the inability to sing narrowed vowels are one of the major reasons why the singing voice does not cooperate when singing, especially in the higher regions of the voice. Not only does the strength and skill to sing narrowed vowels serve the practical need to be able to articulate narrowed vowels in your lyrics, but, narrowed vowel training is also important resistance training work. When you train narrowed vowels, you strengthen the adductors and intrinsic musculature you need for a stable voice, a more modal sound color and belting. Putting it the point, narrowed vowel training is great for developing your belt voice capabilities. Therefore, narrowed vowel training gives you two primary benefits. When singing narrowed vowels, it is important that you lower the acoustic mass (overall energy). If you do not lower the acoustic mass of narrowed vowels, they will not be able to amplify and stabilize. Narrowed vowels with too much acoustic mass, causes constriction and/or instability of the vocal folds and your singing. Primary Benefits of Training Narrowed VowelsImproves the ability to articulate narrowed vowels in your lyrics when singing to make your diction easier to understand to the listener.The muscle strengthening and coordination from training narrowed vowels helps augment your belt voice training.Primary Narrowed Vowels When SingingNarrowed Edging VowelsNarrowed Neutral VowelsNarrowed Curbing VowelsVowels Follows by /r//i/ "ee" as in see /I/ "ih" as in sit/ɔ/ "aw" as in law/ʉ/ "oo" as in you /ɣ/ "ou" as in wouldWhen a vowel is followed by an /r/, it is called "r-controlled" vowels, or "r-colored" vowels. /ar/ sound as in car, guitar, Arthur /âr/ sound as in care, bear, mare, scare, aquarium /îr/ sound as in pier /ir/ sound as in turnip, spider, certificate, and beaver /or/ sound as in manor, observatory, author, brought, and orchard /er/ sound as in butter, cutter, and mother* These word samples are English language equivalent, but the same rules apply for other languages that make the same sounds. Three Points of NarrowingThe Singing Vowel / Sound ColorAll three acoustic modes have narrowed vowels as well as the vowels that are followed by /r/. The Vocal TractThe vocal tract, or physical space that is resonating your vowels literally narrows.The Acoustic MassThe mass of the phonation MUST lower or "narrow" metaphorically, in order to insure that the vowel will continue to amplify in the formant.
  14. Musikman7002

    Bruce Dickinson

    Not so much of a topic just a shout out to Roberts take on Bruce Dickinson Solo Singing. I was wondering if I was alone in this thinking. I really love my Iron Maiden but sweet baby Jesus give me my Solo Dickinson lol Accident of Birth, Chemical Wedding good stuff, and if you are liking Maiden but never tried some Solo Bruce go seek it out out pronto and turn it up LOUD
  15. Musikman7002

    Josh Groban

    I am new to this forum and would like some feedback on my voice.
  16. I was finally able to get "The Four Pillars" and wanted to drop a few lines about it. I have not been able to perform a Full Practice/Training session yet but just by learning and training the specialized onsets while driving and performing other tasks I have greatly improved. In the lectures, Roberts enthusiasm for teaching and his desire for the students to make progress really shines through. I have no doubt that "The Four Pillars of Singing" would be of benefit to any singer, whether Novice or Professional. Thank you Robert for taking the time to put together a program that is thoughtful, knowledgeable and entertaining as well.
  17. Hi, I just wanted to introduce myself. I'm Annie. I recently bought The Four Pillars after sifting through Youtube singing videos for about a month.   I'm in a folk duo (psychedelic/prog folk)  in the San Francisco bay area.  I have only taken lessons here and there through the years and basically have no vocal technique knowledge. I feel that my vocals are ok but not exciting. I have always thought of myself more as a songwriter than singer, so haven't given as much thought to my vocals as I should have.   I want to improve, get stronger, more creative and to sound exciting and more expressive. I was inspired by what I saw/heard of Robert on Youtube.   I'm finding The Four Pillars really interesting and full of ideas and things that I've never heard of before. It's a little daunting but I'm up for the challenge.   Here's a video created several months ago of me singing Neil Young's Mr. Soul with my duo just to share where I'm at now vocally.  
  18. Robert Lunte tracking "Nocturne" at Synergy Productions during pre-production of a new EP. This music has not been mastered yet and there will be one final production to near future, but I decided to just turn on my iPhone yesterday. Here you go... "Behind The Scenes" video ... hope some of you find this interesting and entertaining. Take voice training for the purpose of finding YOUR voice, your unique sound colors and your strengths as a singer, not to "sing like" someone else. "Nocturne" was written and produced by Robert Lunte & Engineered by Jason Shavey.
  19. Hey guys... I happen to stumble across this old recording this morning... thought I would share it for fun... this is me singing about 10 years ago... so don't rip on me too hard here... it was an earlier time and the production is marginal. It has some merits.  10 Years Ago 5.2015 Ill redo this later this year.. with better production values and I would like to think, more mature vocals, but I think this is decent.
  20. Simpan24

    Practice A4

    Hi again i tried to do an a4 and not sound strained this time does it sound better or should i quit?
  21. I finally got my hands on a copy of 4Pillars. I wanted to do a thread where i will track proggress of my voice. Im gonna include the stuff i have recorded now and i am going to update this thread every 2-3 months with content after studiying Pillars. Just wanted for myself and you guys to hear how its going along. P.s. gonna steal 2 posts just so i keep it organised
  22. 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 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   - Vocal Rider - Doubler - Vocal Series Suite  - Vitamin   From Izotope   - iZotope Nector 2
  23. Hey all. I hope everyone is doing okay.   My question today is how can one add more emotion to his/her singing while singing lower notes ? everything below the end of the fourth octave.   I've noticed, as a guy with a bit of a deep voice (I don't know if I'm a baritone or not anymore, I used to believe I was) it is easier for me to bring emotion into my singing when singing over the end of the fourth octave around F4 - B4.   But anything below that seems mostly just plain boring or bland, unless I forcibly sing breathy and lower my volume, which isn't really practical in most situations.   Suggestions ?
  24. Hello Community,   Lip trills are one, of several semi-occluded phonations that singers can do to balance the sub-glottal and supra-glottal respiration inside the upper vocal tract. The benefits are several:   1). The balance the above/below respiration pressure making the vocal folds oscillate more efficiently.   2). Given the vocal fold compression efficiencies they produce, they help to carve a "resonant track" through the vocal registers and train the CT/TA to remain coordinated for seamless vocal fold closure through the F1/F2 formant shift. ​ 3). They have the benefit of keeping the larynx in a "neutral" position, which is quite healthy, but actually is not the most advantageous configuration for warming up the singing voice.   However, regarding #3... another form of semi-occluded phonation is called "Resonant Tracking". Resonant tracking utilizes compressed nasal consonants; /n/, /m/, & /ng/ to do a similar thing.. however, resonant tracking is marginally better for warming up the singing voice because it also engages cricoid tilt, or "vocal twang", which is critical for great singing, anchoring stability and engaging strong vocal fold closure. Thus, in the repertoire of semi-occluded phonations, resonant tracking is arguably more beneficial for singers. Here is an audio I did on the topic which comes from the TVS vocal training program, "The Four Pillars of Singing".   Click HERE >>>