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Found 98 results

  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! http://bit.ly/TFPOSONLINE. Enjoy this video and hope we can have some discussion about vocal modes.
  2. 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.
  3. After studying the four pillars of singing, I was watching Nirvana unplugged, and noticed that for over 90 percent of Kurt Cobains performance, his embouchure was almost completely closed. Yet he still manages to perform, and produce a sound that is entertaining, and to my ears quite good. Even during his distortion, which he is most known for, he doesn't seem to be straining much at all, and his embouchure is still just open. So I guess my question is... is it really necessary to always use a full horizontal, or vertical Embouchure? Or as with the vowel modification, should the embouchure also be experimented with?
  4. Hey guys! Im just wondering does the following clip sounds like a full voice. I had a bit more time to practice lately (dont really have any time ussualy so im kinda not proggressing really good). NOTE: I can make this sound alot better and less airy and less shaky, BUT i wanted to share this one as this is what happens most of the time. Just wanted tips on what is wrong here. I know what to practice i have all that in Pillars but i dont know what im doing wrong! https://app.box.com/s/syjjny1vpzth1rpl06rb0oh10pc8arwl Thanks alot guys!!
  5. I recently had a breakthrough......It only took 40+years As a child and growing up I would imitate cartoon voices, High voices and Low voices.......For some dumb reason I never used them for singing, Except imitating those singers who already sound Cartoony ( Axl Rose, Brian Johnson). I guess I wanted my voice to sound cool or something, anything but cartoony. But when using some of the cartoon voices I could easily produce pitches pretty much anywhere in my range (on a spoken phrase)......I was playing with one of the Exercises in "Four Pillars of Singing" and Robert does tell you to Play with this particular one......I ended up in one of my "Cartoon Voice" configurations and there was no problem keeping the configuration through the passaggio (E4 to A4 range)........Here is the breakthrough........What causes these Cartoon Voices are an imbalance somewhere along the line...Too much compression......Too Much Twang.......Too much Larynx manipulation...... Too much lift of soft Palate.......Too much air......Or just not enough of something somewhere. SOME of these exercises are MEANT to over use some aspect or another of the Vocal package......WHILE TRAINING do not be thinking you are doing something wrong Because it sounds too cartoony.....What is making that Cartoony sound is what is being strengthened and it just may be the Week Point in your normal singing voice. I will give you One example...... Foghorn Leghorn....If you are having trouble Dampening your larynx (Dampening is slightly different than lowering) Imitate Foghorn Leghorn.
  6. I'm not a speech pathologist or speech therapist. I am a master of vocal mechanics specializing in singing and super-fluent voice training for speakers. I train good singers to become great singers and good speakers to become great speakers, (TEDx, The Voice, America's Got Talent, etc.) Did you know that master singers and speakers use VOWEL EMPHASIS, (navigating from vowel to vowel,) to sound amazing? It’s true. Did you know that speakers who are sub-fluent use consonant emphasis, (placing gaps between words, halting sound and stopping airflow?) It's ok, not many people know this. To sing beautifully learn; 1. How to breathe with intention to support your voice. 2. How to create and sustain torso pressurization for support and 3. How to create amplification by sustaining and directing vocal cord vibrations into your sinuses via the front upper teeth, creating resonance (buzzing vibration). All that remains is dealing with words in the song. Words are assembled vowels, (voice box sounds,) and consonants, (non-voicebox sounds,) except for m,n,v and z. Vowels make you sound musical, like friends that will never abandon you. They should be emphasized! Consonants betray the human voice at every turn and contribute to stuttering and every other vocal issue known to man, (polyps, vocal nodes, etc.) Consonant : Con = "Opposed" Sonant = "Sound." I propose that you and I were taught in school that consonants are key to to good diction. False. This is far from the truth. In fact, consonants by design oppose vocal mastery. Any master singer will agree with this. When a singer honors a consonant, the tendency is to communicate by navigating from consonant to consonant. Relying on consonants is horrible for speakers and even worse for singers, as consonant emphasis ensures no tone or melody will appear. Consonants produce neck tension, are percussive, of short duration, sounding like clicks and pops that oppose human vocal production. Consonants create restriction. Restriction is the source of all vocal difficulties including locating and sustaining pitch. When a singer honors vowels, (engaging in diaphragmatic /solar plexus muscle activity to sinus buzzing activity,) he or she creates sustained sounds which open the throat, permitting melodious, resonant tones to occur which serve vocal expression. Aaaahhhh! Delicious! Yuuum! Here is a fun example of the power of vowel emphasis. I hope that you enjoy it! When you sing a phrase, I propose breaking down the vowel elements in the following manner: :-) -------------------------------------------------------------------------------------------------------------- 1) Spell out the phrase words in conventional script: Example: SUMMER TIME! 2) Sound out each vowel sound and replace script vowel letter with an accurate phonetic approximation. Example: SUHHH • MUHHH • TEYE-EYE-EYE • M! 3) Write your phrase in an unbroken style, with NO GAPS between the words: Example: SUHHH - MUHHH - TEYE-EYE-EYE - M! 4) Sing your phrase, exaggerating the vowel sounds (VOWEL EMPHASIS) as an unbroken phrase. Notice how everything you love (resonance, melody and tone) occurs when resting on the vowel. Example: SUHHH-MUHHH-TEYE-EYE-EYE-M! 5) If you run out of air, you are not pressurizing, (conserving air as you sing.) To make your air last longer, fill your lungs completely with air and attempt to hold your breath while singing the phrase. As you create sound, air will escape. Just let it out more slowly, permitting the time to finish your phrase. Removing every silence or gap will force you to navigate from vowel to vowel to vowel, creating continuous resonance and melody. 6) Let's try it (4) times. Are you ready? Take in a breath... Here we go! 1) SUHHH-MUHHH-TEYE-EYE-EYE-M! again... 2) SUHHH-MUHHH-TEYE-EYE-EYE-M! again... 3) SUHHH-MUHHH-TEYE-EYE-EYE-M! again... 4) SUHHH-MUHHH-TEYE-EYE-EYE-M! ...Good work! :-) Vowels are cool, huh? What did you discover? And what was your experience like? - Guy Monroe http://hotmicmethod.com/ http://greatspeakertraining.com/
  7. Hi again i tried to do an a4 and not sound strained this time does it sound better or should i quit?   https://soundcloud.com/rms-17/practice-a4
  8. 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
  9. Hey guys! Im trying to get the hang of singing in head voice so i was wondering is this correct sound.   I wasnt able to do this a while ago and it was pure falsetto, but since i got Pillars alot of good stuff happened so i just wanted to see if this is a good direction in which im going.   Take not that it isnt really crazy full or great cuz im just getting used to this configuration. Its a bit uncntrolled and very "new" to me but its a new sound that is starting to take some shape compared to crazy chest pulling and falsetto.   I sang a phrase from Led Zeppelin's Black Dog that ranges from F#4-Eb5. First i sang the phrase in falsetto and then i used what im working on these days, a lil more full sound.   https://app.box.com/s/mxdgxlzcrc1u2j0n9lodzglns9dfn89p   P.S. when i say "correct" i mean full and not whimpy and falsettoish
  10. I have a few assorted questions:   1. How can I tell the difference between twang and regular glottal compression in the sound? That is, I know twang is used because it improves compression, but what is the difference in sound (or specifically in sound color) and sensation between the two? 2.Is twang the same as pharyngeal voice? If not what is the difference?(I have a feeling James Lugo will nail this one) 3.When I try to twang on higher notes my larynx jams up and my sound ends up muffled and with extremely poor ressonance. Any way/exercise to fix this? I'm trying to dampen the larynx as in The Four Pillars, but it still goes up a lot and sound really muffled. Could this be realted to opening up my throat too much to block nose airflow? 4.To use mask properly must air come out of the nose or is the correct technique not having any air come out? 5.Does twang have any relation to mask? 6.If I open my throat a lot, so that no air comes out of my nose and "aim the sound"(don't know how to put this better) at the hard palate, up and forward, does that have a name? Gives a metal ping to my voice, but I don't know why or how. So far I'm not using it.
  11. Hi everyone, I realize in the TVS methodology singing is after all the exercises and stuff. R&b and Pop head voice songs often are in breathy falsetto and not conductive to improving closure and control. Then there are super powerful high rock songs which are kind of like screaming (but still better than pure falsetto). In the frisell methodology they don't really mention singing... you'll be doing oo, ee, and aw slides for years before realizing you never learned to sing.  What are some good head voice songs to learn to get better control? Preferably within A4-E5 but if it's higher I will still try and work my way up there. I do not think there is a lot to choose from because few people have that level of control over head voice but also who are some good "role models" for male head voice.
  12. 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 >>>
  13. So im working with 4Pillars and the term that is referd to tons of time is "Twang". And Quack and Release onsets is kind of helping students find that Twang configuration. Now ive been experimenting with this Quacking sound lately and i am doing this sound which i dont know if its correct.   Now i am aware this is NOT a sound i will be using when singing, but what i want to know if this is a proper way of finding that Twang thru EXCESSIVE quacking.   Obviously i want to aim for the effect that Quacking provides (adduction i guess) but in a more beautiful tone.   https://app.box.com/s/lnvdjb8n6rdge9kuukrkc3q9mvxhvoeo   Like i said this is extremelly excessive but i do feel like the tone is fuller and sound more connected.   You will notice as i try to open up the vowel (or embouchure) i fall back to falsetto.
  14. So yeah I'm pretty new at this whole singing thing.  Only been trying to sing seriously for about a year or so.  I just got into the Four Pillars program and i just can't express how badly I want my head voice to sound like my chest voice.  Robert's voice is obviously amazing, and that's what I'm aiming for.  I just had some questions about a couple clips on youtube.  I don't know if these singers are pulling chest or singing in a strong head voice.   First clip is Tyler Carter singing Fame Over Demise by Woe is Me: At 0:56 ("I'll build my way out of your demise") he sings from an F4 up to a Bb4.  Is he just able to belt this out in chest or is he singing that Bb in head?   Next is Brendon Urie singing This Is Gospel: at 0:38 ("If you love me let me go") he holds that A4 (seemingly pretty easily).  Is this head voice?   I appreciate any responses.  Like I said, I'm new and just looking to learn.  Would take lessons if I could afford them.  And also if these guys aren't singing in head voice, is it possible to sound practically identical when singing the same phrases in head voice?  Thanks guys! Best of wishes to everyone!
  15. Just wondering how long it usually takes people to make progress in certain areas.   Bridging?   Connecting?   Getting a "chesty" sound in the head voice?   I'm not meaning significant progress, just some noticeable progress.  I've been training with the Four Pillars for the past couple weeks and I've successfully bridged a handful of times.  (You have no idea how excited/shocked i was when it happened). So i feel i'm making pretty good progress there.  I can get a connected sound in head voice pretty easily when practicing.  It's a little harder to maintain the connection when singing actual lyrics.  But the last part is what really gets me.  When singing phrases ranging from, let's say, C4-A4, I feel i can get in and out of my chest voice fairly decently, but while there's not a noticeable "break", it doesn't sound like the same voice at all.  I'm definitely not expecting this to be a quick process by any means, but does anyone have any idea when i might notice my head voice starting to sound like my chest voice? And i don't necessarily mean my head voice sounding meaty, just more like my chest voice in general. (hope that makes sense!)   I've been trying to practice at least 4-5 days a week.  I usually do the foundation building routine, then add some bonus scales and sirens afterwards to get more practice with my onsets (mainly Dampen&Release, Wind&Release, and Contract&Release) and bridging. When i get more comfortable with my bridging I plan to start working on the other exercises in the program. 
  16. I recdntly got pillars and im really digging it. The thing is this. I understand the voice MUCH MUCH better now. All the terms used in singing are finally making sense to me and i can comfortably say that i can explain even to other people alot of crucial and scientific as well as practical information. Assuming that everyone can potentialy sing high notes, and i truly believe that because we have people right here on this forum who achieved just that, namely Jens who is a huge inspiration to me. Now that said, how does one go about achieving vocal range expansion. Im interested in a MENTAL way as well as the PHYSICAL. Everyone wants to be able to phonate high frequencies and are impatient in doing so. Im one of them, BUT I DO realise that it takes TIME and COMMITMENT And that we are talking in terms of years and not months or weeks. So i was wondering how do you guys tackle expanding your range, in terms of training. I understand the scientific part of it and the theory on what i should be doing, like shifting resonant energy and maintain proper extrinsinc and intrinsic anchoring, namely respiration and voicebox muscles. Do you work on strenghtening the range you can phonate currently or do you try to focus on notes you CANT hit and strenghten that. For example i have a training workflow and a methodology that i trust completely. But how far should i take. When doing exercises do i stop at G4 which is a comfortable stable hogher note for me or do i try to go higher. Do i allow myself to break at A4 A#4 or do i leave that aside and strenghten what i have. Excuse me if this is a stupid question but its something that makes me think alot and gets me somewhat confused.
  17. Robert Lunte, founder of The Vocalist Studio explains what the formant and the significance of acoustics in singing. For the first time, a voice coach on YouTube can properly explain vocal formants. To learn more about The Vocalist Studio training program for singers, "The Four Pillars of Singing", CLICK HERE:   Formant is also used to mean an acoustic resonance. In acoustics, it refers to a peak in the sound envelope and/or to a resonance in sound sources, notably in singing. In singing pedagogy and phonetics, it refers to the resonance of the human vocal tract. Formant is often measured as an amplitude peak in the frequency spectrum of the sound, using a spectrogram (a special instrument or software that maps vocal frequencies) or a spectrum analyzer.  Peaks in the harmonic spectrum define the tone quality of sound color in a voice, distinguish the vowels and provide vocal ‘ring’, ‘presence’ or ‘quality’.    In the simplest terms  â€œthe formant is not the resonant space itself, but the measurement of resonant energy in the resonant space (for our purposes the vocal tract)”.  Most formants are produced by “tube” and “chamber resonance”.  For example, when singing, the upper vocal tract, the resonators, the pharyngeal space, soft palette, the throat, and the mouth combine to create this chamber resonance.   By no means am I pretending that this is a complete explanation of formants in singing, it is a very complex topic. However, this is an attempt to just sort out the main ideas for students of singing, so they can grasp some basic understanding of the topic, which is all that is really needed to get some benefit for your singing.   Singing Vowels & Formants - BEST EXPLANATION ON YOUTUBE!    I partnered with Dr. Donald Miller to offer a digital download of his Voce Vista Software as well.. which allows you to better understand vocal formants. It is an application that works on PCs ONLY... and it is for purchase. I thought I would place that here as well, given the topic. Hope this is helpful.   Voce Vista Formant Software For Singers
  18. http://vocaroo.com/i/s1MBcg9w8BvC   When my voice cracks like this, does it mean I'm not supporting enough, or haven't I strengthened my twang musculature enough yet? I thought it was the latter myself since I still can't phonate quack mode in headvoice. When I do try my voice cracks and goes all over the place as if I'm yodeling. Really weird sounding and not pleasant. I could record a sample of it if necessarry.   I've been practicing with the Four Pillars of singing for about 10 weeks now and recently I've started taking Skype lessons with a local TVS teacher here in the Netherlands.
  19. 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
  20. 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:
  21. So I've been frequenting this forum for a while and there are a few questions that I had which maybe some of you veterans on here can help me understand:   A little bit about myself before I begin:   I've been singing for about a year and a half. My first teacher did the usual scales, breathing exercises, sing songs you like type formula to try and help me get better. I went to her for 10 months, but unfortunately I didn't improve at all. The only thing that got better was my range, but that didn't translate into better singing.    My second (and current) teacher has helped me leaps and bounds in terms of my progress. In only a month, I made more progress than I did with my other teacher in a year. I've been with him for almost 5 months now with good progress. The only thing is though, we don't do any scales, breathing exercises, nothing of the sort. We just sing songs. Now, I believe he does have formal education on singing and he is well-versed on the terminology, but none of that constitutes what we would call a "lesson." I've been making great results but my concern after perusing this forum is, won't my progress come to a halt sooner or later if I don't include vocal training exercises and just focus on singing? Or will I just keep "getting better?" I feel like singing is like any other sport, as you get better there is a greater amount of attention to detail as you get more proficient.    Anyways sorry for the long-winded story. My questions are:   Stylistically, I would like to have an R&B, Pop, Contemporary type of sound, but I also wouldn't want to restrict myself to just a few genres. So based off of this, would it really matter what vocal program I chose to work with? Cause I was reading Robert's earlier posts about how 4 Pillars isn't a "rock program" but training for vocal athletes and my goal is to sound similar to this:      Can this be achieved with 4 Pillars? Or is there another program which could help me out more stylistically speaking?   Second question:   I've heard that the exercises performed in most of the programs share similarities. So, with that being understood, would it matter which program I choose because the "training" is almost the same but the styles of singing people choose to approach are different?
  22. I've recently made a concerted effort to lighten the mass of my phonation as I ascend. This has been a HUGE help as I kept getting "stuck" at A#4 and could never get past it to B4 in a light mass configuration.   I have no problem "pulling chest" and getting a more belty, beefy head tone B4 and above; in fact, it was much easier for me to access the notes above A#4 by using more M1 musculature. It allowed me to go up to D5 and even to E5 easier than the light mass way; now after trying to "shed the weight" as I ascend, I've been able to get bright, twangy head tones on B4 and couple of times on C5 as well.   As Robert has said before, the light mass way is MUCH less tiring on the voice, it almost feels effortless but sounds bright and connected. As of now, I can only sustain and "pull" M1 so high for so long before getting fatigued: not straining, as everything feels open and free, but my voice gets tired much easier than compared to the light mass way. Continuing to train the M1 "pull" should provide more stamina so I can utilize it for longer periods of time.   As for the light mass configuration, this is the sound I ultimately want, the James LaBrie/Geoff Tate/Rob Halford way, as opposed to the Bruce Dickinson way. Not that there's anything wrong with Bruce, he's one of my favorites, but it's not the sound color I'm looking for. I'm glad to have found both configurations and will train and utilize both of them.   Moral of the story is if you are looking for a light mass sound color, keep your phonation light and lighten the mass as you ascend. Robert has mentioned this before in his online videos but until I tried applying it yesterday and today, I didn't fully realize how big of a difference it makes. I feel as if my voice just "slots" into the proper place when slightly modifying the vowel and lightening the mass. It's a very delicate configuration.   Just figured I'd share my story and a bit of advice.
  23. INTRODUCING THE TC HELICON VOICE LIVE TOUCH 2 They call it a "Vocal-Designer". Interesting, I thought to myself while unpacking the TC Helicon VoiceLive Touch 2 from its box. As the name implies TC-Helicon has released a new version of its innovative 'Touch' series which builds upon the original Voice Live Touch. I'll be upfront and say that I never had the opportunity to try out the original Voice Live Touch so this review will strictly be based on my experience with the new unit: the TC Helicon VoiceLive Touch 2. Gone are the colorful touch pads and diminutive LED screen. Instead, the Touch 2 is more serious wrapped in subdued grey with a much more usable LCD screen. Being this is a very menu driven device I imagine this is a welcome change to the original Touch users. TC Helicon VoiceLive Touch 2: Build This product can be purchased at The Vocal Gear Store. As with all TC-Helicon gear, the build quality of the TC Helicon VoiceLive Touch 2 makes it feel like every bit of its $500 street value. There are no manual knobs and buttons on the Touch 2. Instead, every control aside from a mic gain knob is a touch pad. It's an interesting design concept that is going to work for some but may be troublesome for others. The layout is generally straightforward and once you get a hold of the basics of how to drive into settings, the TC Helicon VoiceLive Touch 2 is fairly intuitive. I wish TC Helicon had given thought to backlighting their pads as I can see having issues in a dark club environment finding the right pad to hit, especially if you prefer as I do to not stand mount it. As a workaround, I highly recommend using their 3 button foot control available for purchase separately. TC Helicon touts the VL2 as giving singers "unprecedented creative control of their live sound with state-of-the-art vocal effects and performance looping in an intuitive touch layout." This I agree with. The TC Helicon VoiceLive Touch 2 packs an enormous catalog of preset effects to get you started sorted by genre such as Rock, Pop, Alternative etc. that mock the vocal effects used on a large v ariety of hit socks. If that isn't enough they are continually updating the catalog that is downloadable directly to the VLT2's using VoiceLive support. The TC Helicon VoiceLive Touch 2 In Practice The TC Helicon VoiceLive Touch 2 is pretty much ready to go out of the box. Built in is TC's fabulous adaptive tone which automagically applies adaptive EQ, compression and de-ess to your voice. It almost always sounds great and it certainly does on the Touch 2. Every effect is just about infinitely customizable on the Touch 2 including all the usual suspects of HardTune, tap delay, reverb, harmony, doubling, choir, and transducer. However, I generally found myself starting with one of the built-in presets and then customizing it to fit my sound. One of the more interesting features added on the Touch 2 is an effects "slider" that allows you to a choc tweak with your sound as you go. TC has come a long ways with their harmony algorithms by syncing them up with instrument input to ensure they are always on point and realistic sounding. The Touch 2 adds to the flexility of this by incorporating 8 total voices (more than you'd likely every need) and what they call "RoomSense". If one doesn't have an instrument to plug into the VoiceLive, the two onboard microphones take it the chord structures based off what its hearing in the room to decide how to apply the harmonies. I would argue there's no replacement for real harmonies, but this comes so damn close that admittedly even I have started using them. Another key feature to point out is the 6 track TC VLOOP performance looper. This is where things can really get creative with the ability to record your vocals on the fly for up to 30 seconds. The Touch 2 is so intelligent that it will even quantize those for you for perfect loops. One you have your loops you than then add Reverse, Filter, Slow Speed, Squeeze and Squeeze Auto to really make things interesting. Overall I felt that the looper was well done and simple enough that it could be used in a live situation. CONCLUSIONS about The TC Helicon VoiceLive Touch 2 The TC Helicon VoiceLive Touch 2 is without question an extremely powerful tool. At the end of the day, it does however, cater itself slightly more towards the studio and solo artist than it does to more of a rocker like myself. I felt the menu-driven design and touch interface left me spending more time in trial and error before finding a sound than I would have spent flipping a knob or hitting a switch on the Voice Tone series pedals. In my opinion, though, TC has found a niche within a niche market with the VLT2. If this looks like it might be your kinda thing I recommend you check it out. View full articles