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  1. These are the top things you should look for in a vocal training program and teacher. Do NOT spend any money on any products until you view this video!      What To Look For In Vocal Training Programs & Teachers  
  2. 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.
  3. Hi, everyone, Starting in a semi professional quire as a chorister, also, aided with a professionalised gregorian choir in St. Niklaas, Belgium, once and a while. Later on a monk, I had the lead of the second quire in a monastery; Having a broad rockmusic background of the seventies and eighties, A year and a half ago, I started out, studying Post Hardcore Rock music, Alternative also; Since september, I began practising albums of Breaking Benjamin, Black Veil Brides, A Day to Remember, Escape the Fate and Falling in Reverse. I do home recordings, and although circumstances are not favorable to professionalise, I seek financial and professional aid in enhancing my vocalist, mostly my modulating and voice bending capacities; which have proven to deploy at its best outdoors btw; I hope for PROFESSIONAL assessment, advice, proposition for Management etc: Here in addeda a link to my Google Drive, where people can see some of my covers, I will be uploading more ot them eg Devils Choirs, of BVB etc On YouTube You can find my channel beginning with first recording experiences, under my name Peter HumbleLegolassie Donné Dear Sir, Madam, Since childhood I have been incorporated in a classical semi professional cathedral choir in Belgium under Chapel Master Vande Meerssche; for official references on this choir one can advise oneself with the subsidiary authority, the provincial musical examination comittee; because of the steadfast quality of the quire concerts and practice; in my time, the exams were considered unnecessary; I temporarily also and in between, when needed, aided the professional gregrorian choir of St. Niklaas under direction of Professor Ronny Plovie for some performances; Later on, a monk, I was in charge of the second choir of my abbaye; Applying myself, since more then a year and a half, to Post hardcore and Alternative Rocklife from my own autodidact knowledge of seventies and eighties Rock, I began studying modern Pöst Hardcore Rockbands, BVB, Breaking Benjamin, A Day to Remember, Escape the Fate, Falling in Reverse; For a first time, I did pre-audition with FML, Irish Post Hardcore Screamo Rockband. recently, because of lack of particular Screamo technique, I could not go in for auditioning; I have been recording numbers of home recorded covers - apart from one - mainly of Breaking Benjamin, but also of BVB and ADay to Remember; I mostly lack finances to professionalise my studies, and further enhance and refine my vocal skills, in particular voicebending and modulating style; Please find i addenda some covers I did, taking in account the forementioned lack of professionalising possibilities for now. Here in addeda, a link to number of covers on my Google Drive; one of which in a Youth Hostel, the others at home; to be able to asses relevant quality in reigning circumstances: https://drive.google.com/folderview?id=0B3HiNeB9azIMfloxWUxPNEF3NDZmc2k3elkwcG9NRV9sTHRvaUdNU3gwQVpNYW1MYlpJWlE&usp=sharing
  4. Guy Monroe, The Charisma C

    Trouble Singing?... Try Vowel Emphasis

    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/
  5. Hi all, I'm approaching my journey here at TMVW with a complete positive mental attitude! Too long have I settled with my modest range. I intend to push myself to my full potential using the FPOS (should get it delivered in a couple of weeks) so I can sing songs like the one below properly! :-) I have never trained any other range other than my chest, so I have no idea if I'm doing any of it right! I decided to choose a song that is out of my comfort zone (in terms of range) and, instead of transposing it to a lower key, attempted it in the original key. I feel like it's better to get it wrong in the original key than to get it better in a lower key. My performance is weak, I'm embarrassed about this video, I've sang better, but none of that really matters - I just want to improve!
  6. 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.
  7. 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.  
  8. petersamueloffice@shaw.ca

    You've got another thing coming

    <iframe width="100%" height="450" scrolling="no" frameborder="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/207750204&amp;auto_play=false&amp;hide_related=false&amp;show_comments=true&amp;show_user=true&amp;show_reposts=false&amp;visual=true"></iframe>
  9. 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.
  10. 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?   https://soundcloud.com/rms-17/practice-a4
  11. 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
  12. 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
  13. 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.
  14. 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.
  15. Hello! My name is Rodrigo, I'm from Argentina and I am a begginer in this singing world. I will practice with The Four Pillars of Singing, by Robert Lunte, every day, por about 45min to 60min. I will love to practice a little bit more, but I'm a college student, and I also play guitar and I have to give that instrument another 60 or 75 minutes a day. Music is my passion, and I want to perform for the people in my city and people in another cities near mine. So, not a big deal... I am sick of listening bad singers in live gigs here, so I will put up an effort to be better. To improve, to have a good technique, and sing for many years. In my living room, and in small bars. All those goals seems a little impossible for my right now, when I start thinking. But I decided that I have to go one step at a time, slow, but consistent progress, with more small goals, that gide me to my ultimate desire. I want to think of this as the "Before" part of every "Before&After", so when I come back here in a few months, I will post an update so I can see if I improve in some way. I like this song, and the singer of The Calling was a huge inspiration for me when I was a kid and I wanted to sing. Now, thanks to Rob and his program, I have an idea of what do I have to practice in order to sing it! So, I think I have to expand my range so I can move with more freedom. So the sirens will do that work. Always remembering that I don't have to push, and I have to bridge early (since I'm a begginer). You can here (and love) the darker overtones amplified, so I guess the D&R onset is KEY! Robert says he loves it, and it gives you the impression of a much "worked" technique. And for this song, it is CRITICAL. You can't sing this in tune but without the darker overtones, it would just sound too flat! And I saw a lot of covers in Youtube of guys doing that. I know better, I know what to work on. I didn't use any special thing to record. My dinamic cheap mic plugged in my notebook directly, and I used the render of the REAPER, but without any effect. It sounds decent, just for you to hear the imperfections (and, belive me, there is a lot!).. Well, here it is. If you listen to it, please don't hate me LOL  
  16. 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 >>>
  17. Hello everybody, I'm Giacomo... I just want to share a track I did with some friends of mine, it's an original funky tune. It's my first recording since I started training with The 4 Pillars last July...which by the way, is a great vocal program, it really helped me to have constancy in my performances. Thank you for listening and for your thoughts,   Giacomo  
  18. Hi! My name is Rodrigo and I'm a new student. I have some problems because the summer is over and now we are in the autumn in Argentina, where I live. Last month I followed a couple of simple rules listed in my copy of The Four Pillars of Singing, like drink water before, during and after my training, and that water has to be in a room temperature. Every year I have the same issue: I have a hard time warming up my voice, so I can´t train as hard as I like, and I got tired earlier -not to mention that it is impossible to practice high notes without sounding awful and hurting a little bit, so I don't practice that. I'm an atlhete, not a pro athlete, but still, I played basketball for almost 10 years and now I'm into swimming. With propper warm up, I was always able to practice the sport as usual, no matter how was the weather. For that, I used to warming up twice as hard, and not starting untill I felt my muscles were ready to do the work. Having said that, is there an effective way to warm up before I start with calibrating my onsets and do the "heavy work" with the sirens? And how should be the hidratation? Is there some kind of tea that would help me to recover faster after a vocal work out that could have help you guys? I mean, one can hear a lot about the benefits of green tea, mixed up with honey, lemon and other stuffs, but, is it work? Thanks!
  19. I've been mostly lurking on the forum for a couple of months, really enjoying and getting useful information out of it, and especially following Elvis' progress.  I thought I'd post the results of some of my efforts so far.  The link is to a clip with several different onsets, all of them at A4: Quack & Release (maybe not so well executed as I listen back), Wind & R with 2 different vowels, Contract & R (maybe - I'm not so comfortable with this one), Dampen &R, and a Yeah and a Yuh.   I would appreciate any feedback on these.     Thanks, Greg
  20. 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.
  21. 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!
  22. Devin Burns

    Average progression time?

    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. 
  23. 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.
  24. Hi all, I'm a long time lurker here but first time poster. I bought Four Pillars probably about a year ago and think I've been making progress - before hitting like a A4 was a real struggle but the upper range seems to have opened up somewhat. Any feedback on this short rough recording would be great - this is just into my phone playing guitar and singing - please excuse the dodgy beginning (first couple of lines) and guitar fluffs - I was under a bit of time pressure to get this done while I had an empty house!