Search the Community

Showing results for tags 'the vocalist studio'.

More search options

  • Search By Tags

    Type tags separated by commas.
  • Search By Author

Content Type


    • Welcome New Members!
    • General Discussions
    • Vocal Health
    • Review My Singing
    • Microphones
    • Recording For Singers
    • Vocal Effects / Processing
    • Seeking Vocalist / Vocalist Available
    • Vocal Gear Reviews
    • Singing Articles
    • Expert Interviews


There are no results to display.

There are no results to display.


  • Singing Reviews, Programs & Lessons
  • Microphones (Live & Recording)
  • Vocal Pedals (Effects)
  • Home Recording Gear
  • Services For Singers
  • Singing Applications
  • Vocal Health Products
  • TMV World Exclusive Interviews


  • Product Reviews
  • Articles
  • Interviews

Product Groups



There are no results to display.

There are no results to display.

Find results in...

Find results that contain...

Date Created

  • Start


Last Updated

  • Start


Filter by number of...


  • Start



Web Site URL


How did you hear about TMV World?

Found 156 results

  1. 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.
  2. Hello! I want to share with you my Official Cover of the song At Last. Is a song of Etta James which is one of my biggest influences in jazz singing. The song’s lyrics refer to the love of a young woman that’s finally fulfilled. This song encapsulates the youth spirit of 1960’s. First Official Release: November 15,1960 by Etta James.The song was originally written by Mack Gordon and Harry Warren for the musical film Orchestra Wives (1941), starring George Montgomery and Ann Rutherford.I Hope you enjoy it!Recorded - Produced & Mastered at Modern Music Studios Official Facebook Page: Music Arts Facebook Page: : Music Studios Facebook Page: (Chrysanthi Papanikolaou) &Steve Sovolos Video Production: at Modern Music Studios.
  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. Enjoy... a beautiful song from Bonnie Raitt... Tracked it tonight while the Seahawks won their game to prepare for their 2nd Super Bowl win.
  5. Hi, this review forum has been a little quiet so I thought I would load up a few old tunes and some newer material I am working on. I feel its kind of important to try different vocal characters and sounds outside of your comfort zone from time to time. What I am doing is I am going to load up a few different songs where I am working on different aspects of my voice. Sometimes when I try different styles and vocal textures etc. I discover different parts of my voice. Sometimes I try to really push the higher range or power etc. and sometimes I am working on a more relaxed high range material and then I go the opposite way and try to really work the very bottom of the range. What I discover is that the best part of my range is in the lower richer ends of my range but I still try to always work the higher stuff in as well.
  6. 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! Thanks alot guys!!
  7. 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.
  8. Hello once again, beloved TMV forum. I'm tackling a different style and tune this time, hoping to do it some justice, as I solely sing rock. Would love some feedback and constructive criticism, as always. Hozier - Take me to Church
  9. 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:
  10. Just me and the boys at The Bedroom Studio. And by THE Bedroom Studio, I mean OUR bedroom studio. This is based on the Nina Simone arrangement. We are an improvisational group that mostly focus on our live performances, but we want to start recording more (hopefully in a professional studio), so we want to get more comfortable in a studio setting, while the mistakes are still free lol enjoy!
  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. 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.
  13. Jeremy "Koz" from the band "Floor Thirteen"... Jeremy came to Seattle and trained for The Training Intensive in Seattle... a great belter from Seattle... Just thought I should share this... we also did a nice TVS shout out video when he was here... I just thought it would be cool to share the training behind the scenes a little bit then present the art that it feeds to...    
  14. 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
  15. My student Will Scott just recorded this tribute to Queen, "The Show Must Go On"... sounds great!  
  16. This is Steve Antonsen, my student for many years. Love the bluesy belts and narrowed vowels. Lots of physical strength here form singing live for many years... and great training.       The band is "Colossal Boss"... Enjoy!  
  17. Members of TMV, As you can see, we are building the #1 community for singers on the web. The Modern Vocalist can attribute its rapid membership growth to the passion and quality of our membership. We are seeing some of the best talent from around the world join everyday from every genre'; Artists, Instructors, Hobbyists, Song-Writers, Producers, Engineers and Research/Science professionals have all heard about The Modern Vocalist and are rapidly joining. We have a vision for The Modern and it is big. When we say that TMV is the #1 community for singers on the web we really mean it. There are several key factors that go into achieving our objective of becoming the number one community for singers on the web such as having a cutting-edge, interactive web site, a world-class leadership team and consistent membership growth. Membership growth is what I want to talk with you about in this blog. TMV is gaining on a very important milestone in our history, our first 1000 members! We would like to ask you to participate in a large-scale, communal campaign to push us up and beyond 1000 members by Feb. 7th. An experiment in large-scale social network badging. If you have a spare 5 minutes... Our team of community developers has discovered that simply "badging" is not only very effective and attracts people from all over the world, but is easy and FREE. Here is what you do... The TMV Craigslist Badging Experiment: - Simply go to CLICK HERE >>> - Login if you have an account, if you do not you can create an account. - Pick any major city nearest to you, or any major city you choose and click on that link on the right column. - Click on "musicians" under the top left heading titled "community". - Top right corner, click on "Post". - On "pick a category" , choose "musicians" Posting Title: "New Web Site for Singers: Posting Description: " " Feel free to write anything you want in this space... tell people what you think about the site, use your native language, or just type the web address.. its up to you. Click on "Continue" Review your posting and click "Continue" type in the security word and click "Continue" Our most important partners are our members and their incredible combined talent and experience. Every new member build more value for all of us. Help us to take our membership past 1000 members and keep our star rising in the industry. Lets watch the numbers grow and see what happens... Thank you so much for being our member, sharing your talents and your passion for building something truly unique and worthy of International acclaim. Robert Lunte Founder TMV
  18. TMV World Team

    Join us!

    If you are a voice scientist, researcher, ENT surgeon, Speech pathologist, voice coach or voice engineer - Join us on the voice specialists group: Lots of voice information to share there!
  19. Introduction TMV brings together singers and teachers representing a wide range of singing backgrounds and techniques, each with its own concepts and terminology. With the encouragement of a number of TMV members, I have volunteered to pull together a research project to collect and organize a side-by-side equivalency (or 'Rosetta Stone' if you will) of these core concepts and terminologies, incorporating the perspectives and experiences of TMV members. Our first step I am writing this blog to invite you into the first phase of this project, which is to identify terminology sources and traditions, and any particular schools, teachers, materials or training systems having their own particular verbiage that you think we should include. To participate All you need do is respond to this blog, and indicate your interest, and name a terminology source with which you have been trained, along with your most preferred genre(s), and your years of training. For example, if you are a classical choral singer that was trained for 4 years at Westminster Choir College, you could post that as 'Westminster Choir College - choral singer - 4 years'. Or, if you have been (or are currently) using one of the popular CD-based systems, Name it, your genre(s) and how long you have been using it. If you have studied with a private teacher (and feel comfortable discussing the core concepts and terminologies that they have used with you), by all means mention the teacher by name, the genre(s), and how long you have been studying with them. What I will do It will probably not take too long to collect the first round of information. In the next couple weeks or so, I will be setting up a discussion group, and inviting those who wish to help with the project to join. There, I will put up a first questionnaire, and we can begin to collect textual and sound clip examples of the concepts, and (especially interesting) clips which allow us to hear the sounds of voices using techniques and tone qualities that may have differing terminologies in the various schools/approaches. So, Let's Begin Please respond to this blog, and I will begin to build my lists! Yours in TMV, Steve
  20. Many singers identify themselves based on their voice type, such as I'm a soprano, I'm a tenor, etc. Voice type is really based on two separate ingredients: range (which notes your vocal folds can produce) and timbre (the sound of your voice). But I bet that if you ask a singer what their range is, very few will actually have the answer. That's really odd if you think about it. Athletes know their height AND weight but singers can't tell you the highest or lowest note of their range. What determines your range is the diameter of your vocal cords: the smaller the diameter (and hence) length, the higher your vocal range. An easy way to demonstrate this is to use coins as a visual example. Our smallest coin, the dime, illustrates the size of the vocal cords of the highest soprano; a penny works for the average female; for the average man, think nickel and for the lowest bass, a quarter.. Want to discover your range? It's pretty easy. First make the sound aw as in the word law or dog. Pucker your lips and allow your chin to go down at the same time. Now start on a lowish note and descend on a 5-note melody, 5-4-3-2-1 of the major scale to be exact. If you can hear your low note clearly, then adjust the pattern down a half-step (or semi-tone) and repeat the 5-4-3-2-1 pattern until your reach your lowest note. It doesn't have to be loud or even sound great. It just has to be there for it to count. When you find the note, write it down! Since most singers have 3 and 1/3 octave ranges, even beginners, your high note can be estimated by knowing your lowest note. Even if you have actually less than 3 1/3 octaves, you'll probably discover that you can produce more notes than you had expected. Here are some rough low notes and how they correspond to voice type: F (below middle C) - high soprano (expect a high A on top) D (below middle C) - regular soprano (I see this note ALL the time) A/Bb - mezzo-soprano F (2 below middle C) - alto (very rare voice type) A (2 below middle C) - high tenor E (2 below middle C) - tenor C (2 below middle C) - 2nd tenor/high baritone G (3 below middle C)- baritone E ( 3 below middle C) - bass/baritone C (3 below middle C) - bass These are of course approximate. So how low can you go?
  21. Greetings, Fellow Musicians; This will be my first weblog. Please wish me well at this. I like this aphorism: A LIFE WITHOUT PASSION IS JUST ANOTHER JOB I am a passionate sort; one of my greatest passions is good singing. Over time I expect to elaborate on just what I think good singing to be. For me, I like a lyric message construed and presented with human emotion delivered with a sound quality that convincingly supports the feeling of the music. I enjoy music of many styles, of serious, dramatic, lighthearted or comic content, but with major emphasis on THE SONG. More on that topic in the future. That's enough of a beginning for now. Of several statements on TMV I've read, I'd like to expand on Steven Fraser's description of formants and vowels. Well done! Let me amplify that message with attention to the needs of singing groups who wish to sound well. I regard Mr. Fraser's description as most worthily presented, and hope my comments reflect appreciation of his knowledge. When I talk about formants and vowels, I care to begin with a brief recognition of the work of Hermann Helmholtz. On the Sensations of Tone (1885), wherein he makes clear that a fundamental tone struck, blown or voiced also creates many upper harmonics, all integer multiples of the fundamental frequency. (Stick with me here, we're going somewhere important soon). In producing vowels, as Fraser mentioned, certain of these upper partial tones are emphasized by conscious and unconscious configurations of the vocal tract heard as a group of tones we call vowels. So, when you sing the fundamental, the pitch you want to sing, many other pitches are also heard. (We're almost there!) These various additional pitches comprise what we call vocal quality or timbre. When several singers produce the same vowel sound, it sounds great if they are all on the pitch intended and if THEY ALL SING THE VOWELS EXACTLY THE SAME! If they don't, the singing sounds out of tune. In fact, it is; some of the upper partials may be so close to another partial, that dissonance results. Not good; unless that's what you want. This is why many a cappella singers care to practice singing duets and listening to the vowel matching. The whole group: chorus, quartet or choir wants to do this. When this is done well, it's magic, and often a sound other singers have not yet heard. Try this: get a friend to sing a vowel with you at the same pitch (AH, perhaps). Listen to find if you sound good together. Listen intently as you try to make your vowel sounds exactly the same. Play around with this a little, maybe with another listener to give an opinion. Then you're on your way to better singing. Thanks for Listening.......... Musiker