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Found 167 results

  1. I offer a online vocal training service. I can send you to an online voice teacher. check my profile!
  2. What are some techniques that will help a student learn how to use good breath support?
  3. I'm working with a voice student who struggles with breath support and applying that to her singing. Any suggestions for exercises, application techniques, choral excerpts, etc. for "breath application"?
  4. Which vocal course is best? (I want sing mainly rock - from art rock, blues rock, swing to heavy metal but too can sing most of music genre) I hear (mostly) good opinions about: Ken Tamplin Vocal Academy and course '' How To Sing Better Than Anyone Else '', Kevin Richards (Rpm Vocal Studio) and course '' Breaking The Chains '' ''Superior Singing Method'' of Aaron Anastasi And '' Singing Success 360'' of Brett Manning What do you think about these courses and which is best and help me 'increase' my voice? - Lyssie
  5. Robert Lunte & RØDE Microphones present four weeks of vocal training in Germany, Italy and France. April, 2018. For information click the links below or reach out to the people tagged in this post. See you in April! TVS Events Page http://bit.ly/TVSEvents Download The Tour Poster HERE: http://bit.ly/TVSMCTourSpring2018 14-15 APR Ansbach, Germany http://bit.ly/TVSMCAnsbachGermany 21-22 APR Pescara, Italy http://bit.ly/TVSMCPescaraItaly 28-29 APR Cagliari, Italy http://bit.ly/TVSMCCagliariItaly 1-2 MAY Nimes, France http://bit.ly/TVSMCNimesFrance If you have any questions about the event or private lessons, contact me on my personal email or here at TMV World. I look forward to helping you with your singing. You will get results, guaranteed.
  6. I'm unaware if this video has been posted here before. I think it underscores what's wrong with some vocal coaches who seem to remain stuck in outdated teaching methods from circa 1985. I would have come away from my first voice lesson with the exact same opinion were it not for the fact that a major rock star told me his coach increased his vocal range, stamina, and power significantly! I went to his same vocal coach. I went to the first lesson expecting that whatever the coach instructed was gold, and I was going to follow it blindly! After all, I had seen the results in a singer he taught! It's true, just like Grohl implies in this video, after that first lesson I thought, "it just seems bogus that these singing scales are gonna help me achieve what I'm wanting vocally!" There was very little in depth discussion about what the science of the vocal instruction was. It was just, take this cassette home of the scales I just recorded you singing, and practice them every day for at least an hour. Next week when you come back, we're gonna work on vibrato. Then the next lesson, another cassette, until a large volume of dollars drained out of my wallet. It's very cool how Rob Lunte blazed the trail on vocal pedagogy in the last 15+ years. It's a model that brings a more holistic and specialized comprehension, which translates into augmentation of vocal development/improvement. To say nothing of his engaging training system, and the re-engineering of "singing scales" or "vocal workouts" (chiefly - onsets) to maximize the students ability to feel more tangibly what is occurring in the vocal track, and why. I don't know who this coach was that Cobain went to, but you can see there wasn't enough understanding at the end of his lesson. AND, if Kurt blew his voice out, why did he come home with a cassette of scales? (see any of the youtube videos or threads on exercises for vocal damage). peace! k
  7. Vocal Athlete Intensive Seattle, WA USA - May 14th - 18th Five (5) Day Vocal Intensive to ACHIEVE YOUR VOCAL POTENTIAL with Robert Lunte & Draven Grey.RESULTS: Take ownership of your voice with hands-on, results-driven coaching. You will learn the top tested exercises and get the feedback for doing them correctly.CONFIDENCE: Get behind the mic knowing exactly what to do and how to do it. Sing with confidence from a solid vocal foundation with a performance that is uniquely you.MASTERY: Achieve your vocal potential. With a proven pedagogy for modern singing, we will show you the way out of vocal frustration into mastery.Study with Robert Lunte, Founder of The Vocalist Studio, author of critically acclaimed vocal training system The Four Pillars of Singing and internationally recognized voice training school for hundreds of voice coaches. Draven Grey is an accomplished musician, vocalist, rock singing teacher and music industry expert. He has coached bands across the world in their careers, released multiple books and course on the music industry. www.VocalAthleteIntensive.com ******************* Be sure to check out the Facebook Event and show your interest: https://www.facebook.com/events/158276921614589/ *******************
  8. Robert Lunte and producer Jason Shavey mixing a new song, "The Fool That's Now Forgiven". Just a casual behind the scenes video of two guys working on a great song. This board is an SSL4000g. The microphone was an ADK U67. Enjoy! http://www.TheVocalistStudio.com http://www.SynergyNW.com
  9. I am working with a new voice student. She has been a piccolo and flute 8+ years. I am trying to find some effective warm-ups for her. She is able to match pitch and has more confidence singing in her lower range. She has been recently singing with a very pressed sound and is very tense when beginning warm-ups. Trying to find warm-ups to help combat these things!
  10. How do you correct a vocal fault (that could be potentially harmful) when the student can’t comprehend what you’re telling them to do to change how they are singing?
  11. I am teaching a voice student currently who has trouble retaining pitches in her head while she sings. When given pitches on the piano, she has good aural skills to correct herself. Do you have any suggestions of what types of exercises I can use to help her learn how to better retain pitches in her head? Thank you.
  12. Robert Lunte from The Vocalist Studio provides an overview of the significance of the Bernoulli effect in singing and how understanding this principle, can help you to train more efficiently and gain more progress as a singer. This excerpt is from the 2nd webinar with Draven Grey.
  13. Robert Lunte from The Vocalist Studio provides an overview of the significance of the Bernoulli effect in singing and how understanding this principle, can help you to train more efficiently and gain more progress as a singer. This excerpt is from the 2nd webinar with Draven Grey. View full articles
  14. As I've mentioned in other posts, I've been taking lessons for a few months with an opera/musical theater singer, and I've played a whole lot of different singers I enjoy for her to hear her opinion, and I find it interesting to hear the impressions of someone from a different world and different sensibilities. I thought I'd compile all the ones I remember into a collection because I was also curious to hear reactions: Chris Cornell: Disliked. "He's just screaming in the one part. And his high notes are very thin, but he puts all the scream and effect on it. If you heard it without that stuff it would just be a very weak sound." Bruce Dickinson(Iron Maiden): Disliked. "Sound is thin, poor technique on higher notes, badly produced vibrato." Dio: Unimpressed. "Again, just a thin tenor putting some effect on his voice." Warrel Dane(Nevermore): Liked. "Good control. He's making a choice on every note." Eric Adams(Manowar): "One of the best sounds of all the singers you've played for me. But still a thinner tenor voice." Mike Patton: Liked. "Nice voice, clearly knows how to sing. But I wish I could hear his natural sound more instead of all this 'put on' stuff he does." Tarja Turunen and Marco Hietala(Nightwish): "You can hear both these people know how to sing correctly, they're just doing some weird things because that's the style I guess. Forcing the straight tones is making her sound flat, and she knows that, but she still does it." Devin Townsend: "If I were his ENT doctor, I'd love him, because of all the money I'd make form all the damage he's doing. He has to be on steroids to be doing what he does consistently. Either that or he's just a freak." Eric Clayton (Savior Machine): "Completely different from the other stuff you've shown me. Sounds like a regular baritone stage voice." Daniel Heiman (Lost Horizon): "Not bad. He's doing some of that weird stuff again, but he sounds good otherwise." Alissa White-Gluz (Arch Enemy): "Oh God, that's a woman!? I can't listen, it's too painful, she's ripping her vocal chords to shreds." Phil Anselmo (Pantera): "I guess it's...kind of like singing." Tim "Ripper" Owens (Judas Priest, Iced earth): "His voice will probably last a bit longer because he knows what he's doing and being very controlled about it." Mikael Akerfeldt (Opeth): "He's got a nice voice." Mikael Akerfeldt growling: "There's no way he's producing that sound naturally. Either that or he's doing it very quietly and it's made to sound much bigger."
  15. I'm a metal/progressive rock/classical guy taking lessons with a classical opera singer. It's always an interesting thing bringing her vocals to listen to. Some get better reviews than others, but the most common thing I hear from her is that the vast majority of vocalists are wrong for my voice, because they're just too high and light, and I have a bigger voice with a darker color. I kinda knew that was true of someone like James LaBrie, but Bruce Dickinson, Eric Adams, Dio, etc. I wouldn't have called them smaller voices, or the highest, or the thinnest, but to her they are. I one guy she thought was a bit closer match for my voice was Tim 'Ripper' Owens, or maybe that I could get get away with singing stuff from baritone-y guys like Eric Clayton of Savior Machine, who has a cool voice but it's usually a different thing. To her, a voice like Geddy Lee is just an exceptionally odd VERY light and high male voice, almost off the spectrum, and 90% of the rock singers out there are light, thin tenors. She asks if I have some other things to bring her that aren't like that, but it seems in rock, almost everyone has that sound, and with the exception of a few baritones here and there. The implication - the world of rock and pop is just filled to the brim with light tenors wherever you look these days. Even on Broadway these days this is all the rage: (Also interesting my teacher thought the composer should be shot for making the singer do that B5 at the end in that style, because it's certain to cause damage over time, and this singer did indeed have to take a break because of voice trouble I think). I mean, if you listen to something like this: ...this kind of voice can't help but sound a bit old fashioned. But really, it's just a natural male voice, singing as it would naturally sound. But there's practically no place for that voice in pop or rock, it seems. I suppose the question is, to what extent are we talking about just a lot of thin tenors, and to what extent are we talking about singers who might be baritones or low tenors, but who thinning their sound out, because that's the style?
  16. Hello everybody! So my last thread I asked for help on mixed/ middle register. I have been working on it for a little while now but I still feel like I'm shouting and using too much air on belting high notes. It's as if I'm trying to sing it rather than just letting the sound out. Here is a comparison: and me lol: Any tips or advice is appreciated. Don't know if I'm shouting because I can't get that cord closure properly in my higher registers or if it's a bunch of different things. Woke up a little hoarse today too after singing for around 2-3 hours heavily. this is so annoying Thank you ! Love this forum for all the help I get
  17. Hi to everyone! I've been reading this forum for a couple of years now and always found it very interesting and helpful in dealing with some of my own issues, so I thought I'd post this project that I've got going on. For a long time, I have suffered from vocal tension and inability to sing past D4 without pushing the "chest voice"/ overly-engaging the TA's basically. However, in the last year or so, I have experienced great relief after starting to do falsetto exercises suggested by Anthony Frisell in his manual "Training Baritone Voices". After reading many other sources later on, I have started questioning the usefulness of voice classification, purely from psychological point in the beginning (belief that one is a lower voice and its effect on the voice and singing), but now also physiological (neglecting upper range), especially in contemporary music (pop, rock, jazz, music theatre...). So now, I am writing a dissertation on the validity of voice classification in contemporary music and have already got some interesting answers. However, since there is barely any research done in relation to contemporary music, I would really be grateful if any of the members here, who give voice lessons, would participate. This is the link if anyone is interested: https://goo.gl/forms/uLMWByDMKYv4IWMk1 Thank you and feel free to spread the link if you find it useful! In general, I would also love to hear your opinions on this. Do you think tutors should classify their students and why?
  18. Hi Guys, I would like to welcome you to my new website where I offer accompanying services- I provide already pre-recorded tracks as well as customised ones. Don't hesitate and get in touch. https://www.pianoaccompanimentforyou.com/
  19. I was updating my website today and thought I'd add a new product for the fun of it. I don't know if I'll do this forever but as of right now I guess i'm a vocal coach. anyways..... if you're interested http://jaromeubanks.com/merch/c9om5vie7lbht7buj4v4o428wutdbc
  20. I'm curious if I am doing this right... I'm not even sure how to explain it. Here is a guy teaching it .. it's in korean but he's basically saying try to "pull" the sound out from the chest instead of having the sound fly out through ur mouth. Can someone explain to me in what way is this taught normally? Is this just the feel of "open throat?" or "support"? AND if this is how it should feel then how do I get that "mask" placement without losing that DEEP breath support? This way helped me develop my mix but I'm curious if this method is correct and is just another way of teaching the same thing? example done by a professional performance. (The sound literally sounds like a really low soft mix voice in the intro and when belting it sounds like the vibrato is so free and resonating really low. Is this how proper singing should be done? I am just wondering on how I should properly train and do warmups/workouts..
  21. NEW REALITY SHOW Synopsis: Vocal Coach Julia Amisano takes on NYC area people who think they can’t or shouldn’t sing and helps them achieve their musical dream. (Must live close enough to NYC to audition in person and film if chosen). Have you or a friend or loved one, always wanted to learn to sing?Is there something musical you (or your friend or loved one) have always wanted to achieve but never thought you could? Do you sing in the shower but not in front of anyone else? Do you have an event, or occasion or you want to sing for? Are you a 1st generation American or an immigrant looking to achieve the American Dream through music? Then you should be on this new show!! Looking to cast a diverse range of people interested in taking a chance on themselves to try for their musical dream. We are looking for interesting and diverse stories about people who think they can’t sing but are willing to try in order to achieve something miraculous. Please submit a 2-3 min video (via link) to GMSNYCasting@gmail.com. Must be submitted by May 31st to be considered. Must include the following: Who are you? Please state your name, age, where you are from. What is your musical dream and why do you want to achieve it. What would achieving your musical dream do for you, your friends or your family? What has been your biggest obstacle to achieving your dream so far? What is your cultural background? What is your level of experience with singing, if any? Why do you want to learn/improve your singing? What kind of music do you love? What do you hope to accomplish with an experienced vocal teacher? Please sing a few bars of your favorite song. Thank you!
  22. A voice change can indicate a problem of the vocal health. It can range from cold to allergies and even vocal cord cancer. Here are a few voice changes that can indicate a certain problem: 1. Raspy voice- This voice is caused due to the growth of vocal cord nodules. The prominent reason of this is due to the misuse and overstraining of the voice. It is important that in order to maintain the voice, one should take singing lessons at a certified vocal school. 2. Hoarseness of voice- This kind of voice can be a symptom of throat cancer, thyroid cancer, lime disease, or brain tumors which are caused due to excessive smoking. Therefore, it is important that one must not smoke and live a healthy life. 3. Nasal voice- It is also known as hyponasal which is typically caused by deviated septum which can cause cold and chronic allergies. Therefore, it is necessary that one should properly maintain the vocal health. Maintaining the vocal health is very necessary to avoid any problems in the near future. Therefore, one should not strain the voice unnecessarily and take help of a professional to keep the vocal health maintained. ---------------------- I am Music Tutor, I like to motivate people to join music, and make a brilliant career in singing. Please share your experience. ------------------- Vocal School San Jose | Voice lessons san jose | Voice Classes san jose
  23. I have tried searching the internet and forum for clear answers to my questions, but can't seem to find anything coherent. Here are my questions: 1. Does mixed voice (speech level singing mixed voice) belong in classical singing (please specify male and female)? 2. What are the differences between classical technique (male and female), and mixed voice? 3. How can mixed voice be applied to classical singing/teaching? They may seem like generic questions, but look it up yourself, nothing on the web is clear. These need clear concise answers for the world to understand! Thank you for your contributions.
  24. Recently I have noticed a lot of bad behavior when it comes to the treatment of others in the singing community (specifically Tristan the controversial former member of the forum). He has posted some videos "attacking" other coaches but to me, they were actually more playful and brought some light on a lot of the bull sh*t that is so popular in the community these days. If you watch his videos you know that the majority the coaches he "attacks" he actually supports a lot of what they have to say. However, on the other side I have seen nothing but bullying and harassment to him. Yea, his vocal method is heavily flawed, yea his bashing videos sometimes go to far and yea he maybe has a little to much beef with Robert (although I don't know what has happened behind the scenes) but he deserves to be treated like a human being..... he has brought a lot of quality ideas and concepts to the community, please have respect thanks!
  25. I just had a vocal lesson before, and this kinda drove me nuts, because I'm sure I'm right, but so was she ("I'll bet you money on it"), so I just needed to confirmation that I am right: Tenors read the treble clef, but sound an octave lower, yes? The highest range for a classical bass or baritone would be around F# or G, and you would write that 2 1/2 or 3 lines above bass clef, which is the same as the second line of treble clef. If we're singing, say, a Schubert baritone piece, the G written above the Treble clef will sound an octave lower. Pavarotti hitting his high C would be written two lines above the treble clef, but sound an octave lower; as the third space in the treble celf ...and high rock singer like Eric Adams of Manowar here at 5:13 : ...is hitting a high F# a tritone above Pavarotti, which would be WRITTEN 3 lines and a space above the treble clef for a tenor, but SOUND on the top line of the treble clef. She is trying to tell me that this is wrong. That tenors do NOT read an octave off, that the high F# in the Manowar is the same as a top line F# in a Schubert piece ("You only think it's higher because his voice is so thin"), and Pavarotti hitting his high C is going a tritone above both. And...unless I'm missing something huge, that can't possibly be right. Yes? Or no? I mean, I tried to show her by singing the pitch, and showing where it sounded the same on the piano, and she kept insisting, "No, you're singing that (plays an octave higher)" It got so we both had to just drop it. But...this seems obvious to me. So, what's the verdict?