Jump to content

Search the Community

Showing results for tags 'M2'.

  • 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.


  • Product Reviews
  • Articles
  • Interviews


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 14 results

  1. When shopping around for a live vocal microphone, I had never really considered trying out a condenser mic, as the vast majority of vocal mics out there are dynamics. While I have used plenty of great sounding dynamic mics, I always thought it would be great to find a live vocal mic that could combine the sensitivity, clarity and extended frequency response of a large diaphragm condenser microphone with the feedback and sound rejection of a dynamic. After years of using the standard Shure SM58 and similar dynamics, I was curious to see how a condenser microphone would perform in real world live singing environment. At my bands next show, instead of using the SM58, I decided to take the Rode M2 for a spin in the hopes that it would give me some of those studio condenser qualities I described above. During soundcheck, I noticed the soundman actually had to turn to me down as the Rode was noticeably more sensitive than the Shure it had replaced. Since the M2 sounded great during the soundcheck, I was confident that it would be a worthy choice during the show. Throughout the performance, my voice had a lot more midrange cut which allowed my singing to be even more expressive as I could hear much more nuance and detail in my vocals than ever before. The Rode enhanced sensitivity meant that I did not need to get as close to it as I would a standard dynamic, which allowed me to ride the mic more than usual and effortlessly jump between breathy whispers to full-on screams without the volume level changing too drastically. Having never used a condenser live vocal mic before, I was a little worried that there would be some distortion if I belted too loudly into the mic, but the Rode was able to handle everything I did without distorting or sacrificing clarity. I don't know if it was the Rode M2 specifically, or rather the confidence I felt while using it, but I received more compliments on my singing after the show than I ever have before. I was surprised that the soundman came up to me after the show to find out which mic I was using. While I wouldn't say that condensers are necessarily superior to dynamics when it comes to live vocal mics, I can honestly say that I love the sound of the Rode M2 and it far exceeded my expectation of bringing the sound of a quality condenser studio mic to the live stage. If you are thinking about buying a condenser mic for live vocals, there are a few things that you will need to consider. Condenser mics do require the use of 48v phantom power, so if your PA or mixer does not have it onboard, you will have to buy an external adapter which will run you an additional $20 - $50 depending on which model you buy and how many features it has. The other important thing you will need to know is that even though Rode has an exceptional reputation for building extremely durable mics, condensers are a little more fragile than most dynamics, so you will want to take some extra care when storing and transporting this model. Additionally, the diaphragms are susceptible to moisture so you will want to keep the mic sealed in its case with its own moisture absorbent desiccant pack whenever you are not using it. One feature the M2 has, which many vocals mics are missing, is the on-off switch, which comes in handy in situations where uncontrolled feedback is encountered, such as when someone turns the wrong knob and mistakenly cranks the PA. If you are currently shopping around for a live vocal mic, you should definitely check out the Rode M2. The M2 does cost more than your run-of-the-mill standard and entry-level live vocal mics, but after putting the mic through its paces during my show, I know that it was money well spent. http://www.rode.com/microphones/m2 Order directly from The Vocal Gear Store NOW! Review by Travis North *This product review is a courtesy of The Modern Vocalist World and is endorsed by The Vocalist Studio International.
  2. Hi guys, I have been following many methods and Rob was one of the first guys that got my attention on the internet so I decided to come over here and share my first 2 videos on youtube. I started practicing 3 years ago and I was unable to imagine that I would one day share my voice with public so I practiced in car or forest or in an empty buildings . But I thought that the time has come to get my ass to the studio and share the partial success I got from my practice. I know it is a long road still and I am not gonna stop now - I will continue practicing everyday to get my voice to the top level. So here are my two precious things
  3. Hey guys. So I've been singing for some years now. I'm classicaly trained, theoretically a tenor, but I could never manage to understand and make the adjustments to go higher than F4 without breaking into M2 or straining a lot. Last year I started reading a lot about voice physiology and learning contemporary singing technique. Now I can go sometimes even up to G5 (not a pretty singable tone yet, but it's there). From Bb4 up I can somehow manage a lighter sound that doesn't sound like M2, but between E4 and A4 I can only do full-on belting or something lighter but with a lot of constriction (arytenoids I guess). I'm trying to achieve a lighter and freer M1 (mixed?) sound in that range, and so I've been reading and watching many YouTube videos on that, but I'm very confused with the way scientists and vocal coaches differently name the registers and stuff, so it's being hard to clearly understand what they mean and choose a way to approach the matter. I have to say that I personally think the names Chest, Head and Mixed Voice are terrible and extremely misleading, and they did nothing but prevent me from moving forward. Understanding the vibratory mechanisms and the filter/resonance adjustments is what really is helping me evolve. And although I understand a lot of people don't benefit from scientific explanations, it's really works for me. From what I understand, SCIENTIFICALLY mixed voice can be either: 1. M1 with less vocalis contraction and more nasal airflow/rhinopharyngeal resonance, as used by man and women in contemporary music and by men in high notes in classical. 2. M2 with more rhinopharyngeal resonance and twang in the higher range in contemporary singing. 3. M2 with more rhinopharyngeal resonance in the female first passaggio in classical. And head voice can refer to: 1. any sound in M2 2. only M2 with cartilaginous adduction Now I'm really confused with how vocal coaches use the terms. For me, the sound of what many demonstrate as Head voice - specially those who don't count falsetto as Head voice - is not M2 at all, but rather my first description of Mixed voice (less compressed M1 with rhinopharyngeal resonance). Which makes me think, when they say head voice they are referring mainly to head resonance (rhinopharynx) and not to the vibratory mechanism M2. So although many exercises for bridging/mixing/blending DO go from M1 to M2, and this is of course also used in actual singing, the "bridging" that happens most of the time in the mid-high range is simply the adjustments to go from M1 with oral resonance to M1 with nasal resonance, to allow the laryngeal tilt, less compression and lower subglottal pressure without breaking into M2. I'm still beginning in the science stuff, does anyone with more knowledge in that area agrees, disagrees or have any other thoughts on the subject and on how I could approach a softer sound between E4 and A4?
  4. Hello I am having real trouble finding my falsetto, I can't make that effortless sound, it is always strained. I was always able to make a voice that I thought was falsetto, but I got to the conclusion that is flageolet instead. I got really used to it and it is relaxed, and really sounds like falsetto, but I think it isn't falsetto mainly because: - It isn't connected to chest voice. I know sometimes it's difficult to connect head and chest voice, but this is extremely disconnected, it is a different world. - I am able to transition smoothly from whistle to this flageolet. Not trying hard at all, just lowering the pitch from whistle, I end up in this voice. Demo: https://instaud.io/3rzk So, an example of this strained 'falsetto', in a moment with the voice quite tired (so that the strain is noticeable): https://instaud.io/3rzm Same song, in flageolet (I know it sounds a lot like a falsetto):https://instaud.io/3rzd An example of a song, in falsetto, that sounded better, in a moment my voice wasn't that tired: https://instaud.io/3rzf (Yes, I like Ed Sheeran XD). This is as close to a relaxed falsetto that I can get. So, any advice on how to find that relaxed falsetto? Maybe I am still unable to do it because I have those muscles untrained? I've tried yawning, making the sound of an owl, or Mickey Mouse's voice... Everything is strained. Any advice, or exercise? Thank you in advance Whistle to flageolet.mp3 Strained falsetto.mp3 Flageolet.mp3
  5. I decided to run a little experiment and (for the first time in my life) analyze exactly what notes comprise the M1, M2, and what I'll call M3 regions of my vocal track. Just for fun, and to share with some of my fellow voice geeks here. Even though I received effective vocal coaching, it was a long time ago when popular vocal teachers did not bother explaining or analyzing anything unless you were willing to sit there and pay $80/hr. to chat (never happened for me). As a result, I never paid too much attention to notes and my "range." I would always reference songs my vocal hero's were singing, and I could tell my M2 notes were getting beefier from the vocal instruction / training. It is interesting to note that, after so many years of singing without strain in M2, I actually forgot how to pull chest voice. I discovered this one day when someone asked me to explain to them how I was able to sing "tenor notes" when they knew I was a baritone. I started to explain the difference between M1 & M2, I wanted to sing an example of straining to sing a high C. We all had a laugh as I struggled to remember how to pull M1 that high without singing in M2. So, lately I've been contemplating expanding my range a tad higher than I've been satisfied with for so many years. The pdf illustrates what I found out about my "instrument." I thought it was interesting to see how much more agile my M2 is than my M1! The overlaps are also interesting for me to see correlated with the notes. I'd like to start training those weaker M2 notes. I'd like to see if I can change the pink D#5, and A5, to red! Only two notes yet, I know it will take a lot of effort, those notes are not easy to make beefy. MY VOCAL TRACK ILLUSTRATED.pdf
  6. 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
  7. This is not a song I would normally try to cover but my wife has been playing it over and over. I needed to record it to get it to stop playing in my head. Any thoughts on what I need to improve on is welcome.
  8. Did this a little while ago. Sang it with a lady friend. Did the whole thing in falsetto, or, as Rob might say, "falsetto mode"
  9. Take a listen to this Magnificent bastard! Beautiful tone and control! Tons of messa di voce throughout the song.
  10. Recently I've been breaking a lot from chest to head (specifically falsetto), as I'm trying to extend "chest" more (I'm already working on support, placement, formants, etc.. not to break). I'd like to know if breaks are harmful to the vocal folds. If yes, why?
  11. The vocals on this entire album are mind blowing!!!   Listen To This!     Freddy Curci         Freddy Curci on Wikipedia
  12. Hi guys, my range is not that great, I can sing in head voice only up to E5 before I cannot get higher. I can use chest range up to F4. The interesting thing to me is that I can sing the same note in head voice and chest voice at multiple pitches below F4. I read in my studies that Manuel Garcia did this with his student, but in my CVT book it says it is dangerous to use falsetto below C5. I am sorry if this is a dumb question but is there any benefit to singing the same note in m1 and then m2 or is this unhealthy for the voice? How is this beneficial or harmful for male voice training? After doing this back and forth for a couple of minutes my voice feels awkward and confused.
  13. There is something in my voice I have always wondered about that is sort of frustrating.  About a year back I didn't have any sensation of connected head voice.  (I.E. I could not bridge at all into a light phonation, I could only flip to a different "falsetto" register that was in no way consistent or bridgeable.) Since then I've discovered a connected sound that I can bridge on increasingly stronger levels with but one thing deeply concerns me.    I see all these demonstrations (sometimes from complete beginners) of people bringing their voice through their entire bridge and into the fifth octave with head voice without having to flip at all.  When I try to do this my voice can't pass G4.  Instead, at G4 my voice flips into what I would call my "Falsetto" voice.  This is quite annoying to me because I desperately want to be able to bridge into the fifth octave with a light, but compressed sound that is capable of bridging seamlessly back into chest.     So my question to you guys is, is this a normal problem that some people encounter?  Does anyone else have this problem as of now? And also, what exactly would you define the register I flip into at G4 that I call "falsetto" as? Is it something I should train or completely throw out? I am going to provide links of me utilizing both of these different voices in M2 I have to illustrate exactly what I am talking about.     Bridging from M1 resonance to M2 and my voice flipping at G4 without me having a say in it:   http://picosong.com/2gkp/   My "falsetto" voice:     http://picosong.com/2gYu/   So, the main question would be, how do I make a connected bridge on a light level without having to "split" into that flutey register?  
  14. Hello all, I come to you with a question that I can't find answered anywhere else in the way I'd like it to be.  I've been singing for a few years now and I am quite happy with my voice.  I have a quite strong chest voice that I am currently stretching into the fourth octave inch by inch. (I am still at the point where I am losing ease and starting to strain by C#4) However, what I strongly desire is to have a beautiful head voice sound that can cover all dynamics from soft and pretty to loud and powerful.  I used to not have any head voice tone whatsoever available to me but about a year back I found I was able to make the smallest strained peep in a head tone around D4 and since then it's been getting easier but still can only phonate at extremely quiet levels.   So, my question is, how does one grow their head voice to get a more resonant tone?  I can sing in head voice comfortably up to E4 at this point and stretch it up to G4 but it's so damn quiet.  What do I have to do to grow this sound so that I have the dynamic control to swell the tone into bigger resonance?  I assumed I just had to keep practicing with it even if it is very quiet but now I am worried that singing so quietly isn't doing anything for the sound's resonance as the volume of my head voice is still just as limited as it was when if first discovered it.  If anyone can give me some reassurance as to how to truly grow the head voice to have strong dynamic control and range I'd most appreciate it.   Here is a clip of what I assume to be my head voice currently sounds like: http://picosong.com/5Zhf/  If I try to increase the volume on this sound at all it turns into crackling noise and cuts out.     Thanks!
  • Create New...