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How did you hear about TMV World?

Found 25 results

  1. Hi! I'm new to singing, but I really have received much feedback on my voice. I'm a little lost in direction with what kind of songs I should go for or if I am in the wrong genre altogether? ill provide some links to some songs that I have tried. I'm really really inexperienced and uneducated with music. I've never been through any vocal lessons, and I haven't been through a music class in my life. The only reason I'm giving it a try is when im at a karaoke night at a bar a lot of people tell me that I should really get into it? Let me know what you think and if I should continue? Also, genre and/or song recommendations are also greatly appreciated. Any and all feedback is welcome. Song Links: 1. Don't Know Why - Nora Jones: https://www.youtube.com/watch?v=WERaHzmllfo"]https://www.youtube.com/watch?v=WERaHzmllfo 2. Dream a Little Dream of Me - Ella Fitzgerald: https://www.youtube.com/watch?v=l9J0EmQp7T8"]https://www.youtube.com/watch?v=l9J0EmQp7T8 3. Let it Be - The Beatles: https://www.youtube.com/watch?v=fRCpFphs6b4"]https://www.youtube.com/watch?v=fRCpFphs6b4 4. Dock of the Bay - Otis Redding: https://www.youtube.com/watch?v=RV3t2YT2fhM"]https://www.youtube.com/watch?v=RV3t2YT2fhM
  2. Link: https://youtu.be/WERaHzmllfo This is my cover that i did of “Dont Know Why” by Norah Jones. Any and all feed back is welcome. Please review this song and let me know how you feel I did on my cover.
  3. I think many of us have a favourite singer or someone we want to sound like. I've been practising a song and I just CAN'T sound the same. I can get the same feel and all but it's just a much brighter voice than mine. In a way singing is the only instrument where you can't get the same sound always as someone else, guitarists can pick a tone first then just buy whatever gear they want. I'm not really talking about range or skill but timbre, can anyone relate?
  4. Yo TMVW People, Pals, and fellow lovers of sangin'! If you watch this video (starting after 5:05) past the alien stuff, the author explains some impressive voice technology advances made by Google. It's interesting, ... and I thought it was funny that the first thing I think of is how now ( soon ), any person who can mimic the singing mannerisms (a good impression of their articulation) of a famous singer, and has decent rhythm (those are "some" of the most basic skills), could turn on the effect and now, out of the speakers comes the Artist of their choice (on a drop down menu no doubt ) Dio, Mercury, Jackson, Elvis, take your pick! Actually having vocal cords that sound like the artist no longer required to book a tribute band gig! feels like a step beyond pitch correction to be sure. Just fun with toys to me however, I know there are purists who might find this a disgusting perpetuation of a digital cancer on musicianship. anyway, just a crazy funny thought I had after watching the video.
  5. I've gotten really good at pulling chest but I think for long term success I'll need to find a neutral position to sing in and eliminate strain. So my question for you guys is how do you make sure you can put in the right amount of effort to keep the breath flowing and not have the throat clinch up. What I've been doing to practice this is not pushing myself at all just trying to breathe and remain neutral and let the tone and the notes come, if they don't come I either go falsetto or change the note of the song I'm singing. I still feel like strain and reliance on the throat can creep in though maybe not enough to cause hoarseness but probably enough that it's not allowing the breath to support the cords and limiting my voice to one certain timbre and volume. I think having a breathy tone is a better starting point than having a solid tone because at least then you know the breath is flowing and from there you can work into a solid tone to keep stamina reserved. Just a little discussion on the topic of strain and remaining neutral I feel will be good.
  6. I had mentioned this singer "Chris Stapleton" in another thread. Thought I'd share this video/song he recently published. I was really struck by the numerous examples of solid vocal athleticism that arise in this performance. I try not to overanalyze every good vocal too often, cuz sometimes I loose the "soul" of the song in my ear from all of the deconstruction I use to understand the vocal. Couldn't resist on this one. Still "hearing the soul" to date. I've tagged all the key words that I believe I recognize "done well" in this composition. Personally, I'm most impressed with his mastery over what I would assume are the critical configurations which bring great resonance with comparatively low level respiration. I'm convinced that, with the best possible formant, combined with the strength support of skilled appoggio, the "illusion" of a belt is created. He is singing at a relatively low volume yet, the intensity of his voice is sustained. The same nuance is applied to his vocal distortion, which he employs mostly in the higher notes. Those are my impressions.
  7. Yo! All my fellow singing geeks! I came across the article I've linked here (below video). I thought it is was very well written (a quick read), and includes a couple comments by Justin Stoney (coach most of us probably know from Youtube). I have read & posted in our "techniques" forum regarding so called "Natural Singers," percentages of the population who are or are not, training, and etc. Hope this helps lend some clarity to the matter(s). article - Singing Tips: Have A Certain Skull Shape, And Other Science Behind Carrying A Tune http://www.medicaldaily.com/singing-tips-have-certain-skull-shape-and-other-science-behind-carrying-tune-308372
  8. Hello, I am having a serious and rather uncommon vocal issue and I was wondering if someone could shed some light on the situation. In early May of this year, I was very, very careless with my voice. I had always sung through basically blunt force trauma, but my voice had always rebounded- except this time, it didn't. For months I had pain after speaking , loss of range and projection problems. Finally, I was diagnosed with a hemorrhage of the false vocal folds. I was told it wasn't permanent, and put on modified, not total, vocal rest. From what I understand, true vocal fold hemorrhages are extremely serious...but I can find no information about false vocal fold hemorrhage. It's been about a month and I'm still having problems with all of this, if not worse problems. My concern is, what role do false vocal folds play in speaking/singing? If it's just a false hemorrhage, wouldn't that have a minimal effect on my speaking voice and vocal range? I often get hoarse as well. I'm very concerned with scarring and permanent changes.
  9. Hi, I have recently started practicing vocalizing a simple "EE" vowel and trying to hold that note, and I notice that it realy helps with cord closure. For example, I'll start the note on "EE" and be breathy for just a short while.. keep the air going.. and at some point it feels thats the cords come close together and a clean tone is produced, and after that I can hold the note with the clean tone in it. I am very curious to know what is the explanation behind this vowel and how does it work? Thanks!
  10. I was pondering these metaphors and thought I'd see if I could expand it some. Let me know how you see it! Easel is the pedagogy/coach Canvas is the formants Paint is the phonation Colors are the acoustic qualities & vocal modes Brushes are the intrinsic muscular configurations & appoggio Frame is the musical context/setting (band, choir, acapella, singer w/ instrument, musical, etc.) Lyrics are the finished image Lighting (as in a gallery) is amplification & vocal effects
  11. Had another epiphany tonight, I made the realization that I've been doing a bunch of downward slides on notes because it's easy. But what about upward slides? Upward slides can make high notes sound less disjointed when you start on a consonant that has a lower pitch. It will also emphasize more control over the diaphragm I suppose. Question though while singing with my guitar playing friend tonight I found it was easier to sing mid to high notes in a higher register especially once the higher register had been entered, got me thinking it should be possible to slide up and down registers the way you do with notes in a certain register. So why is it harder to sing a mid-high note in the lower register then it is to sing some of the top high notes in the higher register? (it makes sense but what should be emphasized when singing to the peak of a lower register?) is it because more subglottal pressure is necessary for the lower register? I thought more support was necessary for super high notes but it seems sometimes that a mid range note in the lower register needs tons of support while a high note in the head register needs much less support?
  12. I just read this article about Xfactor's vocal coach who also trains Jessie J, Sam Smith and others famous singers. I found it quite interesting towards the last part of the article that he talks about needing raw talent to get the most out of your voice. What do you think? Do you agree? https://medium.com/for-life-journal/the-x-factor-vocal-coach-who-saw-money-in-one-direction-7481d565a24d#.igbgyo7zp
  13. CVI vs TVS: Review of “The Four Pillars of Singing″ BY FELIX, ON APRIL 21ST, 2015 So I finally decided to buy “The Four Pillars of Singing″ by Robert Lunte (TVS, The Vocalist Studio). Some of his tutorials and lectures on YouTube caught my attention and after a few days of consideration (+200$ is a lot of money) I decided to give it a try. When I started my singing studies I had decided to look at as many different approaches as possible and learn as much as I can and Robert Luntes perspective is certainly interesting and he definitely knows what he is talking about. I will compare his training system to CVT (Complete Vocal Institute) because it seems to be aimed at the same target audience. “The Four Pillars of Singing” is a comprehensive vocal training system that includes a book, over 350 videos, audio training content, detailed training routines, guide files and a robust learning management system that allows you to take a comprehensive course to study and master the TVS Method. It offers workouts starting in the key of C and G (to make it easier for women to use), training work flows and training routines for over 64 workouts, guide files that help you learn how to perform the workouts quickly and a very useful interface that organizes this massive amount of content. A user interface like this, is not available in any other program.. Robert advertises it as being the system with "the most content in the history of mankind". That is not only marketing but certainly a fact. But what does it mean? There is a lot of data in here, that’s for sure. The content of the book is similar to what CVT teaches. Especially the TVS method for organizing the vowels of singing into what they call, "Acoustic Modes". But unlike the CVT vocal modes, the TVS Acoustic Modes have stripped out a lot of additional levels of complexity, focusing only on where the singing vowels resonate in the voice and their respective sound colors. It is a very effective and intuitive way to learn about the acoustics of singing. In addition to ideas from TVS such as training work flows (teaching students to train with "step by step" instructions), specialized onsets and vowel modification formulas, "Pillars" also offers "physical modes" which are essentially very similar to the EVTS voice qualities or Estill modes. If your looking for CVI and Estill concepts as well as the unique TVS techniques, you can only find it in The Four Pillars of Singing. The focus is on all styles of singing. The 616 page book includes descriptions and illustrations of all the important components for singing; physiology, acoustics and mental imagery. The product is very comprehensive and a lot of work has clearly been put into it. With CVT, you only get a book and some sound samples and that leaves the less skilled voice student lacking for guidance and instruction on how to train and practice. One of the strongest aspects of The Four Pillars of Singing very well may be, that it seems to not miss the important point that students of singing technique programs have to have the content and guidance that no only teaches them the method and techniques, but also teaches them how to apply the techniques with training and practice routines. The sound samples with CVT are helpful, but the value is far below what you get with The Four Pillars of Singing. Then there is Robert. He sure is an interesting voice coach, he sounds very credible and his way of teaching is captivating. In a real-life coaching situation, that might be great and it certainly is important if you want to reach your full potential as a singer quickly. What is better, CVT or TVS? Should I buy Complete Vocal Technique or The Four Pillars of Singing?... or BOTH? It is important to point out that both systems are actually compatible together, but if you had to make a choice, given that "Pillars" already includes the main CVT premise, vocal modes oriented around singing vowels, then The Four Pillars of Singing is the way to go, given that they cover that topic with the "TVS Acoustic Modes". If you are a person who needs or learns faster with video tutorials and audio files to listen to in the care and practice with, then "Pillars" might be the better choice for you. Learn more about "The Four Pillars of Singing". Read reviews on Amazon.com. CLICK HERE FOR AMAZON.COM REVIEWS >>>
  14. Hi all, If you looked at the "Vocal Health" sub forum, you might have a seen a few topics that I have opened regarding issues that I had and exercises that I do and help to fix my speaking voice. Basically I use singing vocal exercises that work on my lower "chest" voice range, more specifically Lip Rolls, "Ya"s, "Gi", "Keh" and Humming. My main issue resolved around the volume of my speaking, and this situation became worse when going out to loud places like Bars or Clubs. Hence, why I started doing these exercises and they surely helpd me mostly with cord closure.. But yesterday I discovered something new and wanted to ask you guys about it. I was on my way to a friend, 30 minutes drive, knowing that we were about to go to a loud bar. So I used these 30 minutes drive to warm up my voice for the apparent extensive use I was going to. And then after doing humming and lip rolls and Ya's and Gi's and more.. I kept feeling that my voice is still not "loud" enough, and still coming from the back of my throat mostly. Having recently heard about Twang exercises, the Mum exercises that are used by alot of voice teacher for vocal projection, and the use of the "EE" vowel to help with closure and brightness, I then remembered that I saw somewhere the "MEE MEE MEE" vocal exercise and decided to give it a try. So I started by Humming a song, and during the humming I opened my mouth for a "MEE" on some notes here and then so it looks like: mmmmmmMEEmmMEEmmMEEmmMEE.. I am not sure if when I did the MEE.. at first it was bright.. and then more twang like EE ... can't exactly remember it. Anyway after doing this for about 2 or 3 minutes, I tried to examine my speaking voice .. and all of the sudden I got a new sensation that I didn't have before: I felt that the voice was coming from the middle of my mouth - right above the tongue, and right below the hard palate. As if it was resonating from the mouth. It was strong, LOUD and powerful. It literally felt like I shifted the placement of where the voice was coming out of - instead of the back of the throat as used to be, to the middle of the mouth. I wanted to know.. is this MEE exercise realy the reason for it? is this what it's designed to do?
  15. A GREAT BOOK ON THE ACOUSTICS OF SINGING I just had a great discussion with Ken Bozeman, the author of the book, "Practical Vocal Acoustics - Pedagogic Applications for Teachers & Singers". We talked a lot about how the CT and TA relate to each other and specifically, what they are doing inside of contemporary belt voice. I think I am lot more clear on CT/TA involvement now and "get it". I also have this book guys. It talks a lot about the acoustics of singing, but is practical and not too difficult to follow. It comes with a CD and a web site you can check into with supporting materials. I highly recommend. I'm posting it here since there was a lot of discussion about CT/TA in here and I think Ken's publication needs to be brought to your attention. CHECK IT OUT! CLICK HERE TO GET THE BOOK! http://www.kenbozeman.com
  16. Introduction In the male voice lower and mid ranges, (what has been traditionally called the "chest voice"), the harmonic structure of the sung tone contains many partials - harmonics, which fit nicely into the pattern of resonances for any particular vowel chosen. Throughout this range, the strong, lower harmonics are reinforced by the first vowel resonance corresponding with Formant 1, (F1), midrange harmonics are reinforced by the second vowel resonance from Formant 2 (F2), and higher harmonics are emphasized by the higher "twang" or "singer's" formant resonances. The combination of multiple, powerful low, midrange, and high harmonics present in all vowels is a distinctive characteristic of this section of the male voice. In contrast with this, in the male high range, (what has been traditionally called the 'head voice'), the harmonics produced by the voice are higher in frequency and more widely spaced. Here, few of the harmonics fit into the vowel resonance pattern. For one particular span of notes in the head voice, there is no significant resonance available to amplify the lowest two harmonics produced. To achieve vocal power and consistency of tone in the high voice, the male singer uses what he has available, "twang" (singer's formant) and the resonance from F2 strengthening harmonic 3 or 4, depending on vowel. Between these two resonance strategies is a region of transition, too high for the 'chest voice' strategy, and too low for the F2 alignments of the 'head voice' strategy. This transition region is the passaggio. Acoustics of the rising fundamental Throughout the voice, as the fundamental frequency moves, the alignment of harmonics and resonances for a vowel changes. On an upward-moving scale or leap, the fundamental and all the overtones rise in frequency. Since the harmonics are spaced at multiples of the fundamental, the harmonics also get farther apart, too. For most of the chest voice range, this is not an issue, as the resonance from F1 covers a wide frequency range, and midrange harmonics are close enough together for at least 2 or 3 of them to get some benefit from F2. These conditions apply to all the vowels. However, in an upward pitch pattern, as the voice passes middle C (C-F, depending on voice type) eventually the scale reaches a region in the voice where the alignment of harmonics to formants is no longer advantageous. Overall vocal power and tone quality will be lost if an adjustment is not made. The particular point in the male voice where this occurs is as the 2nd harmonic passes F1. Visualizing harmonics and the /e/ vowel in a spectragraph As illustration of this, what follows is a series of spectragraphs made with different fundamentals sung to the vowel /e/ (ay), made using my own, baritone, voice. As representative of a lower chest voice tone, the first is of the A natural just a bit more than an octave below middle C , also known as A2. Each vertical blue line represents the intensity of a particular harmonic, where 'up' = louder. Low frequency harmonics start on the left side. The leftmost peak is from the fundamental, and if you look at each peak to the right of that (increasing frequency of harmonic), you can see that the 4th harmonic is the very tallest, and then the peaks become successively shorter. This peak volume for the 4th harmonic, and the emphasis of those surrounding it, is the result of Formant 1, F1 in its position for /e/ in my voice. Harmonics to the 'left' of the formant center get progressively louder as they get nearer to it, and those to the 'right' of the formant center get softer. Proceeding to the right is a section of quite harmonics, not so tall in the display, and then there is another build up to the 13th harmonic. This is the area amplified as a result of the location of Formant 2, F2. The spacing of F1 and F2 is what makes this vowel sound like 'ay' to the listener. After another gap, there are two more areas of emphasis, which are the result of F3 and F4, clustered together. These formants move very little vowel-to-vowel, and form the high frequency 'brightness' resonances of the singer's formant. The reason we start with this: for any given vowel pronunciation, (like /e/) the formants stay at the same locations even while the fundamental (and the associated harmonics) are moved during the production of different notes. Especially important in the understanding of the male passaggio is the relationship of F1, F2 and how the harmonics align with them. A2 on /e/ vowel. Harmonic spacing As mentioned earlier, for any given sung note, harmonics are always the same frequency distance apart. That frequency spacing is the same frequency as the fundamental... the note being sung. So, if a fundamental is 110 cycles per second (like that A2,) all the harmonics will be 110 cycles apart from their neighboring harmonics. You can see this equal spacing in the picture above. Because of the closeness of the harmonic spacing, you are able to see pretty well the 'shape' of the formant regions. Up an Octave The next picture is of the same /e/ vowel, but singing the A up one octave, the A just below middle C, A3, which is 220 cycles per second. Notice that the peaks are farther from each other than in the prior picture... now they are 220 cycles per second apart. Looking at the peaks for a moment, you can see that the amplification effects of F1 and F2 are still in the same place (left to right), but now different numbered harmonics are boosted, and fewer harmonics are affected by each individual formant. In the case of F1, the 3rd harmonic is now the most emphasized, with the 2nd harmonic also getting some help, while F2 is emphasizing the 7th harmonic tremendously, but not much else. This excellent alignment of F2 with a harmonic makes it really ring distinctively, and is an example of 2nd-formant tuning, which will get discussed later. Finding the exact location of F1 for /e/ Are you curious about the exact location of F1? Look at the bottom of this next picture, right beween harmonics 2 and 3. See the blips? All voices have some soft, non-harmonic noise. When that noise falls under a formant, it gets amplified enough to measure. These low blips on the spectragraph are the giveaway to the location of the formant. A3 on /e/ vowel Continuing the scale upward As I continue up the scale from A3, three things happen due to the musical intervals represented by the harmonics: 1) My 2nd harmonic gets closer and closer to F1, strengthing that harmonic. This makes the warmth of the voice 'bloom' in this region, and the resonance makes it possible to oversing some and still get away with it. 2) My 3rd harmonic gets higher above F1, and so it gets progressively softer. In combination with #1, this changes the tone quality somewhat. 3) F2 tunes to successively lower harmonics. These three trends are very important in understanding the male passaggio. More on 'What happens when a harmonic rises above a formant'? As a particular harmonic rises above a formant center, it rapidly decreases in intensity. In this next picture, now singing Bb3 (up just one half step from the A), you can see the effect on the 3rd harmonic. It is quite softer now when compared to the 2nd harmonic. For this note, the principal power of the vowel is being carried by the 2nd harmonic. You may also note that the F2 tuning is emphasizing harmonics 6 and 7 more or less equally. That is because F2 is between them. Harmonic 7 is no longer in the 'ringing' position, and harmonic 6 is not yet high enough to be there. Bb3 /e/ vowel The male upper chest voice My voice is now in the 'fattest' part of the upper chest voice, where most of the vowel power is coming from the 2nd harmonic. This range is just about a perfect 5th wide, because that is the spacing of the 2nd and 3rd harmonics. The region begins as the 3rd harmonic passes F1, and ends as the 2nd harmonic passes F1, in other words, for my /e/ vowel, from the Ab below middle C, to the Eb above middle C. This is what makes my voice a 'low baritone' quality. (Note, you can still see the noise blip.. its getting closer to the 2nd harmonic the higher I sing) Now, the Db in the following picture. Notice that there are little noise blips on each side of the 2nd harmonic. This indicates optimum alignment of the harmonic with F1, the place where the 2nd harmonic is exactly aligned with F1. Db4 /e/ vowel The effects of strong resonance on ease-of-singing Through the entire compass of my voice, up to this point, lower harmonics have been boosted by F1, which has provided for some cushioning effect for the vocal bands. That situation is about to change significantly as the fundamental rises past this point. A very important challenge to the singer as this happens is to resist the temptation to maintain vocal power via pushing. And now to the Eb. The 2nd harmonic has just past F1. Its still very strong, but will lose ground very rapidly as I proceed upward. This is the beginning of the tricky section of the passaggio, where the resonance provided to the 2nd harmonic decreases rapidly, and I must, to retain vocal power and tone quality, find another way to shape the vowel. Eb4 /e/ vowel My next post, 'Male voice passaggio 102' will discuss the various strategies that can be used to retain resonance through the passaggio.
  17. One of my bigest problems with singing at this moment is pitch. I have been practicing my pitch by using a guitar tuner. Is this a smart idea or im creating bad habits?
  18. What are the top things to remember when training narrowed vowels? Please share... I'll start. Here is my contribution. NARROWED VOWELSHow To Sing Narrowed Vowels & Their BenefitsThere are three kinds of vowels in singing; open vowels, middle vowels and narrowed vowels. As many students of singing of all levels of experience can tell you, when the lyrics of songs take the singer into narrowed vowels, the singing voice begins to become troublesome if they are not executed properly. In fact, the inability to sing narrowed vowels are one of the major reasons why the singing voice does not cooperate when singing, especially in the higher regions of the voice. Not only does the strength and skill to sing narrowed vowels serve the practical need to be able to articulate narrowed vowels in your lyrics, but, narrowed vowel training is also important resistance training work. When you train narrowed vowels, you strengthen the adductors and intrinsic musculature you need for a stable voice, a more modal sound color and belting. Putting it the point, narrowed vowel training is great for developing your belt voice capabilities. Therefore, narrowed vowel training gives you two primary benefits. When singing narrowed vowels, it is important that you lower the acoustic mass (overall energy). If you do not lower the acoustic mass of narrowed vowels, they will not be able to amplify and stabilize. Narrowed vowels with too much acoustic mass, causes constriction and/or instability of the vocal folds and your singing. Primary Benefits of Training Narrowed VowelsImproves the ability to articulate narrowed vowels in your lyrics when singing to make your diction easier to understand to the listener.The muscle strengthening and coordination from training narrowed vowels helps augment your belt voice training.Primary Narrowed Vowels When SingingNarrowed Edging VowelsNarrowed Neutral VowelsNarrowed Curbing VowelsVowels Follows by /r//i/ "ee" as in see /I/ "ih" as in sit/ɔ/ "aw" as in law/ʉ/ "oo" as in you /ɣ/ "ou" as in wouldWhen a vowel is followed by an /r/, it is called "r-controlled" vowels, or "r-colored" vowels. /ar/ sound as in car, guitar, Arthur /âr/ sound as in care, bear, mare, scare, aquarium /îr/ sound as in pier /ir/ sound as in turnip, spider, certificate, and beaver /or/ sound as in manor, observatory, author, brought, and orchard /er/ sound as in butter, cutter, and mother* These word samples are English language equivalent, but the same rules apply for other languages that make the same sounds. Three Points of NarrowingThe Singing Vowel / Sound ColorAll three acoustic modes have narrowed vowels as well as the vowels that are followed by /r/. The Vocal TractThe vocal tract, or physical space that is resonating your vowels literally narrows.The Acoustic MassThe mass of the phonation MUST lower or "narrow" metaphorically, in order to insure that the vowel will continue to amplify in the formant.
  19. What an experience I had teaching two masterclasses at Mount Saint Mary's University in Brentwood, California for The Vocalizeu artist intensive week, April 10-19th, 2015. I have to admit, I was extremely nervous as I do not like public speaking. Throw a wig on me and ask me to perform for thousands- that's easy. But speaking about something as divided and controversial as singing technique, well, that's another animal. During the months leading up to the presentation, I was trying to figure out how to present my philosophies about singing not only to a room full of artists, performers, singers, and musicians, but also to a round table of "who's who" in the singing/science of singing community such as Mindy Pack, Dave Stroud, and Karin Titze Cox MA CCC/SLP/Vocologist (Daughter of Dr. Ingo R. Titze- if you don't know him, Google him. He's basically the father of science and practice of voice rehab. Nobody is more in the know of voice than this brilliant man) as well as many other professional teachers. With that being said, I wrote some notes and tried to follow a script. But in the end, I just had a blast helping a lot of singers. Everyone at the Masterclass was so understanding of my nerves. They put me at ease so I was able to explain and demonstrate the tools that I have been using onstage and in my home, scaring my neighbors to death, for the past 25 years. Not to mention my wife and daughter dealing with my ups and downs and keeping me moving forward as an artist. I would like to thank everyone for making this a great experience. A special thanks goes to Mindy Pack for asking me to do this, Dave Stroud for believing in me when I didn't believe in myself, Fawna and Ian for dealing with my horrible internet skills, and lastly Karin Titze Cox for giving me confidence by letting me know that the things I teach and believe in are solid, making it a little bit easier for me to believe in my abilities. Thank you everyone! I can't wait to do more with the VIP Crew! Daniel www.yourvocalteacher.com
  20. I've recorded a new song. The recording quality isn't ideal because I don't have my editor anymore. This is the raw recording. What do you guys think? https://soundcloud.com/aaron-chap/smoking-it-low ​
  21. New cover of Shakey Graves! He always has fun acoustic guitar parts and interesting lyrics. Enjoy!
  22. How to Sing HIGH Notes - Sing Like You Speak - Detailed Vocal Training Click here to see the VIDEO lesson. Hey all- This funny yet improvised SKIT on How to Sing HIGH notes is an introduction to the reality off what SINGING HIGH MEANS. Singing High Notes can no longer be a myth. What you think of being High and Low doesn't make you a better singer. Singing better makes you sing high notes. Don't be shy visit the VOCAL BLOG. A Slice of Singing right now for more vocal tips and if your serious about singing and what to start vocal lessons today you can do that SingLikeYouSpeak:http://www.singlikeyouspeak.com/
  23. Vocally and otherwise speaking. The world, evidently, gone crazy. And, unfortunately, it looks like it could be to the point of no return. Let's examine what has happened to the world lately? What has happened is that nobody speaks, especially on the phone. Everybody is texting and e-mailing and practically nobody communicates otherwise. Not necessarily any of those people have a voice problem; and that's why they are afraid to speak. But, all of them, however, independently, have a problem in common; they simply do not know how to communicate anymore, (voice problem or not). Some of them, primarily young people, who were born in this technological craze, evidently, had never been taught either how to hand write, nor how to read actual books, (not the internet mishmash), and let along speak, as even passing school tests, they had to respond in writing; choosing one answer out of 3 or 5 choices (multiple choice method). How scary is that? Some of them cannot even sign their own name, unless electronically! In my world, those, (the above described people), are often inquiring about either singing or speech lessons or, moreover, about non-surgical voice repair for their damaged or per-damaged voices. And guess what, they do not choose to speak to me over the phone, and they are e-mailing or texting to death until I give up answering in writing, as first of all, it is very time consuming and a lot of things are getting lost in translation. Moreover, I explain to these people that in order for me to know what I will be dealing with, I NEED to HEAR THEIR VOICE!!! 2 Days ago, It took me almost 6 hours in total to convince the person, with obvious speech impediment, to actually call me. During that call, I found out that I was conversing over the cyberspace with a young girl who was an University of Toronto business graduate and who would definitely never be able to find a job, unless she would fix her voice and her actual speech, which, in turn, would give her confidence and the ability to pass the job interview. I had no clue if it was a male or female, as she happened to have a unisex African name, which could be suitable for any gender. What does that tell you about our society today? My evaluation on the latter would not be getting very high marks. But what is most frustrating is not even as much the young population who don't know otherwise, but my generation and older, who knew and experienced relatively good and fulfilling lives without any electronic interference and then lived happily ever after. However, nowadays, even them, sometimes in the late 70's, refuse to speak on the phone and bombarding me with e-mails and requests to fix their problematic vocal issues via Facetime or Skype! Go Figure! What have they done for the last 60 years, and how did they manage to live and function without this electronic pollution, so to speak Beats me. The question is: if the people do not want to use their voice for any communication, why fix it? If they are, so to speak, being mute most of their awakened time, then why are they thriving to get their voices back? Isn't that redundant? In this society, to say it bluntly and sadly, they only need a smart phone and somewhat decent computer, and they are very well on their way It's all good, but is it normal? Perhaps for the animals, it could be, but here, we are talking about human beings who, at least occasionally were (ordered by the Higher Power), to use their brains and their voices, for that matter.
  24. This post is a 'by request' from some of the other members, extending our vocal acoustics analysis to one of the most famous arias in the Tenor repertoire, 'Pour Mon Ame' from Gaetano Donizetti's opera La Fille du Regiment (aka, the Daughter of the Regiment). The note that we will examine is the last high C in the aria. FYI, this aria is famous for having nine of them. Along the way, I will extend some of my comments made in an earlier blog post about 'Engineering Artifacts' that can work their way into a recording through the use of EQ applied during the recording or production process. In the case of two of the recordings, the effect is clearly visible to different amounts. The tenors I have selected for this comparison are Juan Diego Flores and Luciano Pavarotti, both of whom have enjoyed success with this aria and the stage role. Each recording was taken from a live, staged performance before an audience. Here is the spectrograph of Flores' two renditions. Since this note is sung unaccompanied, I was able to use the noise floor (that is, the loudness of the silence) between the first 2 harmonics to match the relative volume of the performances. The 'blue' tracing is from YouTube at http://www.youtube.com/watch?v=8spp0nCrKH0 The 'white' tracing is from http://www.youtube.com/watch?v=3aS6M8j3pvQ If you recall from my blog post from a few weeks ago, I mentioned that one of the artifacts of EQ tweaking is a 'too regular' appearance of harmonics in the display. Normally, each harmonic has its own intensity, and we do not see regular 'curves', 'arcs' or 'flat spots' in the response. We do expect to see peaks when we compare harmonic-to-harmonic, as this is a characteristic of vocal formants and resonance tuning strategies by singers. We do not expect to see the noise floor rise appreciably, and then level off. With that in mind, examine the white and the blue tracings. In the neighborhood of harmonic 1 (fundamental, H1) and H2, the noise floor (the low spots between the peaks) is almost identical, and the peaks of those two harmonics closely resemble each other in intensity, with a little advantage to the white recording. Perhaps the recording mic was a little closer, picking up the ambient noise at about the same level, but a bit more of his voice. That is to be expected when a staged performance (not a studio recording) is being used. Now, look at how the white and blue lines diverge between H2 and H3, not just the peaks, but the troughs between them. These areas are elevated in both recordings, but the white recording more than the blue. I think this is an indicator that both of the recordings got some EQ help in this frequency range, with the white recording receiving more than the blue. For comparison, here are the same notes from Luciano Pavarotti, both from live performances, in white at Covent Garden, and in Blue, at the Met in NYC. At the Met and at Covent Garden In these two recordings, there is very little change in the noise floor across the displayed frequency range, though it looks like there is just a bit more room noise in one. Neither one of these two recordings show any artifacts of EQ boosting at all, perhaps because they are already pretty good at vocal clarity. Since the white trace noise floor actually softens, perhaps the engineers turned him down a bit above 2500 Hz. :-) It's interesting, too, to see the effect of performance miking on the audio. To the ear, the Covent Garden recording sounds a little less 'present', as if the mic is farther away from the stage, or off-axis from the soloist. You can readily see that the blue recording (from the Met) shows substantially more energy in the singer's formant region, which (for Pav) is harmonics four to six. These four recordings (two of Flores, and two of Pavarotti) show that they both use the 2nd-formant tuning to the 3rd harmonic (as discussed a few posts ago) and also singer's formant, the combined resonance strategy. This essay was first published January 6, 2009 on The Modern Vocalist.com the Internet's #1 community for vocal professionals, voice health practitioners and pro-audio companies worldwide since November 2008.
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