Jump to content

Search the Community

Showing results for tags 'compression'.

  • Search By Tags

    Type tags separated by commas.
  • Search By Author

Content Type


Forums

  • WELCOME & HOW TO GET STARTED!
    • Welcome New Members!
  • SINGING & TRAINING TECHNIQUES
    • General Discussions
    • Vocal Health
  • REVIEW MY SINGING
    • Review My Singing
  • VOCAL GEAR
    • Microphones
    • Recording For Singers
    • Vocal Effects / Processing
  • SEEKING VOCALIST / VOCALIST AVAILABLE
    • Seeking Vocalist / Vocalist Available
  • ARTICLES / GEAR REVIEWS / INTERVIEWS
    • Vocal Gear Reviews
    • Singing Articles
    • Expert Interviews

Blogs

There are no results to display.

There are no results to display.

Categories

  • 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

Categories

  • Product Reviews
  • Articles
  • Interviews

Product Groups

  • UNLIMITED SINGING REVIEWS
  • PROFESSIONAL SERVICES
  • SINGERS TEA & INHALER

Calendars

There are no results to display.

There are no results to display.


Find results in...

Find results that contain...


Date Created

  • Start

    End


Last Updated

  • Start

    End


Filter by number of...

Joined

  • Start

    End


Group


Web Site URL


Phone


How did you hear about TMV World?

Found 14 results

  1. 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 (a
  2. 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 tryi
  3. Quick question to any vocal coaches willing to give some advice As someone very new to singing, the current note I'm training is my A4 (which seems to be a problem note for many). I can just about maintain cord compression and keep an open throat if I'm just touching the note in a phrase, but only on a closed vowel - i've recorded an example below to illustrate what I'm doing: https://vocaroo.com/i/s0l0Ga7xiHob (I know I still have some pitching and breath issues - I'm working with my vocal teacher on those) The phrase "and I'll tell YOU all about it" follows a d4-f4-g4-A4-g4-f4
  4. So here is my cover of Steelheart's I'll Never Let You Go. Let me know what you think of it. I do accept all sorts of criticism regardless of whether it's positive and negative. Any suggestions or tips on how to improve I would greatly appreciate it!
  5. 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
  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
  7. I recently discovered the importance of cord closure in singing. It made singing so much easier and accessing the mixed voice feels just so natural and good now. But, it kind of changed my view on breathing in singing. I don't understand if I should just focus on cord closure or actively focus on keeping the breath in the body with abdominal, back and intercostal muscles. Before I worked on cord closure so much, I would focus on what was happening with my torso muscles, but when I started developing good cord closure it all came naturally. My muscles would engage as they were supposed to
  8. Can anyone recommend exercises that help with chord closure and compression with low volume singing? I often use mezza voce exercises, but wondered if there was something else anyone might recommend.
  9. 0 downloads

    Gary Osborne is the founder and inventor of Lampifier Microphones. Lampifier Microphones feature a unique, build in compression solution that uses light as its medium. Lampifier microphones are great microphones and offer an interesting and unique solution to compression for singers. Gary Osborne www.Lampifier.com
    Free
  10. I have a few assorted questions:   1. How can I tell the difference between twang and regular glottal compression in the sound? That is, I know twang is used because it improves compression, but what is the difference in sound (or specifically in sound color) and sensation between the two? 2.Is twang the same as pharyngeal voice? If not what is the difference?(I have a feeling James Lugo will nail this one) 3.When I try to twang on higher notes my larynx jams up and my sound ends up muffled and with extremely poor ressonance. Any way/exercise to fix this? I'm trying to dampen the lary
  11. Hi all, I have noticed that my high notes (I guess G4 or more) seem to be getting too much air.  I don't recall having this problem before.  I am doing a lot of the mums and mooms and working a lot with the "uh" sound, trying to do CVT curbing.  Any advice on how to get it cleaner and tighter?
  12. So im working with 4Pillars and the term that is referd to tons of time is "Twang". And Quack and Release onsets is kind of helping students find that Twang configuration. Now ive been experimenting with this Quacking sound lately and i am doing this sound which i dont know if its correct.   Now i am aware this is NOT a sound i will be using when singing, but what i want to know if this is a proper way of finding that Twang thru EXCESSIVE quacking.   Obviously i want to aim for the effect that Quacking provides (adduction i guess) but in a more beautiful tone.   https://ap
  13. It has been pointed to me that one of the issues I have in my singing is my not being able to maintain twang compression.  This is a very interesting thing for me to ponder about.     To me, twang configuration is something that helps me reach high notes with ease.  On the other spectrum is the chest voice, which is pure and so deep.  I have a certain degree of depth in my low voice that I would like to use.     When I approach a song like "Don't stop me now" it creates a tremendous confusion for me.  Freddie starts of with an amazing chest voice and
×
×
  • Create New...