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Found 14 results

  1. 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-d4-c4 melody. With enough support, I can just keep my cords closed while singing that line. However, there's another song I've been singing along to in the car which touches an A4 on the word "day". I'd really like to be able to sing that phrase, but for some reason I'm finding it incredibly difficult to articulate "day" without splatting the vowel and having my cords coming apart . I've been taught diphthongs, and I can sing an A4 on the "ay" vowel during my scales - but of course singing a scale and singing an actual song are two different things. My teacher says that I just need time to continue training my support and larynx muscles so that my vocal cords become used to being stretched so thin. I believe him, but in the meantime I was wondering if there are any other tricks that anyone here knows of that can help with maintaining cord closure while singing wider vowels on A4 and above? cheers, SN
  2. 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!
  3. 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
  4. Kevin Ashe

    Control Master

    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.
  5. 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 do and I would feel it and I didn't worry about it. But sometimes, for example when I'm nervous, actively holding the breath with those muscles combined with focusing on good closure seems easier. Then again, at times I feel like I'm holding the breath a bit more than necessary - it doesn't hurt my singing, but I feel good closure could be achieved with less engagement. The question is: should I actively focus on holding the breath in the body with my torso muscles or is focusing on good closure enough?
  6. 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.
  7. Version

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    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

  8. How to process a vocalist in a recording who does not have a very consistent tone/timbre? A good example is Marilyn Manson, he has a totally different sound when he sings in his mid/lower range, when he moves up into his higher ranges, you can see how thin and distorted his tone gets. My point is, obviously producers wouldn't treat his voice as a whole through out, right? They cut the vocal into segments and then treat the higher vocal differently and the lower/mid differently? This is confusing. I'd also like to know how they make a vocal that thin not sound annoying and shrill. He's really going for it in that chorus, while the verses are sung pretty heavy.
  9. Recording plugins are some of the most essential and fun additions for any home recording. The quality and variety of recording plugins available today is simply miraculous. With the right choice of plugins, and a little bit of skill at home recording, an experienced home recording engineer can produce recordings that sound very professional! Plugins are not just for vocal effects. They are also available to simulate vintage preamps, compressors and even recording consoles like the famed SSL console system. In the world of plugins for digital audio work stations, (DAWs), there is no company that does a better job then waves. Visit www.waves.com and learn more about how you can make your home recordings sound professional! TOP RECOMMENDED WAVES PLUGINS FOR RECORDING VOCALS! CLICK HERE TO VISIT WAVES RECOMMENDED VOCAL PLUGINS AT WAVES: CLA VOCALS *JJP VOCALS *EDDIE KRAMER VOCAL CHANNELMASARATI VX1 *BUTCH VIG VOCALS *VOCAL RIDER *HR REVERBHR ECHOREAL ADTAPHEX VINTAGE AURAL EXCITERWAVES TUNEWAVES TUNE LTDOUBLER *DEBREATHDeEsserVITAMIN *RENAISSANCE VOXTHE KING'S MICROPHONESAND A LOT MORE...!* Honorable Mentions... essential! Other Vocal Gear Required for a Complete Home Recording Include The Following Recommendations: A digital Audio Workstation - DAWs: LogicProX, Reaper, ProTools.A digital audio interface: We recommend the Scarlett digital audio interfaces from focusrite.A recording, condenser microphone: RODE Microphones: NT1, K2Pearlman MicrophonesSee The Vocal Gear Store for more suggestions.Headphones: Extreme Isolation x-29s.See The Vocal Gear Store for more suggestions.A Reflextion Fliter: SE Electronics Reflexion Filter Pro Ambience.A Pop Filter: See The Vocal Gear Store for more suggestions.
  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 larynx as in The Four Pillars, but it still goes up a lot and sound really muffled. Could this be realted to opening up my throat too much to block nose airflow? 4.To use mask properly must air come out of the nose or is the correct technique not having any air come out? 5.Does twang have any relation to mask? 6.If I open my throat a lot, so that no air comes out of my nose and "aim the sound"(don't know how to put this better) at the hard palate, up and forward, does that have a name? Gives a metal ping to my voice, but I don't know why or how. So far I'm not using it.
  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://app.box.com/s/lnvdjb8n6rdge9kuukrkc3q9mvxhvoeo   Like i said this is extremelly excessive but i do feel like the tone is fuller and sound more connected.   You will notice as i try to open up the vowel (or embouchure) i fall back to falsetto.
  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 when he goes to "turn it insaaaade outtttt yeeeeeah", it goes pretty high.. Now me, I cannot do the latter part in my chest voice and I need to use twang..    Listen to my attempt at the same song(only the intro)   https://app.box.com/s/sapjggxxuspa12u8cjpbw2ljm4x4da0v   From the beginning till 0:15, I am fully in my chest voice and I do the twang compression for "Turn it inside out".. It feels a little disconnected from my chest voice.. However, if I try to get this portion any deeper, my voice cracks(not everytime, but I don't have consistency)..    My larger question is on use of twang compression.. How does a singer visualize usage of twang.. It is whenever we cross the passagio?  Is it when we are in high head voice?