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Found 7 results

  1. Hi there, I am continuing from the "weird exercises", and the goal is to touch the more critical spots that gets in the way, instead of following the ideas of "its all mechanics" development that became the norm on the internet culture nowdays. I want to talk a bit about the subject of "power", and the problems that I often come accross. As whole I would define the problem like this: Power is a subjective perception that is on the listener side, you DON'T achieve it through a mechanical technique, you do it with music. And music in its turn is all about creating expectations and sounds that have some pattern to which the listenner can confer meaning. To clarify this, play a major scale on the piano: CDEFGAB And stop on the B. Pay attention on how you anticipate the resolution into the C on the higher octave, the B when played within that context wants to resolve into the C. This is a notion in music called tension and release. A tension means an idea that asks for a resolve, for a conclusion, the release is the conclusion itself. When playing such major scale, if you keep going up to the B (the 7th) and don't let it resolve, the idea will keep asking for a resolution, and when you finally do it, you have power . Same applies to rhythm, if you create a repetitive pattern that can be anticipated, everytime you follow it, you have a resolve. And everytime you change it, you have tension. For example, if you place an accent on the upbeat on a given spot. Anyway, the idea is that the way to think about it is first: - What is it that I can do today, what are the tools I can work with? - How can I use those things and bring the power that I want to a song? All that technique can do is expand your possibilities, but if you are lacking power, its very, very likely that there is a problem in one of these aspects, already in order of importance: Rhythm: Tempo - Nothing is more distracting and annoying than missing attacks, sustain times, resolving a note too early or too late. I am not talking about little interpretation details and creativity, I am talking about not paying attention to what is going on with the song and lack of skill to predict and follow a given tempo. It boils down to this: if you want so, you should be able to follow a beat on any given speed and NAIL the times precisely, if you try to do it and get lost on the middle of it, on a song the problem will be worse. AFTER you have good control over this, then even if you choose to do a phrase or detail more "loose", you will still be able to get back to it and thus confer this detail you did meaning (power). Time Signature: Simple example that happens all the time on rock singing, Iris - Goo Goo Dolls. Everytime someone has a problem with this song, I know exactly what I will hear: an attempt to force a 4/4 time signature on top of the song 3/3. It changes the song entirely and it becomes plain boring. You can blast your voice until you spit blood all over the mic, it will still sound boring. This changes the accents of the rhythm and you end in conflict with the instruments. Often it also causes a tempo problem because you will then have to rush here or there in order to make it "fit" somehow. Solution, pick a metronome that can put accents, and practice different time signatures on it. Pauses: Energy and power does not come from being at 100% volume all the time and then going to 120 suddenly. Its the total opposite, similar to what happens on other forms of arts, power and impact comes from contrasts . And this begins on the TIME domain. What does it mean? It means that if you don't create spots where you don't sing, and just try to FILL the song with as much vocals as you probably can, you won't have the pauses and a big part of your possibility of sounding poweful will go away. Oversinging is a very common issue, let it breath, have patience and wait. DONT sustain on every single opportunity or else when you do it will be already old (another big chunk of power is eaten away). Example, Red Hot Chilli Pepers - Dani California: Black bandana PAUSE, Sweet Luisiana, PAUSE, Robing on a bank on the state of indiana, PAUSE. First because of their style that is a kinda of a mix of funk and rock, if you are not tight on tempo you can forget it. Second, these little pauses are what makes the song live, it follows the "pulse" of the song. If you just sing through it all as one big chunk of voice it will sound weak. On "bandaNA", "luisiaNA", "indiaNA", make these NAs firm, but short, a quick "punch" of voice, not more. And there you go, power. Sustain Times: A long sustained note with vibrato is very dramatic and has the potential to sound very powerful when used correctly. You played your cards right, waited for the right moment, opened your voice and went loud, nailed the attack... And then you go for it, but you make the ending "loose" from the beat. As in, you didn't resolve together with the rest of the song. Very nice, it may be loud, but powerful, no. This "tightness" of a sustained note, has a major impact on the perception of energy, a fast and precise resolution that is on tempo has the same effect of the precision of the attack of the note. If you don't do so, it will sound like you lost the energy midway. So not only when you begin singing is important, but also when you end. Of course this can be used with the intention of creating a mood or context, if you want to convey the idea that of weakness and this "loss" of resolve, its a great way. Since the subject is "problems to deliver power", it ins't the case. There is more to it but I believe I covered the most important aspects related to Rhythm. And this IS the most important part of singing, specially on contemporary genres. Melody: I know that most would think first of being "pitchy". Or not being sure of the melody line, which leads back to the "pitchy" problem yet again. But what I want to discuss is something else. Music is a rather complex form of art and there are MORE than one way to arrange notes within a given key that sounds correct, there are many scales that can be used, and its not uncommon that more than one can "fit" some place without sounding wrong. However! If you change the scale, you will change the feel of the song. And often this can cause problems related to "power" and deceive you into thinking that the problem is technique. And this happens SPECIALLY when there is a point of tension ON the melody, because we naturally want to resolve it, and if you don't pay attention, YOU WILL resolve it. You may be visceral on the singing, but the tension will go away, and you will have a "easy sounding" phrase instead that can very well drop the ball. Remember what I said about the 7th wanting to resolve? Its a semitone interval to the octave, and its not uncommon to have songs that hit on it a couple of times without allowing the resolution. Its very easy to get used to resolving it into the octave on the middle of the phrase, and it can be a challenge to spot this kind of problem. Solution: No easy solution unfotunately, I recommend picking sheet music on a few songs and studying them through it. I also recommend using a piano or another instrument with equal temperament and carefully transpose the melody note by note. Some pieces specially, if you move into more elaborate music, can be challenging in this regard. Dynamics: And we are back to contrasts, but now not thinking of TIME, which is still the most important, but levels. I have already talked about this on other threads, but the core idea is: 1 - know your dynamic range 2 - use it to create patterns Without getting into details on how to use it on the interpretation, the main problem here is not KNOWING your dynamic range, or not respecting it. In this sense. Lets say you have volumes from 1 to 5 to use. So you start the song on 4, then on the pre-chorus you go to 5. And now the chorus... would need to be in 6. You could be lead to believe that the issue is not being able to be loud as you want, but there will always be a limit. If you don't play your card right through the song, no matter how strong your voice gets, you will always trying to do something PAST your capabilities, and on some songs this will make it impossible to create power. Solution, insteand of begining on 4, begin on 2! And that's all. Look at the whole, what is the peak of energy that you will have? What is the valley? plan your dynamic range in relation to that! Vowels: This is not on the technical sense. It works like this, in a nutshell: Open vowels sound stronger than closed ones. So if you decide to sustain an open vowel, it will sound one way, if you decide to sustain a closed vowel, it will sound another. Example, song "Perfect Strangers", opening phrase is: Can you remember, remember my NAME". Now on "name" you have two choices, you can do n-eh-EE-m, or n-EH-ee-m, the vowel in caps is the one you choose to sustain. If you sustain on EH, sounds strong, if you sustain EE it sounds softer. Simple as that. You also can do modifications with the purpose of respecting a metric that is constructed on the song, or slightly modify a vowel to change its feel. But you must be aware of that, if you don't observe this, and choose the wrong vowels for the job, you can also affect power. So in order of importance, if you have a problem with power, look at this in order of importance: 1 - Rhythm 2 - Melody 3 - Dynamics 4 - Vowels The strictly mechanical part of technique here is, in my opinion, the least important factor. Having more options and choices is good, but it does NOT equal making good use of them! I did a video playing around with these ideas in practice, in special showing the difference between blasting it out without paying attention to these details, and... well singing it. Should be up on the weekend!
  2. Thought someone might like these. New to me, but some of you may have heard these. Zeppish/Beatlesque stuff from 90s Both of these are versions of the Jason Bonham band. Motherland (1994) was the name they used for the Bonham band after they replaced Daniel MacMaster (who sang on the song "Wait for You") Then in 1997 he formed "The Jason Bonham Band" with Chas West on vox. I have heard that name before, associated with Red Dragon Cartel (Jake E Lee) but I dont think he sang on the album with Jake. Also I remember that he was the singer for some of the "Bonzo Bash" concerts. But I never heard him on an album Chas West is a beast! Distorts a lot like Jay Buchanan of the Rival Sons love it Zeppelin/Steve Wonder vibe Strong Beatles feel (IMO)
  3. Please leave a comment below if u are interested in getting ur track mastered for only $5!
  4. Do you have music on Spotify, iTunes, etc? If you do not, we offer services to post your single, albums, or EPs on up to 14 major music platforms cheap! If you have music on Spotify, we can jumpstart you with tremendous amounts of plays for very cheap prices. If you earn royalties on your music, you can actually make money off of these 100% organic plays. Lemme know what you think! 1,000 Plays - $10 ($4) 5,000 Plays- $40 ($20) 10,000 Plays- $75 ($40) 50,000 Plays- $350 ($200) 100,000 Plays- $500 ($400) 200,000 Plays- $750 ($800) 500,000 Plays- $1500 ($2000) 1,000,000 Plays- $2500 ($4000) 2,000,000 Plays- $4750($ 8000) those are our prices, the prices in the parentheses is how much you would make off of the plays if you made .004 cents per play. (.004 cents per day is the lowest amount of royalties given by spotify.
  5. Not really sure where to post this but I wanted to pay respects to Scott Weiland. He passed away, today, Friday 12-04-2015, at the age of 48. He was found "unresponsive" in an RV in Minnesota. Many suspect that his substance abuse problems, which have been no secret and even cost him his job as singer for Velvet Revolver, may have contributed to or even been the cause of his passing. I had read the memoirs of Scott Weiland earlier this year and even in his thoughts, he had a sense of poetry. He is, of course, known mostly for having been the singer for Stone Temple Pilots. Later, for Velvet Revolver, and lately, was on tour with a band that he put together. Whatever it turns out to be, I am not here to judge. We all have had struggles to overcome and we don't always make the right decisions. But, when possible, do what you can to take care of yourself.
  6. So, You Want To Be A Singer? by Diva Joan Cartwright CHAPTER 6 - REPERTOIRE Having a list handy of all the songs you sing in alphabetical order with a column for the key in which you sing each song can be invaluable when you meet musicians. If you are that organized, then you can probably fill the bill as a singer. Keep adding to the list as time goes by, until you've filled up two sides of the page. Try to include the composer of each song. Example: 1. A CHILD IS BORN C Thad Jones 2. A FOGGY DAY G Gershwin 3. A NEW WAY OF SINGING THE BLUES F J. Cartwright 4. AFRO BLUE Cm Coltrane 5. AIN'T MISBEHAVIN' Eb Fats Waller Versatility is a plus. It always helps to know songs in more than one genre. It may be necessary to have more than one list or categories, if you sing in two or more genres, for instance you may separate songs by: Jazz Blues Gospel Rock R&B Latin/Samba/Bossa Broadway Country Pop or Top 40 Hip Hop Reggae Contemporary Another way of categorizing songs is by composer or artist: Anita Baker Antonio Carlos Jobim Aretha Franklin Beatles Billy Joel Billie Holiday Cole Porter Duke Ellington Ella Fitzgerald Randy Crawford Stevie Wonder Whitney Houston Always have a list of your original songs, as well. That way people understand that you are a songwriter. Have a few copies of your songs in case other musicians want to play, sing or record them. In time, you will be respected as a songwriter and people will begin to request your songs, before they request songs of other artists. Buy this book at http://stores.lulu.com/divajc See all of Joan Cartwright's Books
  7. So, You Want To Be A Singer? by Diva Joan Cartwright CHAPTER 6 - REPERTOIRE Having a list handy of all the songs you sing in alphabetical order with a column for the key in which you sing each song can be invaluable when you meet musicians. If you are that organized, then you can probably fill the bill as a singer. Keep adding to the list as time goes by, until you've filled up two sides of the page. Try to include the composer of each song. Example: 1. A CHILD IS BORN C Thad Jones 2. A FOGGY DAY G Gershwin 3. A NEW WAY OF SINGING THE BLUES F J. Cartwright 4. AFRO BLUE Cm Coltrane 5. AIN'T MISBEHAVIN' Eb Fats Waller Versatility is a plus. It always helps to know songs in more than one genre. It may be necessary to have more than one list or categories, if you sing in two or more genres, for instance you may separate songs by: Jazz Blues Gospel Rock R&B Latin/Samba/Bossa Broadway Country Pop or Top 40 Hip Hop Reggae Contemporary Another way of categorizing songs is by composer or artist: Anita Baker Antonio Carlos Jobim Aretha Franklin Beatles Billy Joel Billie Holiday Cole Porter Duke Ellington Ella Fitzgerald Randy Crawford Stevie Wonder Whitney Houston Always have a list of your original songs, as well. That way people understand that you are a songwriter. Have a few copies of your songs in case other musicians want to play, sing or record them. In time, you will be respected as a songwriter and people will begin to request your songs, before they request songs of other artists. Buy this book at http://stores.lulu.com/divajc See all of Joan Cartwright's Books View full articles