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Hey guys I'm a 14-year-old girl, who has ALWAYS been an EDM girl. Which means not so much singing, more beats. After Avicii´s death, I just couldn't bear listening to EDM, so I tried to find something else. I then started to listen to regular pop/acoustic music. And Jesus Christ I love it. In 2 months I'm gonna start singing lessons. I just bought a guitar. I am not a shy girl, and I love to perform (i have been doing theater since a very young age). Besides that, I have an uncle who had a lot of success in the industry, but of course, I still need the talent. My question is. Am I too old to become a professional/famous singer? Before ill be able to sing good, play the guitar like a pro, and write some breathtaking songs, will I be too old by then? able to get signed/recognition? Thanks in advance <3 P.S just to mention it, I don't want this only because of fame, its because I love to sing, and music. PPS. Are there any masterclasses, videoes etc. you could recommend learning how to sing?

The term Muscle Tension Dysphonia is a general term which could be associated with an imbalance in the muscle’s coordination and breathing patterns required to create a voice. Muscle Tension Dysphonia (often called MTD) may occur on its own, or as a result of a strained voice being pulled into the neck muscles. The reason behind this disorder is not always clear. It may be triggered by allergies, illness, acid reflux or whichever other means... Symptoms - The most common symptoms for this disorder is a change in voice quality, often associated with discomfort of the vocal cords (or voice box) while speaking or singing. Also, almost always, symptoms like hoarseness and rapines will be associated with an increased effort to talk or sing, coupled with subsequent fatigue during continuous voice use. Treatment - There is an alternative form of voice therapy which is the gold standard for the treatment of Muscle Tension Dysphonia. There are no other known treatments (outside of the Vocal Science™ Method and Technique) that can restore the muscle balance in the vocal mechanism. With that said, this unique form of therapy will help alleviate the above vocal symptoms. Ms. Diana Yampolsky is one of the world's foremost specialists on the topic of the human voice and is the creator of Vocal Science(TM), a unique and truly revolutionary accelerated vocal development technique. It is a holistic and scientific approach to voice mechanics that enables all singers and speakers to reach their full potential in an extremely short period of time. Based in Ontario, Canada, Diana works with a worldwide spectrum of clientele as a Vocal Coach/Consultant, In-Studio Vocal Production Expert and Non-Surgical Voice Repair Specialist.If you feel that you, or a loved one, may be suffering from such voice disorders like Spasmodic Dysphonia, contact us: info@vocalscience.com | 416-857-8741 View full articles

Ms. Diana Yampolsky is one of the world's foremost specialists on the topic of the human voice and is the creator of Vocal Science(TM), a unique and truly revolutionary accelerated vocal development technique. It is a holistic and scientific approach to voice mechanics that enables all singers and speakers to reach their full potential in an extremely short period of time. Based in Ontario, Canada, Diana works with a worldwide spectrum of clientele as a Vocal Coach/Consultant, In-Studio Vocal Production Expert and Non-Surgical Voice Repair Specialist.If you feel that you, or a loved one, may be suffering from such voice disorders like Spasmodic Dysphonia, contact us: info@vocalscience.com | 416-857-8741

Hey guys and gals check out this video when I did a masterclass a couple years ago for VocalizeU students (teachers as well but not on site), 90 min rasp/distortion etc. Hope you enjoy it

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

Why is it that we can talk loud and strong but our singing is thin and tentative almost inaudible? Who taught us that singing was not natural? Why did we believe them? Where did we learn that singing is really hard? Who told us that singing is something other than normal and natural? Unfortunately I do not have answers to any of these questions. They are questions that have haunted me. However, I have developed a solution that undoes this destructive thinking. I took two of my grandchildren to a high musical last, Willy Wonka and the Chocolate Factory. The kids were good speakers, most of them, but their singing was almost non-existent. What a shame! Their speaking voices were distinct and interesting. The singing was uniformly weak and boring. Why? Fear. There is something terrifying about singing so that others can hear. Singing is the closest thing to full-front nudity with all your clothes on. The better the singer, the more is revealed about their heart and soul. So singing, truly great singing is quite vulnerable and intimate. Thus the fear. We also have been taught somewhere along the way that singing is something other than natural. That to sing we must do something extra-ordinary to sing, when the truth is that singing is the most natural of all musical instruments. Physiologically, the speaking voice and the singing voice are one instrument. You do not carry around a voice box labeled Use for Singing Only. Yet the prevailing subconscious thought is that you need to physically change something in the vocal apparatus to sing. The Morganix Method uses speech on musical pitch to combine the natural ease of the speaking voice with musical pitch of singing. With practice, speaking on pitch eliminates the urge to manipulate the vocal apparatus to sing, making the process simple and natural. Let's take a look at the possibility of utilizing the natural ease of speech as the foundation for singing. You can talk all day long without giving a thought to vocal production. It's as natural as yawning. But sometimes you open your mouth to sing and the Uh-oh, I can't do this! A moment of panic sets in. By the time this unattractive flash of terror subsides, the song is over and you are still holding your breath. You speak on pitch in normal conversation. You also speak in rhythm sometimes smooth and legato, sometimes pointed and staccato. The musical elements of speech define your distinct voice. Pitch and rhythm specify the meaning of your words and give them life. Others recognize your speaking voice by its musical qualities. Listen for the musical elements of your speech. Try matching musical pitches to a common phrase such as,Have a nice day.Say the phrase and try to find the notes on which you spoke by playing them on an instrument. Switch it around and play a pitch then speak on that pitch to begin your phrase. As emerging research improves our understanding of the acoustics, mechanics and neurological function of the vocal apparatus, the rules of the speaking voice and singing voice blend into one. Speaking on pitch requires a crossover in the brain in order to speak (a left brain activity) on musical pitch (a right brain activity). Speaking with emotional inflection, as far as brain activity is concerned, practically is singing. Practice helps the two lobes of the brain work together habitually to produce speech on musical pitch. Those kids in Willy Wonka could have blown the audience away by speaking on musical pitch instead of singing in traditional way they have been socialized and taught. There is no physical change that has to take place, but a thought process of open the body (inhale) then think, speak through the space. Now you are speaking on pitch. Using the speaking voice as a foundation for singing solves many typical vocal challenges. Fully embodied speech grounds the vocalization process deep in the body where support and strength are provided. This grounding in turn creates a fatter sound wave around the fundamental pitch giving your voice a richer quality. Give it a try! Email me with your questions and comments.

Why is it that we can talk loud and strong but our singing is thin and tentative almost inaudible? Who taught us that singing was not natural? Why did we believe them? Where did we learn that singing is really hard? Who told us that singing is something other than normal and natural? Unfortunately I do not have answers to any of these questions. They are questions that have haunted me. However, I have developed a solution that undoes this destructive thinking. I took two of my grandchildren to a high musical last, Willy Wonka and the Chocolate Factory. The kids were good speakers, most of them, but their singing was almost non-existent. What a shame! Their speaking voices were distinct and interesting. The singing was uniformly weak and boring. Why? Fear. There is something terrifying about singing so that others can hear. Singing is the closest thing to full-front nudity with all your clothes on. The better the singer, the more is revealed about their heart and soul. So singing, truly great singing is quite vulnerable and intimate. Thus the fear. We also have been taught somewhere along the way that singing is something other than natural. That to sing we must do something extra-ordinary to sing, when the truth is that singing is the most natural of all musical instruments. Physiologically, the speaking voice and the singing voice are one instrument. You do not carry around a voice box labeled Use for Singing Only. Yet the prevailing subconscious thought is that you need to physically change something in the vocal apparatus to sing. The Morganix Method uses speech on musical pitch to combine the natural ease of the speaking voice with musical pitch of singing. With practice, speaking on pitch eliminates the urge to manipulate the vocal apparatus to sing, making the process simple and natural. Let's take a look at the possibility of utilizing the natural ease of speech as the foundation for singing. You can talk all day long without giving a thought to vocal production. It's as natural as yawning. But sometimes you open your mouth to sing and the Uh-oh, I can't do this! A moment of panic sets in. By the time this unattractive flash of terror subsides, the song is over and you are still holding your breath. You speak on pitch in normal conversation. You also speak in rhythm sometimes smooth and legato, sometimes pointed and staccato. The musical elements of speech define your distinct voice. Pitch and rhythm specify the meaning of your words and give them life. Others recognize your speaking voice by its musical qualities. Listen for the musical elements of your speech. Try matching musical pitches to a common phrase such as,Have a nice day.Say the phrase and try to find the notes on which you spoke by playing them on an instrument. Switch it around and play a pitch then speak on that pitch to begin your phrase. As emerging research improves our understanding of the acoustics, mechanics and neurological function of the vocal apparatus, the rules of the speaking voice and singing voice blend into one. Speaking on pitch requires a crossover in the brain in order to speak (a left brain activity) on musical pitch (a right brain activity). Speaking with emotional inflection, as far as brain activity is concerned, practically is singing. Practice helps the two lobes of the brain work together habitually to produce speech on musical pitch. Those kids in Willy Wonka could have blown the audience away by speaking on musical pitch instead of singing in traditional way they have been socialized and taught. There is no physical change that has to take place, but a thought process of open the body (inhale) then think, speak through the space. Now you are speaking on pitch. Using the speaking voice as a foundation for singing solves many typical vocal challenges. Fully embodied speech grounds the vocalization process deep in the body where support and strength are provided. This grounding in turn creates a fatter sound wave around the fundamental pitch giving your voice a richer quality. Give it a try! Email me with your questions and comments. View full articles

This article has been republished from my blog, www.findingmysingingvoice.com. A lot of people come to my blog looking for information on how to sing. So far, my posts have focused more on my journey as a singer or on tips for people who are already singers or students of singing. Look for that focus to change somewhat in the coming months. Learning to Sing series I've written before that one of my goals is to eventually teach singing. I've taught voice lessons before (though not recently), so it seems like a natural topic to writing about here. After all, this is a site about finding the singing voice - not having it, not showing it off, not becoming famous for it. It's a site about the process of improving as a singer. So why not start at the very beginning? Why you need a voice teacher I'll give specific singing tips in later posts. For now, you should know that the best way to learn to sing is with a teacher. Yes, you can pick up some knowledge online, watch American Idol, listen to recordings, and sing along to your favorite songs. But here are a few reasons why you should consider finding a teacher if you're serious about singing. * A voice teacher can hear things you can't. It's tempting to think that nobody knows your voice as well as you do, but it's actually not true. Your vocal cords are located in your throat, and the sounds they make resonate in your throat, mouth, head, and chest. Your body is a musical instrument, and your ears are attached to it. That means they can't possibly hear your voice like others do. They're too close! Singers have to learn the sensations of good singing and rely on the expert ears of a teacher. * A voice teacher can see you sing. No, a teacher can't see your vocal cords, but he or she can see a lot of your vocal instrument: your face, jaw, tongue, neck, ribcage, and abdomen. Good posture is essential for singing. A teacher can also spot signs of physical tension that can affect your sound. Another common problem teachers catch are distracting movements or tics like rocking back and forth while singing, clenching your hands, or standing on your toes for high notes. * A voice teacher can guide your learning process. You could read a thousand books on singing and never improve as a singer, but a teacher can guide you in a way that knowledge can't. A teacher, a book, or a DVD can all tell you how to breathe, but only a teacher can tell you if you're doing it right or not. Also, a teacher will tailor lessons to your specific needs. Is your breathing fine, but your neck is tense? Do you have a huge vocal range, but places where the voice breaks? A wise teacher will determine what you need to work on and in what order and will match his or her teaching to your learning style. * A voice teacher can help you work towards your goals. Do you want to join a choir, audition for a musical, become a pop star, or sing opera? Or maybe you just like singing and want to improve your voice. Whatever your goals are, a teacher can help you move in the right direction. He or she can also give you feedback on whether your goals are realistic. If they aren't, your teacher can help you set new goals that are within your reach. * A voice teacher can open up a whole new world! A lot of people start singing lessons without knowing quite what to expect. Singing seems simple enough, but it connects so many other areas. The best singers and teachers draw on knowledge from so many fields besides music: anatomy, bodywork (like yoga), health, psychology, speech and language, history, poetry, acting, theater, etc. You might get into singing for one reason, only to discover a new passion. Have a question about singing? Send me an email. Look for more posts in the Learning to Sing series on topics such as: * What to look for in a voice teacher * How to find a voice teacher * Deciding when to start * What to expect at your first voice lesson * How to stand while singing * How to warm up the voice View full articles

This article has been republished from my blog, www.findingmysingingvoice.com. A lot of people come to my blog looking for information on how to sing. So far, my posts have focused more on my journey as a singer or on tips for people who are already singers or students of singing. Look for that focus to change somewhat in the coming months. Learning to Sing series I've written before that one of my goals is to eventually teach singing. I've taught voice lessons before (though not recently), so it seems like a natural topic to writing about here. After all, this is a site about finding the singing voice - not having it, not showing it off, not becoming famous for it. It's a site about the process of improving as a singer. So why not start at the very beginning? Why you need a voice teacher I'll give specific singing tips in later posts. For now, you should know that the best way to learn to sing is with a teacher. Yes, you can pick up some knowledge online, watch American Idol, listen to recordings, and sing along to your favorite songs. But here are a few reasons why you should consider finding a teacher if you're serious about singing. * A voice teacher can hear things you can't. It's tempting to think that nobody knows your voice as well as you do, but it's actually not true. Your vocal cords are located in your throat, and the sounds they make resonate in your throat, mouth, head, and chest. Your body is a musical instrument, and your ears are attached to it. That means they can't possibly hear your voice like others do. They're too close! Singers have to learn the sensations of good singing and rely on the expert ears of a teacher. * A voice teacher can see you sing. No, a teacher can't see your vocal cords, but he or she can see a lot of your vocal instrument: your face, jaw, tongue, neck, ribcage, and abdomen. Good posture is essential for singing. A teacher can also spot signs of physical tension that can affect your sound. Another common problem teachers catch are distracting movements or tics like rocking back and forth while singing, clenching your hands, or standing on your toes for high notes. * A voice teacher can guide your learning process. You could read a thousand books on singing and never improve as a singer, but a teacher can guide you in a way that knowledge can't. A teacher, a book, or a DVD can all tell you how to breathe, but only a teacher can tell you if you're doing it right or not. Also, a teacher will tailor lessons to your specific needs. Is your breathing fine, but your neck is tense? Do you have a huge vocal range, but places where the voice breaks? A wise teacher will determine what you need to work on and in what order and will match his or her teaching to your learning style. * A voice teacher can help you work towards your goals. Do you want to join a choir, audition for a musical, become a pop star, or sing opera? Or maybe you just like singing and want to improve your voice. Whatever your goals are, a teacher can help you move in the right direction. He or she can also give you feedback on whether your goals are realistic. If they aren't, your teacher can help you set new goals that are within your reach. * A voice teacher can open up a whole new world! A lot of people start singing lessons without knowing quite what to expect. Singing seems simple enough, but it connects so many other areas. The best singers and teachers draw on knowledge from so many fields besides music: anatomy, bodywork (like yoga), health, psychology, speech and language, history, poetry, acting, theater, etc. You might get into singing for one reason, only to discover a new passion. Have a question about singing? Send me an email. Look for more posts in the Learning to Sing series on topics such as: * What to look for in a voice teacher * How to find a voice teacher * Deciding when to start * What to expect at your first voice lesson * How to stand while singing * How to warm up the voice

To expand a singer's range, vocal coaches must be prepared to explore every trick in the book. Everyone wants to hit better high notes. And there are many who want to improve, or simply phonate more audibly, their lower notes. It could be argued that there are far more important issues for a singer to conquer: rhythmic integrity, emotional communication, and a delicious understanding of when and how to use consonants, to name a few. But we singers love to fret about the high notes, so I am going to offer a few solutions about range, vocal quality and power that I hope will help. High notes come in all shapes and sizes and any one of them can strike terror into the heart of a hapless singer. Our usual reaction to that terror? We do everything we possibly can to make the situation worse. We panic. We sing too loud. We grimace. We stiffen up like mummies. Support and relax your jaw. When you stiffen and jam your jaw downward you are applying tremendous pressure to that area, which, in turn, constricts your throat and strangles your sound. Instead, use your lower body for support. Tuck your hips under your body and keep your knees loose, almost as if you were sitting on your tailbone. Then support your voice with lower-body strength. Use the same lower-body crouch you would use to lift a heavy chair. If that were the task, you would surely protect yourself by using the strong muscles of your legs and lower body. Sound loves movement. Freely move some part of your body to help keep it loose. Don't clench your fists and stiffen up. Wave your arms, move your head, do a Mariah Carey hand wave. She seems to sing whatever she draws in the air with her right hand. But, no, tapping your toe doesn't count. Keep a level head. Resist reaching up for the high notes. The note is not up there like a fly buzzing around. All you have to do is try this little experiment to see how reaching up with your chin strangles off the sound: Sing or hum a long note as you slowly dip your chin to your chest and then raise it upwards and let your head fall back. Go back and forth a few times. Do you see how tipping back chokes off the sound? Now, we've all seen great singers who seem to throw their heads back and let forth. But if you look carefully, most of them are arching back with their whole body. It's not that the head is arching back independently; the head is part of the support curve. Lighten up before you leap. Most high notes are written as high notes because they are important words and the writer expects them to stand out. But as you go higher in your range, vocal tension increases. Lighten up the volume of the two or three lower notes before the high note. You'll have less weight to carry and the high note will be easier to sing. Never ruin a potentially great high note by over-singing the 1-3 notes before it. Nobody is out there thinking, Wow, I wonder if she'll hit that middle note. No, they're all waiting to hear how well you sing the high note.

To expand a singer's range, vocal coaches must be prepared to explore every trick in the book. Everyone wants to hit better high notes. And there are many who want to improve, or simply phonate more audibly, their lower notes. It could be argued that there are far more important issues for a singer to conquer: rhythmic integrity, emotional communication, and a delicious understanding of when and how to use consonants, to name a few. But we singers love to fret about the high notes, so I am going to offer a few solutions about range, vocal quality and power that I hope will help. High notes come in all shapes and sizes and any one of them can strike terror into the heart of a hapless singer. Our usual reaction to that terror? We do everything we possibly can to make the situation worse. We panic. We sing too loud. We grimace. We stiffen up like mummies. Support and relax your jaw. When you stiffen and jam your jaw downward you are applying tremendous pressure to that area, which, in turn, constricts your throat and strangles your sound. Instead, use your lower body for support. Tuck your hips under your body and keep your knees loose, almost as if you were sitting on your tailbone. Then support your voice with lower-body strength. Use the same lower-body crouch you would use to lift a heavy chair. If that were the task, you would surely protect yourself by using the strong muscles of your legs and lower body. Sound loves movement. Freely move some part of your body to help keep it loose. Don't clench your fists and stiffen up. Wave your arms, move your head, do a Mariah Carey hand wave. She seems to sing whatever she draws in the air with her right hand. But, no, tapping your toe doesn't count. Keep a level head. Resist reaching up for the high notes. The note is not up there like a fly buzzing around. All you have to do is try this little experiment to see how reaching up with your chin strangles off the sound: Sing or hum a long note as you slowly dip your chin to your chest and then raise it upwards and let your head fall back. Go back and forth a few times. Do you see how tipping back chokes off the sound? Now, we've all seen great singers who seem to throw their heads back and let forth. But if you look carefully, most of them are arching back with their whole body. It's not that the head is arching back independently; the head is part of the support curve. Lighten up before you leap. Most high notes are written as high notes because they are important words and the writer expects them to stand out. But as you go higher in your range, vocal tension increases. Lighten up the volume of the two or three lower notes before the high note. You'll have less weight to carry and the high note will be easier to sing. Never ruin a potentially great high note by over-singing the 1-3 notes before it. Nobody is out there thinking, Wow, I wonder if she'll hit that middle note. No, they're all waiting to hear how well you sing the high note. View full articles

If you have any questions about these products, please feel free to contact me on The Modern Vocalist or send me an email at robert@thevocaliststudio.com and we can talk your specific application. THE VOCALIST GIG BAG TOOLS & TECHNOLOGY FOR SINGERS: FROM ROBERT LUNTE & THE VOCALIST STUDIO: CLICK HERE TO DOWNLOAD TVS VOCALIST'S GIG BAG VIDEO OR WATCH BELOW! Microphones: - RODE M1 - RODE M2 http://www.rode.com/ - Electro-Voice 767a http://www.electrovoice.com - HEIL PR-35 http://www.heilsound.com - Telefunken M-80 http://www.telefunken-elektroakustik.com - Sennheiser 935 http://www.sennheiserusa.com - TC-Helicon MP-75 http://www.tc-helicon.com - AKG D7 http://www.akg.com Processing: TC-Helicon VoiceTone Pedals http://www.tc-helicon.com/voicetone-create-xt.asp - Create (EFX) - Doubler (simulates studio doubling) - Correct (compression) - Singles Pedals Wireless Microphone Solution - Samson Airline 77 http://www.samsontech.com/products/productpage.cfm?prodID=2018 Check That Mic Sanitary Wipes for Microphones http://www.checkthatmic.com VocoPro (HERO – RV) For Practicing and Writing: http://www.vocopro.com/products/product_info.php?ID=649 Extreme Isolation Headphones – X-29s: http://www.extremeheadphones.com/ex-29.html Vishudda Singer's Tea: http://aromatherapyinhaler.net/product/vishudda-singers-tea-kit-2/ Olympus Hand held Digital Recorder (The WS Series): http://www.olympusamerica.com/cpg_section/cpg_voicerecorders.asp Etymotic Ear Protection for Singers http://www.etymotic.com Hercules Mic Stand: http://www.herculesstands.com/mics/micstands.html PocketTone Pitch Pipe: www.PocketTones.com *Add this code to save $1. Special TVS Deal! (TMV08pt) Lyric Writing Software: www.masterwriter.com *Add this code to save $20. Special TVS Deal! (3059) Pen & Paper: Binder with all your bed tracks & lyrics: View full articles

If you have any questions about these products, please feel free to contact me on The Modern Vocalist or send me an email at robert@thevocaliststudio.com and we can talk your specific application. THE VOCALIST GIG BAG TOOLS & TECHNOLOGY FOR SINGERS: FROM ROBERT LUNTE & THE VOCALIST STUDIO: CLICK HERE TO DOWNLOAD TVS VOCALIST'S GIG BAG VIDEO OR WATCH BELOW! Microphones: - RODE M1 - RODE M2 http://www.rode.com/ - Electro-Voice 767a http://www.electrovoice.com - HEIL PR-35 http://www.heilsound.com - Telefunken M-80 http://www.telefunken-elektroakustik.com - Sennheiser 935 http://www.sennheiserusa.com - TC-Helicon MP-75 http://www.tc-helicon.com - AKG D7 http://www.akg.com Processing: TC-Helicon VoiceTone Pedals http://www.tc-helicon.com/voicetone-create-xt.asp - Create (EFX) - Doubler (simulates studio doubling) - Correct (compression) - Singles Pedals Wireless Microphone Solution - Samson Airline 77 http://www.samsontech.com/products/productpage.cfm?prodID=2018 Check That Mic Sanitary Wipes for Microphones http://www.checkthatmic.com VocoPro (HERO – RV) For Practicing and Writing: http://www.vocopro.com/products/product_info.php?ID=649 Extreme Isolation Headphones – X-29s: http://www.extremeheadphones.com/ex-29.html Vishudda Singer's Tea: http://aromatherapyinhaler.net/product/vishudda-singers-tea-kit-2/ Olympus Hand held Digital Recorder (The WS Series): http://www.olympusamerica.com/cpg_section/cpg_voicerecorders.asp Etymotic Ear Protection for Singers http://www.etymotic.com Hercules Mic Stand: http://www.herculesstands.com/mics/micstands.html PocketTone Pitch Pipe: www.PocketTones.com *Add this code to save $1. Special TVS Deal! (TMV08pt) Lyric Writing Software: www.masterwriter.com *Add this code to save $20. Special TVS Deal! (3059) Pen & Paper: Binder with all your bed tracks & lyrics: