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Found 18 results

  1. I'm unaware if this video has been posted here before. I think it underscores what's wrong with some vocal coaches who seem to remain stuck in outdated teaching methods from circa 1985. I would have come away from my first voice lesson with the exact same opinion were it not for the fact that a major rock star told me his coach increased his vocal range, stamina, and power significantly! I went to his same vocal coach. I went to the first lesson expecting that whatever the coach instructed was gold, and I was going to follow it blindly! After all, I had seen the results in a singer he taught! It's true, just like Grohl implies in this video, after that first lesson I thought, "it just seems bogus that these singing scales are gonna help me achieve what I'm wanting vocally!" There was very little in depth discussion about what the science of the vocal instruction was. It was just, take this cassette home of the scales I just recorded you singing, and practice them every day for at least an hour. Next week when you come back, we're gonna work on vibrato. Then the next lesson, another cassette, until a large volume of dollars drained out of my wallet. It's very cool how Rob Lunte blazed the trail on vocal pedagogy in the last 15+ years. It's a model that brings a more holistic and specialized comprehension, which translates into augmentation of vocal development/improvement. To say nothing of his engaging training system, and the re-engineering of "singing scales" or "vocal workouts" (chiefly - onsets) to maximize the students ability to feel more tangibly what is occurring in the vocal track, and why. I don't know who this coach was that Cobain went to, but you can see there wasn't enough understanding at the end of his lesson. AND, if Kurt blew his voice out, why did he come home with a cassette of scales? (see any of the youtube videos or threads on exercises for vocal damage). peace! k
  2. thematrixiam

    Hum vs humming

    Not sure if this is the right area to be asking this or not. For the onsets, with the "hum" onset, how is hum different than just humming. The way I picture it, is to not have a complete air seal around the lips. Basically by letting air out the side of the lips while resonating at the tip of the lips that are touching. Am I anywhere near close? Thanks, Matrix.
  3. Using vocal fry is a way to lighten the mass, or stop the pushing in your singing. At TVS, one of the 8 specialized onsets ( how you start a note ) that we teach in the TVS Method is called the, "Pulse & Release Onset", or Vocal Fry Onset. It is also called the, "Light Mass Onset". The Pulse & Release Onset is used to help singers build the coordination for singing without pushing. It "governs" the weight or "mass" of your singing, helping singers to stop pushing. View full articles
  4. Robert Lunte

    Vocal Fry & Onsets For Singing

    Using vocal fry is a way to lighten the mass, or stop the pushing in your singing. At TVS, one of the 8 specialized onsets ( how you start a note ) that we teach in the TVS Method is called the, "Pulse & Release Onset", or Vocal Fry Onset. It is also called the, "Light Mass Onset". The Pulse & Release Onset is used to help singers build the coordination for singing without pushing. It "governs" the weight or "mass" of your singing, helping singers to stop pushing.
  5. I think I'm starting to tell the difference between glottal onsets and coordinated onsets and I think I may have been relying too much on glottal onsets. How do you ensure coordinated onsets? How do you become more in tune with the feeling of coordinated onset vs glottal attacks? Also how dangerous are glottal onsets, can they be used judiciously in a safe way?
  6. I just have a basic question about performing live. Do vocalists/singers use any effects while they perform live, assuming it depends on genre if they actually do. I was debating this with a friend, I thought that most of them just used a somewhat studio-like effect while performing live and my friend told me most of the artists out there are purely singing with a clear voice without effects. So can anyone verify this? :-) Kind regards
  7. Kevin Ashe


    Something I'm experiencing when training is: the power (and genius) of onsets properly executed with work flows to "hold" that quality phonation steady, is something I can feel taking place! I can feel the musculature "locked/set" if you will, in to that ideal configuration, and the resultant sensation of that laser-like twang, and bullseye placement, unchanging as you siren, to or from the octave or 5th! LOVE IT! This has been especially encouraging to me due to my problems with singing with clearer, less raspy sound colors. Along with lots of resonant tracking, the sweeps and sirens are helping me achieve a more clean, solid, and clear tone option for my vocal color palette!
  8. Kenshin13

    Breathy Voice

    Hello. I'm not a singer but I thought it would be the best place to seek advice. I've been having issues for a while about my voice. It leaks a lot of breath or air. My voice is quiet, lacks clarity. If I go to loud places I struggle to be heard. I lose my voice if I have to try speak loud or push for more volume. I'm far too quiet no matter what I do. The more I push for volume the breather my voice gets then my throat feels scratchy. If I done a lot of speaking and shouting on A night out my vocal cords are swollen, but weirdly it seems clearer and deeper, like the swollen cords cover up the air leak or something. Ive tried loads of exercises to improve chord closure but I can't seem to improve the quality of my voice. Can someone help me or offer me any advice? Ive also had my vocal cords checked with a scope. Which I was told is healthy... thanks
  9. I've been practicing and teaching TVS onsets for two weeks now. I've been teaching onsets for years, but not as consciously picked apart as the TVS onsets. Lately, I have noticed my throat musculature is getting sore much like other muscles do after a workout. This is particularly noticeable after and with messa di voce and contract & release onsets. I've tried to stay very conscious of unnecessary tension and pushing, especially since I teach up to five hours a day. My more serious students are noticing the same type of soreness in their throat musculature too, after a week of working with those two onsets. Is this normal when first starting to use these onsets? I imagine it is, since I'm likely working a muscle group an entirely different way than ever before. But want to be sure, since I'm pretty sure that I've never felt this before, even though I consider myself a more advanced singer. If it's normal, then I'm extremely excited to hear how my voice coordination and strength benefit from it!
  10. Collin571

    Just Onsets!

    I'm starting to realize after breath support onsets have got to be the most important thing in singing, I realized while singing at work the other day(singing the opening to LA devotee by Panic!, in a deep sinatra style) that I could sing those lines in a deep timbre, which correct me if I'm wrong is a thick fold variation on those notes, but I would start to run out of breath and have to start singing more thin to finish the line. Then I thought well what if I started thin and went thick, the difference was my thin initiation took less breath and it was easier to sustain. So after playing around with different onsets it was apparent that the onset if done properly led to a beautiful balance of head and chest resonances while maintaining the air supply. So my question to yous guise is what is the best way to approach an onset so that you retain the most air possible and how does it differ when onsets are initiated with consonants versus vowels and vice versa?
  11. Okay, so I think im getting some bridging going here. I have NOT been training (due to life drama) but I have been doing some belting and head voice stuff at work for the last couple days. I was working on singing some Badlands and whereas usually when I hit the high notes I just flip to unconnected reinforced falsetto but today I worked on trying to keep it connected. Once I felt I was hitting a decent connected head voice note, the "bridging" was automatic. I think thats why I struggled with it before,,,,I was trying to bridge up but there was nothing to bridge TO since I wasnt used to hitting "connected" head vocie notes. Anyway, its pretty raw still. like I said, I havent been training so the onsets are iffy, volume fluctuates etc. The high C is REALLY iffy. There is some goofing off going up or down multi octaves Track and release up octave sirens GABC Glottal Attack down octave sirens GABC So, technically, this is bridging, correct? lol
  12. Hi guys! I'm Rodrigo again. I hadn't been training due  flu I had and now I started again. As you may guess, I'm a begginer and I have tons of ideas and questions. This one is really cool, and you will see why. I found out that the FBR is awesome but it has tons of information and for the part-time musician, it is critical to know what to practice in order to make more productive sessions. I've been playing gutiar for 15 years now, and also I play a lot of styles (classical, rock, acoustic, percusive, etc) and the key to progress and still have fun is to have goals. I mean, personal, realistic and short-terms goals that you can acomplish in a few weeks or months and then move on to another thing. Set a new goal, and keep moving. Now that I'm into singing, I can have practice sessions for 45 min 5 to 7 times a week. Some of them even until 1 hour. So I was doing this things to get better in things that I need to get better now. I do this: ---Resonant tracking 1 T&T Slow then Fast 2 T&R the same way and 3 R&R only fast ---Support training: Robert's excercises and a few more that I've been doing since I took classical lessons, more focused to feeling the awearness of the support process ( really easy ones, but gives awesome results) ---Onsets Well there is a lot here in the book. I have to get more compression, and I tend to sing with a lot of dark overtones amplified. And an excess of these does not sound well for me. What do I do? The following: Q&R since F3 to F3 (Sometimes G4 or A4, if I can do them without push, pain or constrictions) and I repeat 2 times that onset in every note, except for Db4 to E4, when I repeat 4 times the onset. I do this because my bridge is around those notes. And Robert says we have to practice those notes harder because those are the difficult ones (and I is so true!). Then I follow with a few attemps of A&R. If it is too hard for me, I don't do it. I listen to my body. After that, I do edging onsets in the same range, maybe 2 times per note. Sometimes 3. ---Sirens Well, not too much to say here. I do melodic 5th as Robert show us. Two times, at least, focusing on Q&R onset and some of T&R. I don't go too high, at least not for now. I hope my way to train this can inspire you to think and organize your practice schedule if you're not doing it now. For the most advanced TVS people... how do you practice the FBR? Do you think I'm doing it right? Rock-on!
  13. Hello! My name is Rodrigo, I'm from Argentina and I am a begginer in this singing world. I will practice with The Four Pillars of Singing, by Robert Lunte, every day, por about 45min to 60min. I will love to practice a little bit more, but I'm a college student, and I also play guitar and I have to give that instrument another 60 or 75 minutes a day. Music is my passion, and I want to perform for the people in my city and people in another cities near mine. So, not a big deal... I am sick of listening bad singers in live gigs here, so I will put up an effort to be better. To improve, to have a good technique, and sing for many years. In my living room, and in small bars. All those goals seems a little impossible for my right now, when I start thinking. But I decided that I have to go one step at a time, slow, but consistent progress, with more small goals, that gide me to my ultimate desire. I want to think of this as the "Before" part of every "Before&After", so when I come back here in a few months, I will post an update so I can see if I improve in some way. I like this song, and the singer of The Calling was a huge inspiration for me when I was a kid and I wanted to sing. Now, thanks to Rob and his program, I have an idea of what do I have to practice in order to sing it! So, I think I have to expand my range so I can move with more freedom. So the sirens will do that work. Always remembering that I don't have to push, and I have to bridge early (since I'm a begginer). You can here (and love) the darker overtones amplified, so I guess the D&R onset is KEY! Robert says he loves it, and it gives you the impression of a much "worked" technique. And for this song, it is CRITICAL. You can't sing this in tune but without the darker overtones, it would just sound too flat! And I saw a lot of covers in Youtube of guys doing that. I know better, I know what to work on. I didn't use any special thing to record. My dinamic cheap mic plugged in my notebook directly, and I used the render of the REAPER, but without any effect. It sounds decent, just for you to hear the imperfections (and, belive me, there is a lot!).. Well, here it is. If you listen to it, please don't hate me LOL  
  14. I've been mostly lurking on the forum for a couple of months, really enjoying and getting useful information out of it, and especially following Elvis' progress.  I thought I'd post the results of some of my efforts so far.  The link is to a clip with several different onsets, all of them at A4: Quack & Release (maybe not so well executed as I listen back), Wind & R with 2 different vowels, Contract & R (maybe - I'm not so comfortable with this one), Dampen &R, and a Yeah and a Yuh.   I would appreciate any feedback on these.     Thanks, Greg
  15. Devin Burns

    Average progression time?

    Just wondering how long it usually takes people to make progress in certain areas.   Bridging?   Connecting?   Getting a "chesty" sound in the head voice?   I'm not meaning significant progress, just some noticeable progress.  I've been training with the Four Pillars for the past couple weeks and I've successfully bridged a handful of times.  (You have no idea how excited/shocked i was when it happened). So i feel i'm making pretty good progress there.  I can get a connected sound in head voice pretty easily when practicing.  It's a little harder to maintain the connection when singing actual lyrics.  But the last part is what really gets me.  When singing phrases ranging from, let's say, C4-A4, I feel i can get in and out of my chest voice fairly decently, but while there's not a noticeable "break", it doesn't sound like the same voice at all.  I'm definitely not expecting this to be a quick process by any means, but does anyone have any idea when i might notice my head voice starting to sound like my chest voice? And i don't necessarily mean my head voice sounding meaty, just more like my chest voice in general. (hope that makes sense!)   I've been trying to practice at least 4-5 days a week.  I usually do the foundation building routine, then add some bonus scales and sirens afterwards to get more practice with my onsets (mainly Dampen&Release, Wind&Release, and Contract&Release) and bridging. When i get more comfortable with my bridging I plan to start working on the other exercises in the program. 
  16. Hi Folks..  This is one of my favorite songs.. I think this song is well within my range, the A4 is not an issue..    I seem to have an issue with the start of the song.. Where it starts with "Can you remember" and again at the point where it says "I am returning" & "A strand of Silver".. I am seemingly sounding like I am shouting and losing integrity of the note.. I am using a mix voice(or as Robert would say a covered head voice) throughout the song.. Please check if you can spot anything and let me know what I can do..   Getting a copyright issue with soundcloud so trying a couple of other websites..     
  17. A nice endorsement from one of my clients who came to Seattle to train in the TVS Training Intensive for 12 hours. Congratulations to Jeffrey Hunt... who did a great job! It was really rewarding to watch Jeffrey take in the methodology and get immediate results... the look of satisfaction and happiness he had all week was really a reminder of one reason why I do this...