Jump to content

Search the Community

Showing results for tags 'onsets'.

  • 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 13 results

  1. What is the best way to talk about the anatomy and physiology of the voice (to any age from elementary-adults) while keeping students engaged?
  2. 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 I think it underscores what's wrong with some vocal coaches who seem to remain stuck in outdated teaching methods from circa 1985.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 t
  3. I have seen threads about "the dreaded A4" etc....so I assume it is a well known and common sticking point with well known solutions etc What about the f5-F#5 area? is that any type of "traditional" sticking point? I ask because im hitting a pretty solid wall around that point. IIRC when I first started I could falsetto up around there. Well now I can do a nice connected siren up to around f#5 but thats it...brick wall there lol. I know there is a bridge in that area somewhere, I feel a certain change somewhere around B4 so I assume I have a bridge in that general area.
  4. 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. 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.
  6. 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?
  7. 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 sir
  8. 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
  9. 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 a
  10. 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
  11. 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 harde
  12. 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..    http://vocaroo.com/i/s1hR97EWCNtS
×
×
  • Create New...