Search the Community

Showing results for tags 'resonation'.



More search options

  • 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
  • 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

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 36 results

  1. I heard this on the radio and thought I should post it here! I really enjoyed them! Both talks touch on related aspects of vocal training, vocal science, and vocal "ideology." Hearing Color https://ideas.ted.com/the-sound-of-color-neil-harbissons-talk-visualized/ Synthetic Voices https://www.ted.com/talks/rupal_patel_synthetic_voices_as_unique_as_fingerprints?utm_campaign=tedspread&utm_medium=referral&utm_source=tedcomshare
  2. I decided to run a little experiment and (for the first time in my life) analyze exactly what notes comprise the M1, M2, and what I'll call M3 regions of my vocal track. Just for fun, and to share with some of my fellow voice geeks here. Even though I received effective vocal coaching, it was a long time ago when popular vocal teachers did not bother explaining or analyzing anything unless you were willing to sit there and pay $80/hr. to chat (never happened for me). As a result, I never paid too much attention to notes and my "range." I would always reference songs my vocal hero's were singing, and I could tell my M2 notes were getting beefier from the vocal instruction / training. It is interesting to note that, after so many years of singing without strain in M2, I actually forgot how to pull chest voice. I discovered this one day when someone asked me to explain to them how I was able to sing "tenor notes" when they knew I was a baritone. I started to explain the difference between M1 & M2, I wanted to sing an example of straining to sing a high C. We all had a laugh as I struggled to remember how to pull M1 that high without singing in M2. So, lately I've been contemplating expanding my range a tad higher than I've been satisfied with for so many years. The pdf illustrates what I found out about my "instrument." I thought it was interesting to see how much more agile my M2 is than my M1! The overlaps are also interesting for me to see correlated with the notes. I'd like to start training those weaker M2 notes. I'd like to see if I can change the pink D#5, and A5, to red! Only two notes yet, I know it will take a lot of effort, those notes are not easy to make beefy. MY VOCAL TRACK ILLUSTRATED.pdf
  3. Hello Fellow TMVW members! Humbling though it may be, I thought I would share a track I'm working on, (Beatles - In My Life) and the vocal "sculpting" process I go through in an effort to record my best performance. (I'd never share unfinished tracks except to friends and in this forum . . . plain vanity) I've had a lot of experience analyzing my vocals for recordings, I never quite knew how to articulate the process I was engaging in nearly as well as after having gone through The Four Pillars of Singing, learning the "talk track" I've heard Robert Lunte utilize across many hours of lecture videos! Once one is familiar enough with these "mechanisms" for mending, strengthening, or otherwise fine tuning a vocal line, the mystery about what to do goes away! Rob's techniques are structured in a simple, yet meticulous sequence that really does create the feeling of having a vocal sculpting tool box! I'm posting this both as a subject of interest to others who may be starting out with this type of challenge, and as a means of accountability for me to complete the process, which has been brutal for me due to inexperience with the recording software. It's good for me though, as I intend to record several old hit favorite song interpretations in the coming months. I'll post my final "sculpture" here for this track when I finally complete it. "Work to be done" on this vocal performance is: Pitchy lyrics / appaggio drop out, vowel mods for best resonance, better phrasing, embouchure brightening, slight lightening of mass throughout, . . . . I'm sure there's more, also, rhythm guitar mistakes, and guitar solo is not quite tight yet, not happy with the effects on my voice yet either. I'm contemplating leaving the last "in my life" line unresolved like it is now. I was trying to sing that last half of the last line and had to quit recording due to a leaf blower. I think i'll like it that way, maybe with a high harmony over the top. Lastly, I may end up using a different mic than I did for this take. One thing that clearly gets hammered home in this process is that performing live is a far more forgiving environment than being under the microscope of a recording. Peace, k
  4. Something I have been thinking on lately. I really see good basic, supported, open throat singing as the real basis for good rock singing. I see a guy like Paul Rodgers being almost the ideal base model. Learn that base and THEN add on or go into other directions such as Plant/Cornell As far as actual difficulty or skill level of various classic rock/metal singers, I see it sort of as follows starting from "easiest" to hardest: (of course, ALL of these guys are great and all of it is hard to get close to!) Paul Rogers-----> Robert Plant, Chris Cornell, Rob Halford, Geoff Tate-----> Bruce Dickinson, Dio My reasoning: Paul Rogers has a great tone and in general he "just sings". He doesnt go out of his way to do anything fancy or overly impressive, yet he does sing with a nice tone through a decent range Plant, Cornell, Halford, Tate. These guys are more varied and may generally have a higher tessitura etc, but some of it isnt THAT hard to sing because it gets into a released type of headvoice sound. Some if it can be emulated without a ton of physical effort Dickinson/Dio. Okay, these guys can be ridiculously hard to emulate. IMO you have to actually have the strength built to sing like these guys. ESPECIALLY Dio. This is like bench pressing 315 lbs. Reading a book or finding a "trick" wont get you to bench 315. You have to put in the time and work up to it ITS HARD TO FIND DECENT COVERS OF DIO, EVEN FROM OTHER PROS!!! That says a lot Some of Dios songs are in a higher range than what u might think....yet he still has that beefiness and somewhat "round" tone. You can tell there is a lot of support. Yet when u see him on live clips it doesnt seem that hard for him. Of course by the time any of us heard of him he was at least up into his 30s with a lot of mileage under his belt so he had that technique and strength down solid So that leads me to this video where the guy shows 2 approaches to singing "Rainbow in the Dark" To my ears, the first version is way closer to Dio. The 2nd version isnt that close So this is the hard part. Can one get that sound WITHOUT the really strong supported style?? Like the guy in the vid said, he was exhausted by the time he got to the 2nd verse etc. Is it then just a matter of one having to build that strength over time?? Here are a couple of covers by guys that do GREAT covers....but they dont get that close to Dio IMO. to my ear, both of these are a little "lighter" than Dio. So therein lies the dilemma. How to get that powerful compressed sound yet stay sort of "round" yet also still be light enough to sing into decent higher range?? Even good old Ken, who promotes strongly supported singing etc....sounds rather strained while attempting the Dio stuff. Doesnt really sound like Dio at all and this guy. Great singer, huge range etc. 2.4 million subs. Doesnt sound anything like Dio though Felipe gets pretty close, which is impressive since he has to fight his natural accent and sing a second language etc. Felipe's tone is pretty warm generally too AFAIK Jorn is about as close as ive heard and even then there are some slight differences. Jorn seems a tiny bit scratchier whereas Dio could be really clean while still sounding huge So was Dio just a mutant or did he just build great strength and control over time? here he is live. assuming this vocal is indeed live lol Im seeing him using decent support and lots of resonance. In other words it seems as if he is pushing a lot of air up with a generally open throat....letting that air find good resonance up in the head etc, as opposed to physically trying to squeeze with the throat. of course I may be totally wrong lol His speaking voice already had that sort of warm round tone to it so maybe he just got lucky and learned to sing with power with his natural round tone Anyone have any ideas or want to discuss?? Peace, JJ
  5. In this Quick Answer, I talk about how to train to build consistency in your singing voice. Besides an important exercise, I also address the main questions that came up from my last videos about finding your voice and avoiding voice fatigue, bringing it all together.
  6. Hi fellow vocalists! What is this thread? Why? I am starting this thread as a place to compile different trusted online teaching resources on how to begin training your falsetto or head voice both for myself and for other people looking for a one-stop shop list of this topic. What is your skill level and experience on this topic? I have been studying and training my full voice all semester and want to finally begin adding this skill to my vocal toolbox. I have a very basic sense of head voice to full voice just because of my musical background but other than that I have little to no education or experience on the techniques, practices, standards, and healthy conventions of the use of falsetto singing. Thank you guys for your help in populating this thread.
  7. I have a consistent issue that I definitely need to figure out how to fix... My voice isn't that loud to begin with, but the tone of my voice seems to be in a place where it just disappears into ambient noise. It doesn't carry over it like most other people's voices do. When I am in a loud environment (even just a place like a bar or restaurant with a lot of ambient noise), my voice does not carry at all and I find myself trying to speak louder to compensate. Which, obviously, is not healthy. The bigger problem comes in when I'm trying to SING. Without monitors it's just bad. Even WITH monitors, if the vocals aren't turned up pretty loudly in it, I don't sing as well. I unconsciously try to sing louder (because I can't hear myself well enough) which results in a not-ideal vocal sound, my range disappears, and I end up being a bit pitchy as well. In the moment, I don't particularly feel like I'm tense or straining in any way, although I am very much aware that I can't hit half the notes I usually can and I am aware that I don't sound quite normal. When I listen back, it clearly sounds like I'm trying to be louder, not quite like I'm yelling but in that direction. What is the core issue here, and how might I go about fixing it? I need to be able to hear myself better, and of course having a better monitor setup will help. But I really need to be able to hear my voice over simple ambient noise so that even in a less-than-ideal monitor setup, I can still sing well. And I have no idea what the true problem is that's causing all of this. Help!
  8. Was doing some reading today and ran across a blog by a student of Berton Coffin (original blog post) https://lloydwhanson.com/formants-made-easy/placement-versus-formant-tuning-using-vowel-mirror/ Evidently Berton had a sort of home made device he used to more or less blow a tone into the students mouth and then the student practiced shaping the vocal tract until the tone resonated the loudest etc Sounds really cool and I can see some nice applications for it. is there anything like that commercially available or is there any other easy way to get something like that going?? On the blog post, Lloyd Hansen said he had a tuner hooked up to a small 2 or 3 inch speaker and he just held the speaker up to his mouth etc. I think he called it a "vowel mirror" but he also might have called it an Echophone. any ideas?? Thanks, JJ
  9. Hey guys. Any suggestions on how to clean up my chest and head? It feels and sounds like extra thick vibrations toned in with my notes. Almost like i have half my chords workibg and the rest kinda just adding flapping flavour. I can hit clean chest/head notes but usually just when hitting notes/chords. Not when singing songs. My falsetto is clean though and has none of this extra beef. Thanks. Rich.
  10. Hey all. Just curious if any research has been done on methods to assist resonation that would then increase nonassisted vocal range? More specifically mechanically. For example, if i place a headset on my throat will my vocal corda ability to vibrate change? Or if i practiced with helium would the workout change my ability to sing higher without helium?
  11. I've gotten really good at pulling chest but I think for long term success I'll need to find a neutral position to sing in and eliminate strain. So my question for you guys is how do you make sure you can put in the right amount of effort to keep the breath flowing and not have the throat clinch up. What I've been doing to practice this is not pushing myself at all just trying to breathe and remain neutral and let the tone and the notes come, if they don't come I either go falsetto or change the note of the song I'm singing. I still feel like strain and reliance on the throat can creep in though maybe not enough to cause hoarseness but probably enough that it's not allowing the breath to support the cords and limiting my voice to one certain timbre and volume. I think having a breathy tone is a better starting point than having a solid tone because at least then you know the breath is flowing and from there you can work into a solid tone to keep stamina reserved. Just a little discussion on the topic of strain and remaining neutral I feel will be good.
  12. 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.
  13. Hi Folks, I came across this video on youtube that advocates a support based singing technique(based on what I understood) that can eliminate vowel modification. Can folks please weigh in on how this works? Is it possible for a tenor to sing upto B4 using this technique and get a dark colored sound without vowel modification? Can someone tell me what is the physical sensation that best in your mind describes, "leaning into the sound". Thank you..
  14. Hey guys I'm just learning how to sing. I noticed that you can sing the same note but you can sing it with a different tone. What is this called? Listen to the recording I have below and you'll get a better idea of what I'm talking about. Idk what the "technical" term is for what I'm doing but I'm curious what it is. Also which tone is the "correct" technique? The louder one feels like I'm "pushing" the note and it projects better/sounds louder. However it adds these "buzzy" overtones to the sound. I'm not sure if that's good or bad. The harmonics that it adds are around 3k-6k. It also feels like the note is resonating higher up in my throat. The other one is a softer tone that comes off much more like a sine wave and feels a bit more natural. However it lacks that punch/clarity in the 3k-6k range. It also feels like it's resonating lower in my throat than the other tone. https://clyp.it/4dauhb35 EDIT: I also noticed that some notes it's harder for me to "vary" the intensity of the notes. Listen to this recording and you'll understand what I'm talking about. What would you call this? https://clyp.it/cwaidpfi
  15. Yo! All my fellow singing geeks! I came across the article I've linked here (below video). I thought it is was very well written (a quick read), and includes a couple comments by Justin Stoney (coach most of us probably know from Youtube). I have read & posted in our "techniques" forum regarding so called "Natural Singers," percentages of the population who are or are not, training, and etc. Hope this helps lend some clarity to the matter(s). article - Singing Tips: Have A Certain Skull Shape, And Other Science Behind Carrying A Tune http://www.medicaldaily.com/singing-tips-have-certain-skull-shape-and-other-science-behind-carrying-tune-308372
  16. what is the most easiest ways to develop mixed voice..and and what do i do to get resonance,neutral larynx and breath support?..my vocal range atm is a2-g#4..and head voice goes up to f5 i strain at e4 and i carry chest up to g#4...i know its a bad technique..and im thinking of getting a coach in the future..but i want to start now
  17. Hey new to the forum here. I am a developing singer(male baritone) and I have noticed how much a stuffy or half-stuffy/runny nose can impact my range. It is nearly impossible for me to get into my mask/nasal resonance when my nostrils are somewhat swollen due to cold weather. My chest voice would sound almost normal, but as I start to place the air into my nasal region, that stuffiness somewhat pushes the air back down, making me push more air through the chest, thus making it very easy to have unpredictable breaks in the voice as opposed to a day when my nose is clear. Ive had this almost all my life and it actually made me talk more out of my mouth with strain during normal conversation. I was wondering if anyone here had procedures done to reduce the size of the turbinates in your nose(removing parts of the membrane or bone) so the passageway is much wider at all times, or if there is another permanant solution? And if anyone had this surgery, how much did it change your singing voice? Thanks!
  18. Lately I have been lurking on the forums more than answering questions. I am finding that a lot of the questions that are being asked can be answered very simply but are being answered very wordy and creating confusion. I want to say that maybe I was lucky to study with who I studied and study with and also how I made my career singing for a living. It wasn't easy but I put a lot of work into my voice many many years 20 + and many years on the road away from an apt whether it be in NYC, CA, ATL,CHICAGO, CT.. I blew out my voice many times and studied with whomever I could never once did any of my teachers worth anything bring up terms like Twang,compression, hold or hold back your breath, embouchure,dampening, sphincters of any kind;), this anchor that anchor,chewbaca sounds, guinea pigs,curbing,overdrive etc etc etc.. Of course when I started teaching 7 years ago(after mastering technique In other words sing anything I want and diagnose problems quickly) I started seeing all these terms and had to know what they meant to keep up with the young guns term wise. So what I am trying to say is if you want to be a great singer you only need to concern yourself with a FEW principles/exercises Practiced Perfectly. Ask yourself these questions and listen to yourself closely when you practice. Does the vowel I am singing sound like the vowel i want? Is my voice ringing and buzzy? As I sing higher in my range do I stay consistent? Does my teacher demonstrate exactly what his "method" says it does? Hope this helps and doesn't sound like I'm looking down on the new terms. But TRUTH be told I got my technique down from perfect practice,vowels sound like vowels,and keep the buzzy ringy sound constant. hard hard work no b.s. years not months at least 15 years of perfect practice…Anyone of my musician friends/band mates would tell you the same.. Hope this helps.. Daniel
  19. We always talk about singing vocal techniques but what about speaking vocal techniques. Particularly I'm intrigued by Mike Breen's voice, the way he announces games. His voice has such good texture and consistent timbre. He obviously uses alot of emotion when he announces but it seems effortless, his volume and intensity increases when he announces crucial moments but if I was to try to do something like this I would inevitably cause vocal strain. Even when he's just describing players characteristics or aspects of the game it still has a tone that seems for lack of better words captivating and intense. Mike Breen speaks with good resonance so resonance in speaking must be important to establishing an attractive and appealing voice and perhaps also will help in better understanding the singing voice. Seriously listen to this guy.
  20. Hey everyone, I'm a newcomer to the forums so I'd greatly appreciate your help and insights! I started singing a year ago. My university offers voice class for non music majors so this semester I enrolled and that has been going well. My favorite genres are opera, prog metal, 70s rock, and legit style musical theater. I'm not into the whole voice type thing because voices seem to lie more on a continuous spectrum than the traditional discrete categories (soprano, mezzo, etc.). But when I listen to Dream Theater, it seems that James LaBrie's comfort zone and where he sounds best is higher than most guys. I don't even like the terms chest voice and head voice because there's really only one voice but in terms of describing a sound, I would say JLB uses a chest-dominant sound all the way up to the D5. For me personally, there is a resonance transition around C4 and another one near F#4. After F#4 I have a very head-dominant tone. But what if you're going for the James LaBrie sound? I like the way he sings the upper notes--very stable larynx, doesn't sound shrill. Now I'm not a fan of everything he does, like excessive vowel modification and muddied articulation but overall I think there's a lot I could learn from the way he sings open and free. So my questions are, what are your observations on James LaBrie's techniques? If you've sung Dream Theater, what were your strategies for tackling those songs? I'm interested in hearing particularly from those who aren't as high-pitched as JLB. And how do you sustain being in the upper 4th octave? He's consistently in the G4-D5 range and sings B4 for days!
  21. Unfortunately not too many people are familiar Steve Walsh, probably because Kansas songs aren't as well known. So I wanted to start a thread to analyze his vocals. This was the song that started it all. Had to imagine that I might have never known about Steve Walsh if a classmate hadn't decided to play it. This was the first time I heard the song and that was in the post 2000s era! I didn't know anything about vocal technique back then but actually it was the lead singer's voice that captivated my attention instead of the iconic guitar riff. Below are the moments that stuck out to me the most the very first time I heard this song: 3:49 - 3:53 "Nothing equals the splendor" Very strong EE and on a C5 too! Still don't know how he does that. 3:46 - 4:00 "Surely heaven waits for you" This time an excellent OO from "you" on a B4. Pretty remarkable that it's a closed vowel at that high of an intensity! 4:13 - 4:21 "No mooooreee!" Another high intensity moment on a B4; this has got to require good breath management and efficiency Alright, here's one more: 6:48 - 7:28 OK this is pretty incredible. More than half a minute of beastly endurance! Vowels sound like OH-AH-UH to me, but I might be completely wrong.
  22. Hi all, I don't think I have much of a problem transitioning through my first bridge; I can ascend without a noticeable break. However, about half the time, I feel like I am not "connecting" like I am other times. In other words, the notes sound breathy or airy and not "tight" or "connected." The other half of the time, I feel like I am singing with what I imagine as a narrow stream of focused sound. Sometimes, it takes me a few minutes of warming up to "connect" like this, and when it happens, it comes on like a light switch i.e. there is no gradual transition. Does anyone know what is happening physiologically, or what exercises I could do to always be able to sing in this "connected" fashion? When I am able to connect like this, I don't feel like I'm squeezing anything together, so I am sort of perplexed as to what is going on. Finally, when I sing higher, I feel like this connection starts to fall apart, and the notes become more airy. There is no strain, it just feels as though the connection I have as I sing through the middle of my range starts to disappear as I ascend in pitch. Are there any exercises that I should be doing to be able to stay connected as I ascend through my range? Thanks in advance!
  23. 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?
  24. hey guys, in your opinion what is the most important part of vocal technique in one word? I know this is not an easy question as many people here love the complexity of singing but I am not one of them. you can choose any word such as "breathing, crying, practicing" etc. no explanation is necessary (though would be preferred). I choose resonance - because only if we can feel the sound can we manipulate the sound. If something feels good or bad, we have to figure out internally what to change.