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Found 20 results

  1. So now that I am in full swing back to singing professionally between my cover band and getting back to session singing and staff writing the demands on my voice are heavier then they have been in 20 years. Especially in the band where we are doing a lot of R&B, Top 40, dance and disco. A couple of things I have realized for myself living now on the frontline of the reality of singing is that training my voice as a rock singer for all these years did some great stuff but I feel I neglected a lower bridge and lower falsetto, 2 things that are absolutely paramount with that style that aren't really that important when you're a slammin rock singer and can actually be a detriment because it can make you sound 'unauthentic'. But for all this Pharrell, Kool and the Gang, Cupid, Bruno Mars etc.. it is absolutely critical to have, not only for stylish reason but so that you can sing 50 songs every night while dancing. It all came to a head about a week and half ago, my voice felt exhausted. I was getting gassed just talking. Took a few days off, also went to the ENT to get scoped and everything is perfect looking so it's just muscular. So I started to really dig into what was going on with me and where I could improve. I started reading, watching videos, pulled out all my old workout CDs etc.. Also started back training with a few different coaches and have really learned a lot about myself and my voice the past week or so. Voice is feeling and sounding way better. So here are some of my epiphanies:    1. I need to put time in everyday working my lower blend, head voice, falsetto and lower falsetto. Both with the feeling higher in the head and more in the mask. I've been studying with Johanna Boberg who is one of the absolute most incredible R&B singers and sings full-time in a working band. She has really helped me to start to identify what's going on. She's also really boosted my confidence by appreciating my voice.   2. I need to stay diligent everyday with the right life habits; eating a healthy non-acid reflux causing diet, not eating 2 hours before bed, using  humidifier at night, not drinking cold water, long hot showers, doing vitamins & throat gargle, throat coat tea. I also ordered a oil diffuser humidifier for my studio.    3. Exercise and stretching; My buddy Jaime ran through all his vocal enhancing stretches with me this week and I have been doing them along with a little passive yoga and working out. Huge difference.   Anyway, these are some of what I am doing if anyone has some cool tricks they want to ad that be great. I am more into singing now then ever in my life and I am actually enjoying being serious about singing again. That was one of the things that kept me from wanting to sing in a band again because I just wasn't willing to do the right thing, I always knew what it took to sing full-time and just didn't want to do it but now I do and I am enjoying it. No more slacker s**t. A few companies that I have publishing deals with have been asking for me to release something new for the past few years and I just balked, I felt I didn't have anything new to say. That's gonna change after this transformation. I will definitely do a new video/audio. Probably not a book though.    Here are a couple of videos I have been enjoying to watch and are resonating with me.    
  2. Hey guys!! I got a Rode NT-Usb so i wanted to see how it performs!   I still didnt really get to hang of the Mic and how to use it the optimal way but here it goes!   Tell me what you think!!! I had alot better recordings but i kept this one for some reason xD     https://app.box.com/s/bnvqdb8lrsxyqkeem72zr14cj4m531v6   I was really off- pitch in a few places!!   Also the backing track is just brutal xD
  3. Hey guys! I stumbled upon a very interesting video of 3 GREAT VOICES Pavarotti, Horne, Sutherland disscussing and explaining some of Bel Canto Techniques!   I encourage you to watch it all, its preety interesting and EDUCATIONAL!!  
  4. The vocals on this entire album are mind blowing!!!   Listen To This!     Freddy Curci         Freddy Curci on Wikipedia
  5. Learning to sing and perfecting your voice can be a daunting task. Sometimes i feel like i cant handle it and i feel down without any will to continue, but the very next day all those clouded emotions go away and i get back on track. Sometimes the "dark" periods are longer and they get to me more.   To me, Love i feel for music and singing is what drives me forward and can turn the tides even in the darkest of days.   I was wondering what made you guys go on? How was it for you from day 1 until now. What did you do when having bad days or did you ever feel like that?   Even coaches. How do you vocal coaches handle the stress that come from the "industry" and constant nagging and shady bussiness moves that some teachers shamelessly use.
  6. Hey guys so i was wondering if any of you would be interested in a little competition.   When i was starting to play guitar i was active on a forum here in Croatia. We would pick a Guitar solo and everyone would use same backing track and compete who would play some solo the best. The award is a pat on the back and kudos   So i tought it would be nice for a few of us begginers to maybe try and compete on a simpler songs like All of Me by John Legend or maybe Country Roads by John Denver. We can all decide on a song (something not too high or low so we have more competitors) and find a karaoke track we would all use.   Pros: -gives you incentive to try harder -makes you focused when u have some shorter term goals (like learn a new song for this comp) -get some insight on your singing and learn from each other at the most fundamental lvl -FUN FUN FUN - human race is a competitive bunch   Cons: -well i dont see any really   Tell me what you guys think.   Also this is all in a good non hostile tone, we are just having fun and challenge each other in the most positive way of making all of us grow our voices with some friendly competition.
  7. Heya guys. I made another cover i wanted to share with you. This time Beatles - Let it be.   Tell me what you think   P.s. ignore the falsetto and scream at the end of it, it was made purely for fun   https://app.box.com/s/1a5lwkagjf5erj5s7j8kss712gjsk68q
  8. Here's a quick lesson on not holding your breath or holding back your breath which is "putting the cart before the horse". and sam smith by request (go easy its live and i learned it about 10 minutes ago.)  
  9. So I've been perusing the forums for a while now as continue to develop my voice. I was wondering for everyone out there who wants to reply: If you were a beginnner again and your goal was to develop a "high-performing voice," knowing everything you know now, how would you go about your vocal training? What would you do differently? What would you do the same?   The only reason I ask this is because I've seen many people do many things:   I've seen people who got real deep with a certain vocal program, whether it's 4 Pillars or Breaking the Chains or whatever and take lessons with the creator of said program and make great gains I've met people who've never taken lessons/invested in a program but sound great due to the fact that they are always singing so they "figure it out" and also make great gains I've met people who did a combination of the above two who have also made great progress. But the thing about the above points is: People have gotten great voices doing a multitude of things. And I think this is important to note. Especially as someone who is constantly trying to improve their voice. I believe that it is important to learn solid technique because that'll last you a lifetime. I once heard a vocal coach say: "Practice makes permanent." Meaning that if you practice incorrectly, you will develop bad habits that are hard to reverse once they are there.   Anyways long story short, what would you guys do if you had to start from scratch again and "build your voice" so to speak? Would you get with a teacher or a program immediately? Or would you just sing sing sing? Or would you do both?        
  10. I know many choose to use odd and/or clever mental or physical mnemonic devices, such as imitating a duck to get find twang, or imagining specific visual objects. What is something you've found deceptively useful in your singing practice?
  11. Approximately a month ago, I received a student from the US who has been a professional singer all his life, but for the past while, he had begun experiencing some vocal problems; like a loss of high range, a raspy/hoarse voice and a collection of excess mucus in the throat, coupled with minor acid reflux. He was experiencing fatigue with his voice and could no longer sing for prolonged periods of time.   That made my client very insecure and resulted in him refusing and cancelling upcoming gigs.   He originally arrived to me, per-registered for 20 hours of non-surgical voice repair sessions, but ended up taking 30 hours to learn the new vocal technique and to lose the bad habits adopted for the last 40 years being on stage. The voice repair was actually complete within 10 (maximum of 15) hours; the rest of the sessions were dedicated to mastering the actual singing performance.   It was not easy, as I told him, jokingly, even before we started, that it is not easy to teach the old dog new tricks. And no, it was not easy, but in the end, it was very rewarding on both ends.   Please read from (his own words), how he felt right after he arrived home:   “ My 2 gigs right after I got home went great.   I also mentioned before I left that I had a song to sing for a producer in France that I was looking forward to trying out the new technique -- it worked great-- I had just one day to do the lead and harmonies-- there were a lot of harmonies-- so I was singing pretty hard for a little over 7 hours.   Next day I felt fine -- tired physically, but that goes along with being old Everything worked and it really helped cement some things -- the circles and peripheral singing -- that's been a real hard one to get, but it's making sense now and I know with implementation and practice it will become second nature.    The way I was able to make it make sense to my mind was to say "keep your eyes on the road" -- which of course, is what you were saying -- you used the GPS analogy, but I'm more old school ”   Now, a month later, we have received another e-mail from the same client, who now has had the opportunity to test out the Vocal Science technique, combined with his performance skills (and my expertise on that matter), even further.     Please read below:   “The gigs this past week went great-- one major thing that I'm noticing is in what you stressed about keeping our eyes on the (singing) road. It's starting to come more naturally now and when it does, the audience reaction and connection is deeper and better in relation to how clearly I see the road (in fact, one of the gigs was a solo gig and I made way more tips than I have there in the past -- do I owe you a commission for that?   We know that as artists, singers and just as people, that we want and have to connect with the audience to allow the cycle to happen-- yes, of course, we have to talk to them and relate that way, but the deep meaningful connection happens on its own if we just connect with the song-- that's what the audience feels -- it's the difference between singing at them or to them.   If we're constantly monitoring what we sound like and what we look like, where is there room for the song?--that ability and opportunity for a deep connection goes right by us and we've missed our chance. As you like to say, go figure.   I know this is very simplistic, but whether it's sports, singing, or cooking etc. it's the basics that are often the most overlooked and the most important. As always, thank you ”   I think that the above is very profound. And Bob has been an incredible person and a very diligent and dedicated student; taking instructions with gratitude and adapting the newly learned skills right into his craft.    And as we see, it worked “by the book”, so to speak.    We know about some singers who are so, ‘me, myself and I... and my voice’, that cannot connect with the audience, as they have been listening to themselves and “enjoying” their own voice instead of singing it for the audience. The others have another extreme.    Their singing is not up to par and some of them are literally losing their voices right on stage and during their performances. However, the majority of them have good showmanship, which often they pass to cover-up their inadequacies in the actual singing field.   I would call them the ‘Entertainers’ and not Singers.   However, the ideal combination of two would create the ultimate performance, as the technical and artistic merits would be in perfect harmony, (no pun intended).   The audience, in my opinion, should become more demanding and claim and feel entitled to experience the real true performance from the artists for their hard earned money. 
  12. Hey fellows! I'm back here (for the old ones lol)   Bon Jovi's Livin' on a Prayer aweeesome acoustic version! Many voices by this lil' devil...   'O'     Happy new year!
  13. First im sry for another bridging thread. Now from what i understand there are 2 bridges that needsto be built...the first one around E-G4 and the secon around A4-C5... Now my question is this...when i sing i have no problem getting to G4 and when warmed up i can go to A4 with slight to no problems...but A# is an absoluts mystery to me..i just cant seem to phonate above A..it breaks horribly... Is it possible that actually my first break is around G#-A4... Ill add a zakk wylde cover that runs up to G4 for you to listen...NOTE that that isnt my best effort and those G's are not ussually that shaky... https://app.box.com/s/gga5ptl0l21ls04huapyhxz7amrhs0t1 Thanks
  14. Should you just work on your physical body, or should you just work on your voice? The answer is: NONE of the above mentioned choices are right!   As per usual, I am receiving multiple e-mails from all over the world.   90% of those e-mails consist of quite long letters with all kinds of stories, primarily about the voice problems these individuals have been experiencing. The majority of them possess the notion that if something is wrong with their voice i.e. it sounds hoarse, their throat hurts and feels scratchy, they have excessive mucus in their throats and some have already been diagnosed with acid reflux, muscle tension dysphonia, and whatnot; it must be happening only on a physical level.   They do not realize that the majority of vocal issues become present because of the misuse of the vocal mechanics (speaking or singing). However, you cannot dismiss either of the above. If the physical body is already out of whack, so to speak, the wrong mechanics of the voice will reinforce all of the physical imperfections.   If the person is not exactly mentally and physically fit, it will surface that much stronger when the person’s voice will get drowned to the lower position; and thus will attract the mucus and gastric acid to the vocal box and the vocal cords in particular.   As sad as it sounds, when the speaker or singer is experiencing the symptoms of a raspy and hoarse voice, they run to the doctor just to be labeled with either acid reflux or muscle tension dysphonia, especially if no growth like nodules or polyps are present.   They are offered something like Gaviscon which you could buy over the counter and which could assist with the minor stomach trouble, but definitely has not much to do with fixing the voice, or even getting acid reflux off of the vocal box.   Once (mechanically speaking) the voice is flat and sits low in the position, no Gaviscon, or any other remedy, will get it out of there, unless the voice is physically recovered, lifted and restructured to the different set of muscles.   Once the voice finds its new “home” at the upper facial cavities, the surface of the vocal box will be released from the pressure of the sound; and thus will become available to except natural herbal and homeopathic remedies, which actually will aid a great deal to the damaged vocal anatomy.   What does it tell us?   It tells us that the remedies alone, (even the natural ones), will not be able to solve the vocal disorder on its own. It also tells us that to work on the vocal mechanics would be much easier if the vocal box would be lubricated, the vocal cords would be strengthened and all of the impurities, (like mucus and acid), will be eliminated.   So, one more time again, we are back to the holistic approach to vocal mechanics and overall to the human being.
  15. I've recently made a concerted effort to lighten the mass of my phonation as I ascend. This has been a HUGE help as I kept getting "stuck" at A#4 and could never get past it to B4 in a light mass configuration.   I have no problem "pulling chest" and getting a more belty, beefy head tone B4 and above; in fact, it was much easier for me to access the notes above A#4 by using more M1 musculature. It allowed me to go up to D5 and even to E5 easier than the light mass way; now after trying to "shed the weight" as I ascend, I've been able to get bright, twangy head tones on B4 and couple of times on C5 as well.   As Robert has said before, the light mass way is MUCH less tiring on the voice, it almost feels effortless but sounds bright and connected. As of now, I can only sustain and "pull" M1 so high for so long before getting fatigued: not straining, as everything feels open and free, but my voice gets tired much easier than compared to the light mass way. Continuing to train the M1 "pull" should provide more stamina so I can utilize it for longer periods of time.   As for the light mass configuration, this is the sound I ultimately want, the James LaBrie/Geoff Tate/Rob Halford way, as opposed to the Bruce Dickinson way. Not that there's anything wrong with Bruce, he's one of my favorites, but it's not the sound color I'm looking for. I'm glad to have found both configurations and will train and utilize both of them.   Moral of the story is if you are looking for a light mass sound color, keep your phonation light and lighten the mass as you ascend. Robert has mentioned this before in his online videos but until I tried applying it yesterday and today, I didn't fully realize how big of a difference it makes. I feel as if my voice just "slots" into the proper place when slightly modifying the vowel and lightening the mass. It's a very delicate configuration.   Just figured I'd share my story and a bit of advice.
  16. Any Estill experts here? I've come to realize that the main thing that has been holding me back is that I can't get thyroid tilt to happen in thick folds. I have been trying for a very long time now and nothing seems to work. I can make it happen only in very thin. Someone once brought my attention to the fact that one unmistakable sign that thyroid tilt is happening is that an octave feels extremely small, which is due to the fact that the folds are already pulled tighter and the arytenoids have to move less to reach higher notes. In my thinnest thin, I can make it happen easily, but otherwise, it just doesn't happen no matter how much effortfully I use cry/sob.   Can anyone offer any suggestions on how to get thyroid tilt and thick folds (modal voice) at the same time?
  17. just a great video....really something to learn (or re-learn) or remind yourself of....i love these kind of videos http://www.youtube.com/watch?v=5SddZaRqWIo
  18. I would like to start a topic about famous vocalists and if there vocal technique is any good. I  would like to start with Patrick Stump from fall out boy. To me it seems like he sometimes uses good technique but usually just yells everything       what do you think?
  19. Hey all,   Merry Xmas! Hope you get everything from your wish list!!   This is an article I posted on my Singer's Newsletter. It's free, btw. Sign up at www.teridanz.com   10 Best Gifts for Singers - SN Holiday Gift Guide! http://fb.me/2Jnvy3cFu -teri recording artist/ vocal coach  
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