The "Child In Time" Challenge by Deep Purple

[Robert Lunte]

I think I need to get my dictionary out to understand all the termninology here. My understanding of singing technique is gained from recording myself and listening back, and correcting based on what I hear, together with some reading (mostly on this site).

Maybe if I did understand all the terminology better, I could improve?

I'll give this song a go over the next couple of weeks, and perhaps you guys can give a technical appraisal, and I'll look it all up to see what you mean, and that's help me decide whether to take some lessons with Robert?.

I have had an interesting email discussion asking Ron about this, but I am still undecided. Since I started singing seriously a couple of years ago, my singing has developed farily well, and continues to do so. So, I am torn, I'd like to be really good, but I am continually improving anyway, and so may get there on my own.... or would lessons give me a step up?

Hello George, I just caught this post... glad I did. I can assure you that if you train with me and work on the things I show you... you will vastly improve your ability to sing. You will gain more understanding and more strength and coordination in what your doing. The prospect of your investment in time and money training with me being anything other then worthy it, fun, informative and very productive is very high. And of course I'm not offering snake oil here... I have hundreds of clients around the world, 20 certified instructors around the planet and the product we are referring to, "The Four Pillars of Singing" has been a best seller.

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The level of improvement you will experience will surprise you I suspect. At the end of the day, if singing is really important to you, giving it a try is a good idea. In other words, if I told you that three lessons with me and a copy of "Pillars" could radically change your perspective, understanding and abilities to sing better, was $389 for a special package... would you feel that $389 was worth singing better the rest of your life? I think so... my point is, what ever your budget is, its a small risk with a big upside. Don't skimp on a few hundred bucks if something can radically improve your passion and something you are excited about.

If you are already a student of singing technique, you'll have an even bigger leap of success. Experienced students that have already been doing some training with other programs and teachers, do VERY well when the get ready to take it to the next level with me and my product.

That is my selfless promotion... however, I do sincerely want to help you, its not just about the business. Give me a chance to help you... you'll enjoy it.

Hope this is helpful for you.

[Robert Lunte]

How does resonant space support anything Owen, its just air dude? great for tuning, but air doesn't support much..

[ronws]

Fixed that for you.

I understand you were just trying to make the point that 1 and 2 must be balanced...but we also cannot neglect #3. Ron and Rob, you both know this, to the point where it was implicit. But those who are reading this should understand that strategically tuning the resonance/vowel/formant, is the biggest helper to both 1 and 2, and is a must for efficient singing. Singing without that essential component is like blowing into a mouthpiece without an instrument attached to it.

I don't recall mentioning it in this thread but I have mentioned in others, especially as to how my current focus is both mobile breath management and vowel usage. To where, especially when singing along with a song on the radio, I specifically watch my vowel and make sure it's one that works for me, even if it's different from the one being used by the singer in the recording.

And I agree with you, Owen. If the vowel is tuned right, in my opinion, then you have the right amount of voulume and your brain registers that fact and it will help you adjust your breath support accordingly. Otherwise, you might choose some vowel and the wrong tongue height or too much movement to the back of the pharynx and wind up with a scratchy ball of something that defies description. Which maybe, that would be a desired effect. I could make a sound like that and someone thought I was doing something with the digastric muscle. I don't think I was. I was backing the tongue near the uvula and created what sound like a death rattle. Just once, just for a sound effect.

And sometimes, I have to agree with Felipe, it helps if someone is hearing and watching you in person. To know if what you are doing is what others are hearing. For we can do many things with a recording, both during the recording and in post-editing (what I call mixing, where one performs compression to translate an audio signal into a digital signal, eq, whatever effects.)

And each person has different criteria for mixing. Snax graciously mixed "Rainbow in the Dark" for me and it had different production values from anything else, either my own mix or someone else's efforts to mix my stuff. So, those will have an effect on what you or I can hear and judge.

[Robert Lunte]

... Owen, I don't mean to bust your chops... maybe someone can make an argument about the vocal tract giving support, but to me, 'vocal tract' means "... an open tube or resonant space". Did you mean Intrinsic Anchoring? if you meant IA, then I think that is part of the "vibratory mechanism".

[Robert Lunte]

... ok Rachsing... got it. You had to dig deep into the JOV for that one... but ok, I better understand Owen's response. The balance of pressure inside the vocal tract will move and/or manipulate tissue... not just tissue on tissue. Well that's my students for ya,,, their all real smart and get out there and 'get'r done' and become experts at this stuff...

Now then, I'm going to get some "inertive reactance" game on with my stomach and go eat some waffles...

[Robert Lunte]

I get it and I did not think it was a 'little small thingy'... I'm familiar with Titze's straw demonstration, while inerctive reactance is taking place in this demonstration, I don't think it is the point of the demonstration. To learn more about Dr. Titze, click on "Interviews" and enjoy the exclusive interview I produced with Dr.Titze here for the members of TMV World.

[Robert Lunte]

Thanks Rachsing, ... twang has been my best friend for about 8 years... there is nothing new about in my play book.

[napoleonboot]

My dictionary is getting worn out following this discussion... :D

[ronws]

Yes it can get a bit technical sometimes. I guess in more simple terms it just means that what you do above your vocal folds can affect the vocal folds themselves.

Blame it on Bernoulli, it's all his fault. :D

[napoleonboot]

I love the thing where you blow between two apples hung on strings and they move together, rather than apart, which is what you intuitively expect.

[Robert Lunte]

Owen, impressive... your getting smart... this is cool to watch your growth. Hmm? Narrow vowels and agitate vocalis... try it... keep experimenting... I think we have fundamental strengthening to do and continuing on with your appoggio.

BTW... can you duck into this other post from my new student... Ill bet you can help her well, given your perspective with TVS. Sure, I'm the coach and can help her as well, but the last time i was at this stage, was 27 years ago... and I didn't have the same coach and products you and Pam have... here is the link.

http://themodernvocalist.punbb-hosting.com/viewtopic.php?pid=54870#p54870

Thanks TVS Team!

[Olem]

First i must say that this song is so great to practice. It contains so much, low range, high range, falsetto, full voice, vibrato, just to name a few things. I have never been able to sing a A5 note before other than a tiny, very weak and squeaky one in practice so that was a challenge for me. When i sing "Painkiller" there is an A5 but i fail every time i try to reach it. At first, in this song, i tried to sing/scream the A5 with a compressed tone but that didn´t work so i tried to nail it with a falsetto tone instead, falsetto with grit and, well, i could reach it but if it sounds good or not i would let you guys answer. I have changed a few things in my effort mainly in the chorus. The first falsetto part is sung with an "ah" instead of an "oh" and the second part of the chorus i sang with a very compressed tone. The end is totally improvised and a little bit crazy

Ok, so, as usual, tell me what you think, critique good as bad are always welcome.

[jonathangraham]

Great Olem!

i've put my response on the other thread.:cool:

[Jugulator]

This is a very difficult song to sing, not because it contains A5 screams. Unfortunately, almost 70 per cent of the verse was off-pitch. Nevertheless, your timbre suits the song very well. Gotta work.

[forest_gimp]

Good overall performance.

On the verses there is pitchiness that you manage to correct, but the part " you'd better close your eyes.. OOOhoooo " is off key.

The second screaming section (E5) is cool, it sounds very halfordesque (in both the timbre and use of delay), and the last screaming sessions(A5) is surpsrisingly cool, i think you are on the edge on your range and yet you bring an extra push, good drama quality.

[Olem]

Jonathan, Jug and sange_and_yasha thanx for listening. Well, i have heard the song many times but didn´t have time to study it that much, i guess this was a sloppy work due to lack of time, just wanted to bring it out before the "Child In Time" thread was forgotten. Maybe i will try to correct the pitchiness on the verse, i´ll see.

[akarawd]

Olem, I haven't been on the forum for months but I recently got a break from everything to be human again...

I like your tone, there's absolutely nothing wrong or annoying about it. The off key parts, I'm sure you

can correct if you studied them and trust me I know time is an issue. Is it ever ....

My only criticism would be about those very high notes which to me at least sound forced. Other than that, your voice is great.

PS. I liked your full voice Painkiller version!!

[Olem]

Thanx for listening, Thanos! Yes, if you referred to the A5´s they are not in my range, hahaha, so,yes, they are very strained, i should have let them out but it was kind of a prestige thing, hahha, i so wanted to be able to do them.

[akarawd]

I believe these notes are feasible, it's the approach that differs. To me, and please forgive me if I'm wrong,

it sounds like you tried to sing them in full voice. There's way too much weight in your voice for those notes.

I'd go for the brightest/lightest tone without caring how it sounds and take from there. I am pretty sure you can do this.

[Robert Lunte]

Ok, I just discovered this topic... didn't realize anyone stepped up to "challenge" this Beast?!

I actually did a tribute on this about two years ago... 

 

[Adolph Namlik]

Ok, I just discovered this topic... didn't realize anyone stepped up to "challenge" this Beast?!

I actually did a tribute on this about two years ago... 

 

​I was just about to PM you and ask you to re-post this and HERE it IS !!!

Phenomenal !!!

[ronws]

Yeah, there was actually two challenge/tribute threads for "Child in Time." I was in the first one but did not post in the second one.