This is in a nice, bright part of your vocal range. Pleasing to listen to. Explore this range more. It's your "Power Band". Exploit this sound.Good pitch, support, and energy. Say YES to challenges!Is it Wednesday already? Bob
This is in a nice, bright part of your vocal range. Pleasing to listen to. Explore this range more. It's your "Power Band". Exploit this sound.
Good pitch, support, and energy. Say YES to challenges!
Is it Wednesday already?
Wow! I missed your last few demos... not sure why I didn't see them.
Lotsa Rise Above! Sounds good. I like the background vocals you're adding. 800 subscribers, eh? Not bad...
Of this batch, Tragedy+Time is my fave...
Oh, it's almost Wednesday already!
Nice demo. I apologize that your demo has been there so long without anyone commenting. For some reason, the forum didn't notify me that there were new demos here.
Your voice is sounding good. You're a little shy on the support where that one wowie was at 1:04 on the A4. Other than that, You are sounding good, and now it's time to get serious about your KTVA studies and grow your voice into a MONSTER!
I look forward to your progress!
Long time no hear! I hear improvements, an ease and comfort about your voice that wasn't there when you were spending more time struggling.
I think that even though you've taken some time off, you really spent a lot of time working on your voice previously, and it shows.
The difference is like night and day. Good job, you've put a lot of work into your voice. You are smooth and clean going from chest to head. Your reduction of consonants no longer sounds unnatural. Instead it's undetectable... just right!
How are you feeling about your voice now? How are you doing when you sing live?
Are your friends and family noticing how well you're developing into the singer you've always wanted to be?
To me, it sounds like your finally developing YOUR voice, YOUR sound, YOUR style...
I'm very happy for you!!!
Your hard work is paying off!
Yes, your band could tighten up a little bit, but hey, it was your first gig, right? Anyway, the audience seemed to like your performance.
The note in Are You Gonna Be My Girl is actually an E5.
On all of your screaming high notes you need tons more support to keep from blowing out your cords. You should be pushing down on your diaphragm with all of your might when you want to belt that high. Instead of stressing your throat, you should be pressing your note, down under. That is the most important thing you can do when hitting notes that hard: Don't hit them so hard. Use the Shock Absorber of Super Support to reduce the blast of air down to more of a cushion of regulated, flowing air.
Your "hoot, hoot" is, well, too "hooty". Try to make the "hoot" more of a toot by having more cord closure and less air hooting. Even though you may be saying the word "hoot", it should be less airy and more timbral, and I think you'll be more satisfied with the way it sounds. Again, you will need a lot of support to toot your hoot without going hoarse, of course.
Not bad for a first foray into the public eye. Learn from your mistakes and make corrections. Then go back out and do it again.
@highmtn When I say I havn't been practicing I have still been going out singing regularly just not been doing the workouts and i've have been working on some things ken pointed out i need to work on.
How are you feeling about your voice now?
I am happy with how far i've come listening back to my first lesson with ken. I was a little disappointed not to get through my voice audition but think that has only made me want to get better and my audition was terrible so i'd be more concerned if i thought i did well and didn't get through (plus I know i'm not there yet). I need to work on my vibrato at some point. I've started to try and cut back on the goats wiggling but it is a difficult habit to break. I also need to start building my chest voice up a little more i do have a tendency to go into my head voice often without realising.
How are you doing when you sing live?
I do a few gigs I don't really actively seek them out but take them as they come from doing open mic nights etc. Some gigs go well some don't go so well a lot of that i find depends on the audience if they get into it then i get more into it if they don't then it all feels a bit flat. I could do with getting some more songs together though I have done well to have learnt 45 song by heart this year. I don't get nervous singing live don't know why coz i get nervous doing speeches etc so that is good.
I think i have got a bit complacent with my singing and need to record and listen to myself back more and put myself up for criticism. I'd like to get to the point where i could nail bruno mars' when i was your man every time. going to have to start singing it live i think nothing like singing in front of people to encourage you to make the adjustments needed to get it right.
Like I said, I hear noticeable improvements in your voice in several ways since you were last posting. There were always small differences when you posted a lot, and sometimes you overcorrected one way and then another. It seems you've found several midpoints that are just right for your voice.
I would encourage you strongly to get back on the practice horse and resume your workouts.
If you want to keep growing your voice and get to a mastery level, that is just something we all need to do. We have to make a commitment to our voice if we want to reach the levels and goals we set for ourselves.
Runners have to keep on running or they will not place in the marathon or the 10K. Singers have to keep on doing singing exercises to keep their voices in top shape and growing. You're either growing or you're atrophying. When the big gig or the important audition comes along, we need to be at our best. If we don't get the gig, instead of giving up, we need to stoke the fire all the more with solid practice.
It's just a fact of life that we need solid rehearsal as a way of life, if we expect to sing on a professional level and continue to grow vocally.
I'm feeling pretty good about my voice, but I also need to carve out more time to develop it further in the ways I want to grow it. Life has lots of demands on my time, but I have to seize the moment and spend more time doing solid workouts just like everybody else. I'm gigging a lot, and if I get lazy with my workouts, it will show. My performances are at their best when my practice is at its most consistent levels. If I really expect the results I want from my voice, I just simply have to stay in shape.
Likewise, I'm a runner. I get too busy to keep up with my running. Then I go out and run up hills I used to be able to make it up and end up walking to the top... Why? I lose my conditioning, by letting other things take up my time so that I put off my running.
Probably the best thing for you to do to get rid of the goat's wiggle is to start learning to do a proper vibrato. Many singers I listen to that have a little nervous wiggle in their voice just don't know what to do with the stream of air. It's actually harder to hold a still stream of air than it is to do a nice, smooth, moderate speed vibrato, when appropriate. That will really put an icing on the cake with your voice, to have the ability to add just a touch of vibrato on sustained notes.
You don't want vibrato all the time like an opera singer. You want to add it as a way to resonate on certain notes in songs for emphasis and effect.
Get back to your workouts, and work on a few songs each day. You'll see that with a renewed increase in focus, your skills you have built will sharpen and increase again. You just can't stop running and be a runner.
All the Best!
Good to hear from you again, and glad to see you are still working to build your voice.
Keep at it and the improvements will continue!
You ROCK, Joshua!
Your voice is really sounding good!
Unfortunately I can't do a very good job of giving feedback on this link, because I can't access this one.
@overdriveisclassy,Unfortunately I can't do a very good job of giving feedback on this link, because I can't access this one. Bob
Ah, much better, @overdriveisclassy... this one works.
Nice instrumental intro, big baritone verses, and the overdriveisclassy background singers chiming in on the choruses.
You just keep cranking out good sounds. Your camera crew was making me dizzy, though!
Your pitch is mostly on. When you do the "ANNND ANNND ANNND you put the load right on me" the pitch is wandering around. That part should be done by different people, each one holding their own note, anyway.
Your tone is a bit thin for a song like this. You could get more cord closure and support to beef it up a little.
Emphasize the AH vowels and elongate the vowels a bit, while lessening the consonants to make it a little more sonorous. I would speed the song up a bit as well. Most bands play this song way too slow, and it tends to drag more the longer it goes.
I think you may be on to something, @Joshua.
I think we can probably all learn a thing or two together from your video if you decide to do that.
Your link doesn't seem to work.
Thanks, Joshua for making bobbo65's video viewable.
The vocals are a little muddy and slightly distorted on the recording. The reverb is mushy and the mic not so crisp. I can hear that you have a good voice, but it sounds to me like your voice is untrained. That's not such an easy song to do as a demo, but I understand you doing it in memory of your sister. It has special meaning in that regard.
You have good pitch, and decent range. You could use more breath support and a brighter tone. The ending got away from you. That's where the support is most needed. You have the potential to be a really good singer, but need some training and practice to get there.
the volume isn't because that's the "Right" way to do it - the volume it to demonstrate that your mechanisms are off.I'm about to post a video that I think talks about this exact thing you're dealing with. 10 minutes...max.
I like your demo. As I was watching and you got to the line at about 4:11 where the pitch gets off track, my impression was that you let go of your support. You had to keep up support prior to that for the higher notes, but to my ears, you let go of support when you got to the lower phrase.
I feel like in order to keep pitch from wobbling or drifting, that it is necessary to maintain a certain constant pressure down below, below the diaphragm, in order to maintain a consistant pressure up above in the chamber where the lung reside, the upper vocal mechanism. You seemed to let go of the diaphragmatic back pressure, which causes the imbalance in the cavity containing the lungs. Think of it like when you let go of a balloon, and it goes in circles wildly as it loses pressure. Just a word-picture, of course, but they can be useful.
I like that you are using analogies and word-pictures in the discussion at the beginning of your video. The mental images we have in our brains while we are doing this can have a big impact on the sound that comes out of our bodies. Some discourage this type of imagery, because, after all, it is imaginary, but if it helps you to put you into a place where your voice does what you want it to, it's just the psychology of singing, and we all know that that is something that really affects our voice.
This is a good way to get into some good discussions that many here will learn from. So don't stop now...
Then it's most likely a matter of not knowing the exact interval of the first "off" note from the last "on" note. What I'm hearing in the perceptible loss of girth in your voice when the off note happens, may be the lack of confidence because you aren't certain of the note you're about to execute?
It's common for the subsequent notes to be off by the proportional amount once a singer gets "off track". From the point that a singer takes a wrong melodic turn, they're "on-track" to an incorrect interval.
The trick is to learn to more accurately estimate the intervals on those tricky jumps between the descending steps. Sometimes the interval is less than you think, sometimes more. If you're off by a half-step or even less, you can get into trouble that's hard to ignore.
You may need to train on some varying, descending intervals in these register ranges to build agility and accuracy specific to melodic descents. The Volume 3 inverted scale on track 9 of the audio exercises would be something like this, but I think you need even trickier, closer intervals to follow.
You might just take some sections from songs that you experience this in, and use the tricky phrase as the exercise, and move it up and down the scale in successive repetitions. Then do the same with other hard-to-discern intervals from other songs or phrases. Move 'em up and down and inside out until you can do them forwards and backwards, faster and slower.
Just a thought...
; ^ )
Ah, much better, @overdriveisclassy... this one works.Nice instrumental intro, big baritone verses, and the overdriveisclassy background singers chiming in on the choruses.You just keep cranking out good sounds. Your camera crew was making me dizzy, though!Bob
Nice blend of lead and background vocals. Your co-vocalist is a very good ventriloquist, as well! ; ^)
Thanks. You made my day! Nice!
Yes. Your voice has new, pleasing tone, more rounded, less nasal, from the gut rather than the throat... seems to have reserve power to spare... AHA!!! You are making very good progress. Keep up the diligent work. It pays off. Keep pressing on that inner tube!
I got this message from your link:
Did you try to access a private track, but were not logged in?Maybe the track has been removed.
Sounding Good, @jre!
You're coming along nicely. Good tune, good vocals.
I will be interested in hearing what you do with it after a little more time in the program.
You could sing this with a little more girth, but I personally like the way you are doing it now.
Thanks, @jre. and you're welcome for my compliments, they're sincere. I'm happy to be helpful to you and everyone else that has an appreciation for what I do. I'm far from perfect, and make mistakes, but I do know Ken's program and techniques, and I've become fairly adept at helping students to understand how to get to the next step.
Had a good gig this evening and looking to do the same tomorrow! Ken's program really works.
I got "This video has been removed by the user" from your YouTube video.
Nice job. I would suggest more support in general. Specifically at 0:26 the pitch was just a bit uncertain, and it seemed to be support-related. Otherwise your pitch is good.
At 1:45 you are getting a distortion that sounds like oversinging, not glottal compression. That kind of distortion doesn't sound healthy.
Overall you did a good job.
Nice to see you posting demos, long time no hear!
Good job on staying connected. As a bit of feedback, you might back off on the consonants a bit to keep the vocal tract open and flowing more continuously.
Good work on this song!
Good job on the Vowel modifications. Nice tone, it could be a little brighter, but you have a nice rounded tone. You are supporting well, with the exception that you are pulsing your breath, and the scales should be one long, smooth breath consisting of individual notes. Also, try a little more support on the lowest parts of the scales. The lowest notes are a little shaky.
Your breath pulses a little too much on your individual notes. It should be more legato. Yes, I tell others they are slurring the notes too much, but try to reduce the pulses and just make them individual notes, and in your case it should slur together ever so slightly, while maintaining the individuality of each note. The thing to do with that is to just keep the breath more even while changing notes, so it sounds more like a melody. When someone sings a song, you don't want to hear them pulsing on each word.
There are a few places where your bridge clicks into place with a slight yodel. You should work that a bit to get the pressure just right to move past those points unnoticeably. It's pretty close, but that's something to work on.
Your range is sounding good. You do go into head voice, and as I mentioned, some of those transitions need smoothing, but your head voice does match up nicely with your chest voice.
You had a little more trouble with the EE scale around minute 12. I think the pulsing of your voice may be contributing to the sudden clicking from head to chest and vice-versa. If not, then its just a little too much air pressure.
A note of interest on "Lah-ah-OH, ooh" exercise: It should be Lah ah ah ah-OH, ah, ah, ah ah. When the high note gets high enough, later in the scale, the Ooh part comes in when the high note on OH modifies to Oooh. That's the Ooh part of this exercise, when it modifies the high AH and OH to Ooh. Listen carefully to Ken on that one. Not a big deal, but that's the way this one should be practiced.
You have a nice quality to your voice. I can tell you've been working on this. As to whether or not you're ready for Volume 3, that's up to you. I would suggest you work on the pulsing thing and get that evened out before moving on. The scales move faster in Volume 3 and that might not be the best environment for you to get that issue tackled. You also should work on smoothing your connections. When that speed bump happens, stop the CD and just work on that particular connection point. It's only certain ones that you get caught on. I think if you do some focused examination and practice on those particular parts of the scales, your voice will work it's way through and find the right air pressures and muscular positioning for those transitions. Best to get those nailed.
You are very close, and it wouldn't be the end of the world for you to move on, but you might find yourself with too many issues to solve at once, with the higher intensity of the Volume 3 scales. I would suggest you dial in those adjustments I pointed out, and then move ahead.
Good work. You've come a long way in a short time.
Nice song, nice job.
Feedback: A little more support on the "my heart" line and other places where that melodic line comes in.
Also if you open up and put a little more MAH-HAH-t on those lines, it will give some more sustain to "My" and make it less of a short "muh".
You do nice work, Derrick. Good job dancing back and forth around the passagio.
: ^ )
Just keep doing the workouts faithfully. Really pay attention to what's happening with your voice when you do them. Are you into Volume 3? Those workouts really help you to expand your range. It's a matter of moving beyond hitting the notes to getting more comfortable with them and being able to dwell on them. First we have to get to the point where we can just touch them. Then we hit them a little bit. Eventually we sing them, and sustain them.
The vowel modifications can help us to get there, and to feel more comfortable there.
Good to hear from you again. I have a few suggestions for you from this demo.
First off, I hear continued improvement in several ways, subtle, but your improvement is ongoing.
A few things I think would help: A simple one is at 0:41; your "k" consonant is too dominant going into the "oooooh..."
So it becomes "Lie-Kooooh-oooh-oooh-oooh-oooh... " I know you know how to fix that.
The bigger issue I would like you to consider is the overall tone of your voice in this demo. I think this is an area that would benefit you a lot. To be direct, your voice sounds a little like you have a cold.
You know, when someone says "I hab a bad code" and they mean "I have a bad cold". It's a matter of the opening between the nasal cavity and the oropharynx, at the soft palate. The uvula area... An adjustment at the velopharyngeal port.
So I know there are a lot of criticisms of various singers as being "too nasal". And yes, there are a lot of singers with what I would call too much nasal quality. Willie Nelson and Hank Snow are a couple that come to mind. But the opposite of that, I suppose, would be insufficient airflow through the nasal passages. Let's call it MASK.
Now, I also know that too much mask WILL sound "nasal", and that's not what I'm proposing. I'm proposing an adjustment to bring in SOME mask to the point that your N's, M's, etc. will have a bit of air being directed like Ken describes in his videos, up, to the top of the head, and forward. Well, we know that there are no air passages through the very top of the head, but there an is an air passage that goes into our nasal cavity, and from there branches to all of our sinuses, which can lead to sympathetic vibration throughout the skull, and help put a ring into our voice that otherwise is not there. We need that high, bright component to be blended in with the full sound of chest and head to make a more Hi-Fi sound come from our voice.
This is the sheen we want on top of the nice bottom end you presently have on your voice.
There are a few places that your notes sound just a skoshe flat, and I know that a darker sound tends to sound acoustically flat, and that the use of a brighter, more ringy sound is easier to attain more accurate pitch, due also to acoustical principals.
I realize that we may have to play around with getting the best tonal blend for your voice, but I think this is an element that will really make your voice SHINE in a way that we haven't gotten around to quite yet. We may have to overcorrect and then undercorrect before we get it right, but I think that's something that needs to be adjusted to find more clarity and precision in your voice.
I also know that you are a doer and you will take this feedback and use it for the betterment of your voice. It is meant only to help you see and hear what is difficult to judge for yourself.
Thank you, Marc.
Nice High C at 2:39, by the way.
Yes, Ray, you are hitting high notes and low notes.
On the low notes, you're getting that rattle in the back of the throat. Make sure you're open very wide at the back of the throat where the tongue and back of the throat can rattle against one another. Keep the tongue forward and touching the back of the front teeth, and down flat in the jaw, unless you can furrow it low in the center and higher on the sides.
Remember to support the low notes, too. It can be easy to underestimate support at your lowest notes, and they can become unstable. Remember that cord closure can be an important factor in having plenty of breath to make it through the longest of notes. If we leak too much air through the cords, we will run out too soon.
On your tongue exercise, bring the tongue more forward, out of your mouth a little bit. In doing that, move the back of your tongue forward, to create space in the back of the throat, as if you were making an Open Throat AH! Remember, that this exercise is supposed to be done very lightly, and is intended to be done as a connecting-to-head exercise, to work on bridging at the passagio. If I'm not mistaken, I think you may have been in chest voice the whole time, and went all the way to B4 in chest on your tongue exercise. That's great for chest, but not helping you to work on your bridge. It sounds like you are pushing a little, rather than doing the tongue exercise lightly. That will tend to keep you in chest voice, rather than releasing into head voice.
Also, I notice your chest coming up with each breath. As you know, you should be maintaining ribcage expansion, and that should take place over the full exercise, and at the end of the exercise you should release the expanded ribcage. Meanwhile you are supposed to take individual belly breaths for each scale in the exercise, while maintaining the ribcage expansion. This may help you with your breath management.
The LAH Exercise: Again, the rattle at the back of the throat. Keep the back of the throat as AH as you can, very open, like the beginning of a yawn. Make sure everything back in the throat, like the opening of the throat and the back of the tongue, are in the proper place and not rattling against one another. I would like you to try to get your Lah a little brighter. Really make it pop and ping. Like Ken when he demonstrates "It's the LAH!!! AH!!!!" That bright sound has a lot of cord closure in it, and will really project. You should smile into the sound, as well, with your upper teeth showing and your cheeks raised. This will help to lift your soft pallet and brighten the tone. Drop the jaw a skoshe. Not to where it's uncomfortable or ridiculous, but a little more open would be good if you can. Direct the sound towards the hard surfaces (hard palate, front teeth) and also bring in a little bit of mask.
Your scales sound a little labored, like it's hard for you to keep up with the speed. If you need to, stop the playback and practice slowly and get used to the scales, then try to speed them up gradually. The scales will get faster in Volume 2, and even faster in Volume 3, so now is a good time to get comfortable being able to keep pace with the exercises. Also, you are sounding just a bit too stair-steppy on the scales. They should be a little smoother, more legato. You're doing a good job of individualizing each note, but they should link together a little more smoothly. This may help you to be more at ease with the pacing of the scales if you sing them a little less segmented.
So now to the AH itself. This is the basic building block of your new voice, so we want to be a little picky about how it sounds. You need to make it more AH!!!! REALLY AH!!!
As you are singing your scale it's laxing a little towards uh. There's that point in the video where Ken says to make it really AH!!! and you momentarily snap out of the uh and into the AH, but then you relax again into more of a mix of an Ah and an uh sound. THEN, I'm not hearing you progress through your vowel modifications. That is most likely why you are tightening up as you get to and beyond G4. You almost make it to the B4, and you're in chest voice the whole time.
So where is your bridge, and where are your vowel modifications?
I think you know that you're supposed to be doing two different approaches to this, which are 1. Bridging and connecting smoothly, and 2. Stretching your chest voice. So I guess this is stretching your chest voice, which is fine, but you should be going to Aw as in loft (probably anywhere from about F#4 to G4, and then to oo like look (similar to uh but more oo) anywhere around G4 to B4, and then to Ooh (like who) anywhere from about Bb4 to C#5. These mods will help you to relieve that tension that is causing you to tighten up for the high notes. Also, remember to push down on your insides for the high notes as you begin to feel tension in your throat.
Keeping the AH really AH in the beginning of your scale is important so that you have somewhere to go when it's time to reshape your vocal tract for the high notes.
This may seem like a lot of things I'm bringing up, but they are all components to stabilizing your voice and building your technique. I think you're going to take to this like a duck takes to water, as soon as you get your sea legs planted underneath you. You're going through "Moving Targets Sea Sickness" right now, as there are so many of them to get control over.
As you become more accustomed to keeping these things in check, you will find more consistency in your voice, as well as the beginnings of resiliency and stamina that you previously have not had at your command.
Stay the course!
Hang in there and keep on practicing!
You're making headway!
Diphthongs is the correct spelling. I have problems with that word, too.
On the "souds like you hab a bad code" thing, I think it's a matter of the velopharyngeal port and how open or closed it is when you sing. You might watch this video for some ideas:
On the Koooooooooooo, we really shouldn't hear the K as the onset to the Ooooooh. So you might end the word "like" with a very soft, almost nonexistent K. In a lot of cases, a soft "g" is used as a substitute for harder consonants, but you don't want to say Gooooooooooo either. : ^ ) Whatever you end up with, it needs to be really under the radar or almost silent. Perhaps a short silence before the start of the oooh. Listen to the original. Bruno Mars says "it all just sounds like" and then an overdubbed voice that sounds totally different says the Oooooh, ooh, oo, ooh. There is a very short space between them, but it's not the same voice or the same take on the recording.
Good Singing to You, Marc!
Ouch. Sorry. It's in the Pro section. I was thinking you had the ProPack.
Well, to sum it up, what Ken says is that there is a balance between nasality, the absence of all nasal sound, and a good blend of Open Throat with Mask.
You don't want too much of a good thing, but you also don't want to be totally without the ring that can be a part of your voice when you employ a little bit of mask. So basically you vary the amount of how much you raise the soft palate to still allow some of the airflow through the velopharyngeal port without overdoing it. Somewhere in there is the right balance for your voice, that will have that high-frequency component to compliment the full tones of the Open Throat.
Well, maybe you have, but you just haven't requested to upgrade your status in the forums. You are listed as "Enrolled" which usually means you have one or two of the KTVA volumes, but not all three.
If you have all 3 KTVA Volumes, then you should have the ProPackage bonus files. Maybe you should look at your downloads in your computer to see if you find Propacks 1, 2A, 2B, 3A, 3B, and 4, along with Volumes 1, 2, and 3.
If you have all three volumes, then you should paste a copy of your receipts from KTVA into an email and request Pro Status in the forums.
Send your email to [email protected]. If you have all three volumes and have not received the ProPack Bonus videos, you can also request that.