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Thread: After a bottle of wine...

  1. #11
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    Ok.. so
    Hangovers over hah

    Sang it again sober to compare

    Tried to pay better attention to breathing.
    Didn't really feel like I was running out of air as much as before.

    The thing with the "throwing of the voice"
    ...man. It must have become a habit bc I actually have to "think" to NOT do it...
    Few times in this recording where I obviously didn't think to not do it and ya...

    Man IDK...
    Honestly... to me it just sounds like I'm off key or not hitting notes or something. If so I mean... I'm just doing this for kicks really so .. I could put a lot more time into fixing that if it's even possible to fix, but... Ya... IDK

    ☮️

  2. #12
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    Here's the link to "sober version"


    If you guys find time to listen thx
    If not, you've given me plenty to learn in your previous comments so ya.
    Thx guys
    ☮️


    https://vocaroo.com/delete/s15x4FGD8Xq6/cd2b8c704a28a999
    Last edited by Mhcapa1; 08-01-2018 at 18:34. Reason: Forgot to add link.. duh

  3. #13
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    "No healthy person waits in line with a slew of geriatrics on a Sunday morning for pancakes" - RFR https://soundcloud.com/andrushkiwt

  4. #14
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    I'll take that to mean...
    "...Just stop dude"
    Hahahahahaha

    I'm saving this emoticon for future text msgs too btw


    Hahahahahah
    Quote Originally Posted by andrushkiwt View Post

  5. #15
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    Quote Originally Posted by Mhcapa1 View Post
    Here's the link to "sober version"


    If you guys find time to listen thx
    If not, you've given me plenty to learn in your previous comments so ya.
    Thx guys
    ☮️


    Vocaroo | Voice message
    Very noticeably better, man! Much more convincing!

    More fluent, and a good, round timbre on those lower notes, with cleaner onsets.

    But I can still hear tension or "reaching" on those higher notes. It is not a pitch issue, it just sounds like a breath thing, to me.

    I can hear good interpretation and expression in your voice, in breaks and inflections, but I think that you have to TOTALLY convince the listener that it is NO side effect from any technical issues. That means you have to get RIGHT on top of those higher notes, like you have a ton to spare. That way, the listener will associate the artistic nuances with expression, and not technical hitches.

    Methinks that there is only one answer to relaxing those higher notes, and it is good "breath support". That can take a while to get right (a few months, perhaps). And you have to achieve it without ruining the expression you have already built into your singing. Don't underestimate the dangers. I have known singers to trash their sound after being told to "start from basics" with a heap of artificial techniques. But I don't think there is any way to get the same round tone on your high notes, without good breath support. The higher you sing, the more important breath support becomes.

    Examples:

    1.59 "highway"

    The break on onset can be caused by lack of breath support. "h" is a telltale indicator. The "h" allows the breath to escape before the vowel sounds. Without good breath support, this causes a problem in singing the vowel, because necessary air pressure has been released. Then the singer will "push" the vowel through, rather than sing it, often with a break between h and vowel.

    The break can also be stylistic, though (especially after h). But that works best if the listener is left in no doubt that the singer is right on top of the note. For that to happen, the vowel has to come through with command and control. It is all subconscious. The listener will automatically associate the break with deliberate expression. The slightest technical waver, and the listener will associate it with that and expression is lost.

    (In fact, your second clip compared to your first clip (low notes) demonstrates just how you can shift the listener's attention from technique to expression.)

    2:01 "see"

    The "see" shortly following "highway" has a break "s--ee". Again, slightly higher note, exposing breath support issue. I am not aware of any expression that employs such a break in this case, but I could be wrong.

    (Personally, I find the -ee- vowel a bit of a bitch, anyway.)

    2:03 "all" gets "pushed".

    I am guessing that the "see" and "all" would have been fine, but for the "h" in highway, which stole away your air pressure, until your next breath.

  6. #16
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    Quote Originally Posted by Mhcapa1 View Post
    I'll take that to mean...
    "...Just stop dude"
    Hahahahahaha

    I'm saving this emoticon for future text msgs too btw


    Hahahahahah
    Sorry, I'm just having a hard time following your posts. You are typing as if you are talking, putting every minor thought down, and it's difficult following your posts. It also makes it seem like you aren't serious about improving your vocals, and if you aren't taking it seriously, why should I?

    Another tip, from 30+ years of music experience - get good at music because you love it, not to impress a girl. If you are showcasing your hard work and talent, from the heart, then that is what is attractive. Not faking something or deliberately trying to convince someone of something other than the truth.
    "No healthy person waits in line with a slew of geriatrics on a Sunday morning for pancakes" - RFR https://soundcloud.com/andrushkiwt

  7. #17
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    Dude....
    ...This is awesome...
    I know exactly what I'm going to focus on fixing.
    ...Thank you man!

    How can I repay?




    Quote Originally Posted by kickingtone View Post
    Very
    noticeably better, man! Much more convincing!

    More fluent, and a good, round timbre on those lower notes, with cleaner onsets.

    But I can still hear tension or "reaching" on those higher notes. It is not a pitch issue, it just sounds like a breath thing, to me.

    I can hear good interpretation and expression in your voice, in breaks and inflections, but I think that you have to TOTALLY convince the listener that it is NO side effect from any technical issues. That means you have to get RIGHT on top of those higher notes, like you have a ton to spare. That way, the listener will associate the artistic nuances with expression, and not technical hitches.

    Methinks that there is only one answer to relaxing those higher notes, and it is good "breath support". That can take a while to get right (a few months, perhaps). And you have to achieve it without ruining the expression you have already built into your singing. Don't underestimate the dangers. I have known singers to trash their sound after being told to "start from basics" with a heap of artificial techniques. But I don't think there is any way to get the same round tone on your high notes, without good breath support. The higher you sing, the more important breath support becomes.

    Examples:

    1.59 "highway"

    The break on onset can be caused by lack of breath support. "h" is a telltale indicator. The "h" allows the breath to escape before the vowel sounds. Without good breath support, this causes a problem in singing the vowel, because necessary air pressure has been released. Then the singer will "push" the vowel through, rather than sing it, often with a break between h and vowel.

    The break can also be stylistic, though (especially after h). But that works best if the listener is left in no doubt that the singer is right on top of the note. For that to happen, the vowel has to come through with command and control. It is all subconscious. The listener will automatically associate the break with deliberate expression. The slightest technical waver, and the listener will associate it with that and expression is lost.

    (In fact, your second clip compared to your first clip (low notes) demonstrates just how you can shift the listener's attention from technique to expression.)

    2:01 "see"

    The "see" shortly following "highway" has a break "s--ee". Again, slightly higher note, exposing breath support issue. I am not aware of any expression that employs such a break in this case, but I could be wrong.

    (Personally, I find the -ee- vowel a bit of a bitch, anyway.)

    2:03 "all" gets "pushed".

    I am guessing that the "see" and "all" would have been fine, but for the "h" in highway, which stole away your air pressure, until your next breath.

  8. #18
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    I understand.
    I see how I might've come across like I don't care.
    As far as getting good not to impress girls but out of love - ya.. u kno...
    I can't really see myself without a 6 string and a notepad in this life, girl by my side or not so...

    And hey man, I do appreciate comments and pointers. They're usually good for improving
    ☮️
    Last edited by Mhcapa1; 08-06-2018 at 23:43. Reason: Grammer - blame it on the syrah

  9. #19
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    BTW kingtone - here's the song I mentioned b4 that was composed to musically illustrate trip down a river
    ....at least I think this is it. If I find textbook at fig out it's a diff 1 will update:

  10. #20
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    Yeah.. this is it.
    So when you mentioned actually using "throwing of the voice" as a tool beyond just the words and Melody etc to evoke emotion, I immediately thought of how this guy used instruments etc to illustrate scenes with music... A voice can be like an instrument imo and I realize now how throwing voice etc can add to a song if used the right way at the right time etc. Will work on breathing and pitch 1st tho.

    Here's what that song is supposed to illustrate:
    The movement starts with light, rippling figures that represent the emergence of the Moldau River as two mountain springs, one warm and one cold. Water from the springs then combines to become a mighty river, symbolized by a thickly orchestrated, stately theme that recurs periodically throughout the remainder of the work. Farther downstream, the river passes jubilant hunters, portrayed by a horn melody, and then passes a village wedding, signaled by a passage in polka rhythm. The river then enters a gorge where, according to legend, water nymphs—suggested by serene and mysterious melodies—come out to bathe in the moonlight. With the morning light, the main river theme returns, though it soon breaks into tumultuous dissonance as the river enters the St. John’s Rapids. Beyond the white water, the river reaches Prague, where to grand arpeggios of a regal hymn, it flows past the castle Vyšehrad, once the seat of power for Bohemian kings. After fading to a trickle, the piece—and the journey—comes to an unambiguous close with a loud two-chord cadence.
    More at The Moldau | symphonic poem by Smetana | Britannica.com


    Thx agn guys
    Quote Originally Posted by Mhcapa1 View Post
    BTW kingtone - here's the song I mentioned b4 that was composed to musically illustrate trip down a river
    ....at least I think this is it. If I find textbook at fig out it's a diff 1 will update:

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