Jump to content

davie

Moderators
  • Content Count

    2,304
  • Joined

  • Last visited

Community Reputation

78 Excellent

About davie

  • Rank
    Moderator

Converted

  • Biography
    I am a singer-songwriter, music producer and vocal coach based in Toronto. I have been trained by Voice Soaring founder and David Jones associate, Jeff Alani Stanfill and I teach vocal concepts based on the Swedish-Italian school of singing. Lessons are available online via Skype. For voice lesson inquiries please email me at davie@daviekuan.com

Converted

  • Location
    Toronto, Canada

Recent Profile Visitors

The recent visitors block is disabled and is not being shown to other users.

  1. You're starting to sound a lot better here. I can hear some resonance beginning to come in. There is still some breathiness in the sound, but I believe it will subside as you continue to work on this. Breathiness in the sound is simply the result of the vocal cords not coming together cleanly. Working on some staccato exercises might also help with that. Also another thing I noticed, your inhalation breath needs to be more relaxed, it sounds a bit tense throughout your recordings. Work on taking a slow and relaxed breath through the nose. When the breath is relaxed it should feel like the breath is going low in the body.
  2. The correct order of the vowel sequence is actually AH-AY-Ee-Oh-Oo Perform the exercise with minimal jaw movement. Keep about a finger-width space between top and bottom teeth. At the same time using a rounded mouth shape. Try your best to not involve the jaw. The jaw needs to stay isolated from making the vowels. The only thing that really moves is the tip of the tongue.
  3. Here's a short clip I made of a basic pharyngeal vowel exercise on a 5-tone scale using the vowels, Ah-Ay-Ee-Oh-Oo. The goal of this exercise is to align the 5 vowels using the same throat space. The descending part is using the 'Oo' (u) vowel, which will help to keep the throat open. I recommend performing it starting from the lowest note of C3 and bringing the highest note up to around E4 or F4. I hope you find this helpful. Feel free to ask any questions if you have any. pharyngeal-vowels-5-tone-exercise
  4. In my opinion, there's really no point to develop vibrato until the singer manages to get a nice resonant tone first. True vibrato really only comes into play once the vocal cords can come together cleanly while at the same time maintaining an open throat. A second factor is evenness of breath support, or how smoothly you are able to move the air. It can be a balancing act. You might still be able to get a strong tone if you push a lot of breath through, but at the same time, too much breath pressure can stop the cords from vibrating in place. There are also ways to manufacture a forced or "fake" vibrato, which can still be healthy to do, but might be counter-intuitive to the process of building good vocal habits. CB, I had a listen to some of your latest clips. I think you might benefit from working more on pharyngeal vowel exercises. Such as [Ah, Ay, Ee, Oh, Oo] using a 5-tone scale. If you want to try it out but need more detail then let me know. I could post an example.
  5. There's a common issue with many beginning singers, they try to build a mix without first opening up the voice. Sometimes there is a preconceived idea about what a mix should sound or feel like, but when attempted without having a good foundation, a singer may end up forcing the voice, squeezing the throat or closing up the throat space. But once the singer can find the open throat, proper breath support through body engagement, and the thin edge function of the vocal cords, then the voice will automatically be in a mix. Regarding resonance, the sound should feel like its resonating mainly somewhere in the pharynx whether you are singing high or low. In regards to your voice, the first obstacle is to open the throat and reduce the nasality. From listening through your various clips, I realize the possible root cause of the nasality is simply because you're holding back too much with your voice and not letting the voice come out. You may be afraid of having others around you hear you sing, so you're trying too much to "contain" the sound inside of your head. A part of singing is psychological as much as it is physical. I think you need to either overcome the fear of getting louder, or find an appropriate place and time to let the voice loose. Yes, that is one of the methods that I train with and teach. It is essentially the cuperto exercise in the Swedish-Italian technique. It feels very different from full voiced singing but gradually working on this over time can lead to a more balanced tone and easier access to high notes as well.
  6. There are quite a few exercises to help with every vocal concept or issue. However it actually takes a complete set of exercises to build a complete and balanced voice. I recommend working with a good voice teacher to properly guide your vocal development. In my own experience it was quite difficult to make any progress on my own until I found a voice teacher to help me. Even if a singer practices the right exercises on their own, there's really no way to tell if it is being performed correctly and the singer can even end up running in vocal issues. This is why the trained ear and real-time feedback of a teacher is always invaluable. I've been trained in the Swedish-Italian vocal technique, which is known for building voices to their fullest potential. If you're interested in learning about it then feel free to send me a message.
  7. It does sound a bit better when you sing louder. When singers hold back their sound too much, it can result in extraneous tension which can be counterproductive. Try to go for a fuller sound as if you're calling out someone from across a room, like "hey!". In one of your clips you laughed at the end. The sound of your laugh was actually fuller sounding than the notes you vocalized. That might be a good vocal response to finding a fuller sound. Another thing I've noticed in the latest clips is excessive nasality, you may be taking the concept of "ng sound" a bit too far. The ng sound is a good concept to use, but it needs to done while keeping an open throat. Try to concentrate on lifting the soft palate at the back of the mouth. It can be done by using the sensation of starting a yawn. And regarding building mix, at the moment you don't need to focus on that. Once you figure out how to phonate fully with proper resonance, the voice will begin to mix on its own.
  8. A bit late to the party, but I listened to most of the clips you posted. I think you need to work towards singing loud with more energy, you seem to be "under-singing". It's quite difficult to have the voice open up properly unless go for a bit more volume. Don't be afraid to get louder with the voice and project it. In my experience, there sometimes are two extremes when it comes to beginner singers. Those who sing too loud and those who don't sing loud enough. In order to build that resonance you need to get a basic breath support working and also make sure your body posture isn't getting in the way. As you make a tone, pay close attention to the core muscles, there should be an engagement of the abdominals, when done properly it feels like a turning sensation between the upper and lower abs and at the same time there is an expansion of the lower back. It might be a difficult coordination to find, but as long as you can find some part of it then you are on the right track and the rest will follow as you build the voice. For the time-being, don't worry about putting a label on yourself regarding voice type, it will become clearer as you progress. Things like vocal registration and range will come gradually as you progress as well. I hope this helps.
  9. I think it's pretty normal for 14 year old male singer's voice to crack since the body is going through some drastic changes. The voice is bound to have some instability. It may take another year or two for it to settle down. For the time-being, I would refrain from working the full voice with too wide of a range. Also, the quality of a singer's falsetto is usually a good overall indicator of the voice's condition. I recommend working on his falsetto/pure head voice register and try to get it to ring as clear as possible. Once he is able to do so, then proceed to blend that register downward from top to bottom. Over time you should notice the gap in the voice gradually get closer. Hope this helps.
  10. Hey there, welcome to the forum I had a few listens to your clip. Overall I thought it was pretty good. Pitch was good. You seem to have an innate sense for musicality. Your voice has a nice and clean quality to it. I think there is potential to become a great singer if you work on developing your technique to maximize your vocals. How long have you been singing for? What are your goals regarding singing and music? And I'm also curious how did you discover this forum? I happened to see your post on reddit as well.
  11. If any of you guys are interested then let me know, I can post some audio samples
  12. Hey there, Welcome back to the forum. It's been 5-6 years since you made your initial post. Has your vocal range and overall singing changed much since that time? Regarding identifying your vocal fach, it is difficult to do without hearing how you sound. Vocal range is only able to indicate so much. But from how you described your range, it seems fairly typical for an untrained male singer of any type. Feel free to post a sound clip of your singing and I can give you my opinion.
  13. Okay. Here's an update on my experiences with the cympad. Just got back from a drum recording session, we installed the cympads and did a bunch of takes. When comparing recordings from 2 weeks ago to the recordings made today, my general impression is that there is a more defined attack on all cymbal pieces (hi-hat, ride, crashes). The piece with the most noticeable difference was the ride cymbal, the attack had much more presence. Crash cymbals seemed to have a bit a longer but more even sustain. In my opinion, I think these might be a good addition to a drum recording setup looking for a extra boost in cymbal definition.
  14. Hey guys, I was wondering if any of you have any experiences with the Cympad Optimizers. I just ordered a Starter pack. I'm not a drummer myself, but I got these for my drummer to improve the sound of our drum recordings. Crash cymbals sustain seemed to cutting out short for some reason, so I was hoping these would have an improvement on it. Thoughts?
  15. To discuss lesson details, rates and scheduling, email me at davie@daviekuan.com
×
×
  • Create New...