Making
a Better Recording
The more everyone understands what is expected in the studio, the better
the recording will turn out. Be aware that some musicians get uptight before
a session - it can be a very stressful time. Just remember to relax.
When
we're on the other side of a glass wall, it can sometimes feel like we're
sitting in judgment of your music - we aren't. The glass prevents control
room sounds from leaking into the studio mikes. If we hear a mistake,
we'll let you know, but we aren't sitting there waiting for you to make
mistakes. We're here to help you get great sound - not to judge your music
or your playing.
Tip#
1
Rehearse only the songs that you'll be recording for at least 2 days before
the session. For clean starts, use an 8 beat count off instead of a 4 beat
count off, with the last two beats silent. (Example: 1 2 3 4, 1 2 - - )
Practice
with a click track....Time and meter are most important.
Tip#
2
Practice
the songs straight through, including intros, endings, and dynamics.
Work out all your solos before you get to the studio.
Tip#
3
If needed, put on new strings and drum heads at least 2 days before the
session. Bring extra batteries, strings, and cables, just in case.
Tip#
4
Get a good night's sleep and make sure everyone is in a good mood before
the session. Don't party.
Tip#
5
Start the songs cleanly and wait till the tape is rolling before turning
up your volume (unless we've gated your instrument). Don't talk, play,
or move for a count of eight after you finish a take. Wait for the last
notes to die away completely. Use your volume knob to fade out at the end
of a song.
Tip#
6
Don't jam or play between takes or songs. Either tune up or sit quietly.
Goofing off just wastes everybody's time.
Tip#
7
You may have to change your normal amp settings to get a better sound on
tape. Sometimes your stage settings don't work in the studio and we may
have to experiment to get your sound back - even to the point of switching
amps or going directly into the board, or through the SansAmp.
Tip#
8
If you screw up, don't panic, but point it out. Most of the time, we can
punch it in later. If one song isn't happening, forget that song and move
on to another song, or we'll take a short break. Don't bother with "I'm
sorry" or "I'll get it this time." You're just putting more pressure on
yourself. Screw ups happen. Just relax and try it again. Recording is very
stressful - don't make it any harder on yourself. If you feel yourself
getting tense about a song, take a break. A break after every couple of
songs can help a lot. Be open to suggestions and changes. "Screw ups" sometimes
turn out great. Maybe you didn't hit the note you wanted, but the note
you hit may be better.
Tip#
9
After the final session, everybody usually wants a rough mix. Go ahead
and enjoy it that night and the next day, then put it away. Get away from
the music for a while, or you won't be able to hear clearly when you mix.
Everybody should take a day break (or longer) before the mix down
session to rest their ears. Listen to groups you like, and try to get a
feel for their sound and their mixes.
Tip#
10
Before the mix down session, play the rough cassette or cd (with or without
the band there) and make notes on every song. Is it similar in sound to
groups you like? Try to pinpoint the differences. Need more bottom on the
kick? Less reverb on the vocal? Vocals too loud or soft? More edge on the
bass? Move the lead guitar more to the left or right? Before you start
the mix down, we'll go over your notes and try to get the sound you want.
Tip#
11
When you're mixing down, you want a finished product that's as good as
any pre-recorded material. Listen to the whole song, not just your part.
That's about it. Above all, have fun. Remember, your attitude will come
across on the finished product.
Tip#
12
Leave
your friends at home. If you want to put on a show rent a hall.
Friends
will interfere with your performance in the studio.
Quality
Playback
What kind
of quality can you expect for your money? Expect a finished DAT, cassette,
or CD that's as good as any pre-recorded product and meets FM Broadcast
standards. We use only high quality chrome, high bias cassettes. or CD-Rs
that you can send to radio stations and sell in clubs.
RECORDING
TERMS
ANALOG-TO-DIGITAL
(A/D) CONVERTER: A circuit that converts an analog audio signal into a
stream of digital data (bit stream)
CHORUS:
The main portion of a song that is repeated several times throughout the
song with the same lyrics
COMPRESSION:
The reduction in dynamic range or gain
COMPRESSION
RATIO (SLOPE): In a compressor, the ratio of the change in input level
(in dB) to the change in output level (in dB). For example, a 2:1 ratio
means that for every 2 dB change ininput level, the output level changes
1 dB
COMPRESSOR:
A signal processor that reduces dynamic range or gainby means of automatic
volume control. An amplifier whose gain decreases as the input signal level
increases above a preset point
DE-ESSER:
A signal processor that removes excessive sibilance ("s" and "sh" sounds)
by compressing high frequencies around 5 to 10 kHz
DI: Short
for direct injection, recording with a direct box
DIGITAL
AUDIO WORKSTATION (DAW): A computer, sound card, and editing software that
allows you to record, edit and mix audio programs entirely in digital form.
Stand-alone DAWs include real mixer controls; computer DAWS have virtual
controls on-screen
DIGITAL-TO-ANALOG
CONVERTER: A circuit that converts a digitalaudio signal into an analog
audio signal
DIRECT
BOX: A device used for connecting an amplified instrument directly to a
mixer mic input. The direct box converts a high-impedance unbalanced audio
signal into a low-impedance balanced audio signal
DIRECT
INJECTION (DI): Recording with a direct box
DISTORTION:
An unwanted change in the audio waveform, causing a raspy or gritty sound
quality. The appearance of frequencies in a device's output signal that
were not in the input signal. Distortion is caused by recording at too
high a level, improper mixer settings, components failing, or vacuum tubes
distorting. (Distortion can be desirable--for an electric guitar, for example.)
EQUALIZATION
(EQ): The adjustment of frequency response to alter the tonal balance or
to attenuate unwanted frequencies
EQUALIZER:
A circuit that alters the frequency spectrum of a signal passed through
it
EXPANDER:
1. A signal processor that increases the dynamic range of a signal passed
through it. 2. An amplifer whose gain decreases as its input level decreases.
When used as a noise gate, an expander reduces the gain of low-level signals
to reduce noise between notes
FILTER:
A circuit that sharply attenuates frequencies above or below a certain
frequency. Used to reduce noise and leakage above or below the frequency
range of an instrument or voice
FREQUENCY:
The number of cycles per second of a sound wave or an audio signal, measured
in hertz (Hz). A low frequency (for example, 100 Hz) has a low pitch; a
high frequency (for example, 10,000 Hz) has a high pitch
HIGH PASS
FILTER: A filter that passes frequencies above a certain frequency and
attenuates frequencies below that same frequency. A low-cut filter
LOW PASS
FILTER: A filter that passes frequencies below a certain frequency and
attenuates frequencies above that same frequency. A high-cut filter
LIMITER:
A signal processor whose output is constant above a preset input level.
A compressor with a compression ratio of 10:1or greater, with the threshold
set just below the point of distortion of the following device. Used to
prevent distortion of attack transients or peaks
MONITOR:
A loudspeaker in a control room
MONO-COMPATIBLE:
A characteristic of a stereo program, in which the program channels can
be combined to a mono program without altering the frequency response or
balance. A mono-compatible stereo program has the same frequency response
in stereo or mono because there is no delay or phase shift between channels
to
cause
phase interference
NOISE
GATE: A gate used to reduce or eliminate noise between notes
NON-DESTRUCTIVE
EDITING: In a digital audio workstation, editing done by changing pointers
(location markers) to information on the hard disk. A non-destructive edit
can be undone
PARAMETRIC
EQUALIZER: An equalizer with continuously variable parameters, such as
frequency, bandwidth, and amount of boost or cut
PLUG-IN:
Software effects that you install in your computer. The plug-in software
becomes part of another program you are using, such as a digital editing
program
POP FILTER:
A screen placed on a microphone grille that attenuates or filters out pop
disturbances before they strike the microphone diaphragm. Usually made
of open-cell plastic foam or silk, a pop filter reduces pop and wind noise
PREAMPLIFIER
(PREAMP): In an audio system, the first stage of amplification that boosts
a mic-level signal to line level. A preamp is a stand-alone device or a
circuit in a mixer
PREPRODUCTION:
Planning in advance what you're going to do at a recording session, in
terms of track assignments, overdubbing, studio layout, and microphone
selection
PRODUCTION:
The supervision of a recording session to create a satisfactory recording.
This involves getting musicians together for the session, making musical
suggestions to the musicians to enhance their performance, making suggestions
to the engineer for sound balance and effects, and assisting with filling
out any necessary paperwork (union, PRO, talent releases, assignments,
copyright forms, etc.)
RELEASE
TIME: In a compressor, the time it takes for the gain to return to normal
after the end of a loud passage
SCRATCH
VOCAL: A vocal performance that is done simultaneously with the rhythm
instruments so that the musicians can keep their place in the song and
get a feel for the song. Because it contains leakage, the scratch-vocal
recording is usually erased. Then the singer overdubs the vocal part that
is to be used in the final recording
SHELVING
EQUALIZER: An equalizer that applies a constant boost or cut above or below
a certain frequency, so that the shape of the frequency response resembles
a shelf
SIBILANCE:
In speech recording, excessive frequency components in the 5 to 10 kHz
range, which are heard as an overemphasis of "s" and "sh" sounds
SOUND
CARD: A circuit card that plugs into a computer, and converts an audio
signal into computer data for storage in memory or on hard disk. The sound
card also converts computer data into an audio signal
SOUND
MODULE (SOUND GENERATOR): A synthesizer without a keyboard, containing
several different timbres or voices. These sounds are triggered or played
by MIDI signals from a sequencer program, or by a MIDI controller
TAKE:
A recorded performance of a song. Usually, several takes are done of the
same song, and the best one--or the best parts of several--become the final
product
THRESHOLD:
In a compressor or limiter, the input level above which compression or
limiting takes place. In an expander, the input level below which expansion
takes place
Vocal
Tips A to Z
A = Airflow.
Never hold your breath while singing. The airflow is what creates
and carries your vocal tone, so keep it flowing. Avoid Clavicular
Breathing and Belly Breathing -- instead, learn the proper way to breathe
for singing, called diaphragmatic breathing. Fill the lower portion
of your lungs as if you had an inner tube around your waist that you were
evenly filling.
B = Breathing
properly for singing requires the shoulders to remain down and relaxed,
not rise with the breath intake. A singer will gain power to their
voice by strengthening the muscles in their ribcage and back.
C = Communicate
the music's message. During performance it is very important
to communicate the message of the song. If you make a "mistake"
don't point it out to your audience. It is most likely they did not even
notice.
D = Diaphragmatic
Support. Develop the strength and coordination of the diaphragm
and become a pro at controlling the speed of the airflow released, the
quantity of the airflow released and the consistency of the airflow released.
E = Elasticity
of the Vocal Folds. The vocal tone is created as airflow bursts through
the cleft of the vocal cords causing them to vibrate/oscillate. The
vocal folds can lose elasticity due to misuse, lack of use and/or increase
of age. Be sure to train your voice with vocal exercises on a regular
basis to keep your voice in shape.
F = Free
your natural voice. Don't be a slave to any music style -- even your
favorite one. Learn to sing with your full and natural voice by developing
your vocal strength and coordination. Then add stylistic nuances
to achieve any singing style you desire.
G = Guessing
Games. Never guess the pitch you are about to sing. Hear the
note in your head before you open your mouth.
H = High
notes require consistent and steady airflow. Many students tend to hold
their breath as they sing higher. Let the air flow. Try increasing your
airflow and gauge your result.
I = Increase
your breathing capacity and control by doing breathing exercises every
day. Be sure to avoid patterned breathing. Singers must negotiate
phrase lengths of all different sizes, so it is important to be versatile.
J = Jumping
Jacks. If you are having trouble getting your body completely involved
with singing, try doing some cardiovascular activities, like jumping jacks,
for a few minutes before getting started again. Sometimes your instrument
simply needs an airflow wake-up call.
K = Know
your limits. Don't sing too high or too low. Don't sing to the point
of vocal fatigue. Never strain or push your voice. Doing so
will not result in a higher or lower singing range, or a stronger voice,
only a voice that has suffered undue stress.
L = Low
notes are often sung with too much airflow. Try decreasing your airflow
to achieve a more natural, more relaxed tone.
M = Mirror.
Training in front of a mirror can help a singer discover many things about
their instrument, as well as confirm that other actions are being done
correctly. Be sure to rely on a mirror during vocal training, but
be able to leave the mirror to face an audience.
N = Never
sing if it hurts to swallow.
O = Open
your mouth wider. Nine times out of ten this will help you achieve a stronger,
more defined vocal tone.
P = Prepare
your instrument before singing. Singers are very much like athletes.
Take care of your body/instrument by stretching out the vocal muscles and
relieving the body of unnecessary tension before singing.
Q = Quit
smoking. Quit talking too loudly. Quit talking too much.
R = Raise
the Soft Palate. Creating a larger space inside your mouth by raising
the soft palate, or fleshy part of the back of our throat, helps achieve
a deeper more well rounded singing tone.
S = Sing
through the vocal breaks. If you do not teach the muscles the necessary
actions to sing through the trouble spots, success will never be achieved.
Sing through it, sing through it again, and again....
T = Tone
Placement. Learning the facts about tone placement and resonance
make a huge difference in the abilities of a singer. In simple terms,
a singer has numerous body cavities (nasal cavity, chest cavity, etc.)
and amplifiers (bones, ligaments, etc.) that act as resonators. Focusing
the vocal tone through the proper resonating chamber with the proper support
is important with regard to controlling and developing your personal sound.
U = Unique
Voice Under Construction. Remember that your voice has its own unique
fingerprint and is constantly changing with our actions, environment, health
habits, etc. With this in mind, listen to your own voice often and
use vocal training tools to keep your voice on the right track.
V = Vibrato.
Vibrato is a natural or forced fluctuation of a singing tone. Do
not concentrate on learning how to sing with vibrato. Instead, concentrate
on the basic foundations of singing, breathing and support. When
the proper coordination is achieved, vibrato will occur naturally.
W = Water.
Water. Water. Drink room temperature water as often as you
can to keep your voice organ hydrated. If you only have cold or hot
water available, swish it around in your mouth for a moment. This
action will keep your voice organ from being startled or stressed by different
temperatures.
Y = You
Can Sing with Impact! Exercise your voice daily with contemporary
voice lesson products. Don't Just Sing when You Can Sing with Impact!
Z = Zzzzzzzz.
Be sure to get your rest. If you are tired, your voice will show
it. A tired body/instrument will not allow you to produce your best
possible sound.
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MORE FREE
SINGING TIPS!
A-Z SINGING
TIPS -2
A is for
Attitude. How many singers does it take to change a light bulb? Only one,
but the world has to revolve around them, ha ha. All kidding aside, being
a vocalist is a very courageous and naked way of expressing yourself. If
you aren’t open and unashamed, your audience will not be able to develop
an empathetic rapport.
B is for
Breath Control. To skillfully control your breath while singing it is required
that you relax most muscles, while strenuously exerting others. This is
an exercise in coordination that requires concentration and practice –
but like anything you’ve done a thousand times, it eventually becomes second
nature.
C is for
Criticism. Everyone always has something to say – especially if you ask
them! Gravitate towards your fans, disregard those whom you believe may
have motive to see you fail. Take to heart constructive criticism you can
use to make yourself stronger, and accept the fact that you cannot please
all the people all the time.
D is for
Dynamics. Using dynamics is the art of raising and lowering the volume
of your voice to add texture and expression to the sound. This is also
known as “color”. You will notice that in popular styles, the voice grows
louder with higher notes, and softer with lower notes, with the exception
of when falsetto is used.
E is for
Emotion. If the emotional content of the song you’re singing is powerful
enough to move you, then allow that emotion to affect the sound of your
voice. If it’s not, then you must reach inside your heart and connect with
a similar experience of your own.
F is for
Facial Muscles. For homework, observe your favorite singers in live action.
Take note of how they drop their jaw for some sounds, and lift their cheeks
up for others… The shape of your mouth will greatly affect the tone and
volume of the sound you are creating.
G is for
Grace. When singing, the sound should flow with ease - do not force. Volume
comes from the manner in which the sound resonates, and each note has its
“happy place”. Even to sing with a raunchy sound is a manner of technique,
not force.
H is for
Hoarseness. The vocal cords are very delicate, and improper use of them
will cause bruising, and if repetitive, calluses. When damaged, the vocal
cords loose their elasticity causing a reduced ability to produce clear
tones, limitation of range, and a great deal of stress for the performing
singer.
I is for
Imagery. When you are describing through song an event, an emotion, an
experience, your surroundings, specific people, etc… you must have a clear
vision in your mind’s eye of the images you are describing. If you neglect
to do this, the words will seem to have no meaning.
J is for
Jabberwocky. When you are composing lyrics, don’t forget that nonsensical
words, sounds, and scat are legitimate prose. La la la, do do do, bottle
op’ botten doh, bottle op bop ‘n bayden day dow dow…
K is for
Karaoke! Karaoke is a great stepping stone between practicing as a beginner,
and auditioning for a real gig. You’re a star on stage with a professional
P.A. system, and there is no pressure at all not to make mistakes!
L is for
Larynx. The vocal cords are not really cords at all - they’re more like
flaps which stick out horizontally from the sides of your windpipe. The
vocal folds vibrate in accordance to their length, mass and tension using
“tensor muscles”.
M is for
Music. It is my opinion that a singer is only as good as the song that
he/she is singing. You must choose your material wisely; you would be surprised
at how it alters people’s perception of your voice.
N is for
Name. What’s in a name? Lots if you’re a singer! You know how there are
just some names you remember easily, and some you don’t? Many musicians
have “stage names”, also known as “pseudonyms” (“pen names” are for authors).
You do not need to legally change your name; it is extremely common and
accepted for musicians to have an a.k.a. if they so desire.
O is for
Observation. Decide which vocalists you most admire, and then observe their
technique. Visually, you will see how they use their physicality, and how
they present themselves on stage. Audibly, you will hear what perhaps they
are doing differently, and how you can improve your own technique.
P is for
Projection. Projection is the art of pushing the sound (via the air) up,
and forward, and away from you. Singers, actors, and public speakers do
it. “Reach for the back row”. Remember that even when your voice is going
down in pitch and in volume, the projection always moves up and forward
and away – because it is your directly related to your airflow.
Q is for
Quench. When I’m recognized in public as a vocal coach, a lot of people
ask first: “What should I drink”? I tell them that if they’re singing properly,
it doesn’t matter much what they drink. I prefer to avoid caffeine, because
I don’t like the crash that follows the artificial stimulation. Avoid hard
liquor, it burns going down and the fumes may irritate. Avoid dairy products,
they may help generate phlegm. Other than that, just try to remain hydrated
and fueled – I like to drink spring water and fruit juice. When consuming
carbonated beverages, be sure that you can keep your burping under control!
It can be embarrassing, especially during ballads.
R is for
Range. You are not born with your range, you can increase it. If you cannot
touch your toes, try every day to touch your toes - and you will touch
your toes. Your range can be stretched in the same manner (using proper
technique!!!) and likewise, if you don’t use your full range regularly,
it will shrink back.
S is for
Style. Placement (bass & treble, etc…), singing raunchy or raspy (without
going hoarse!), vibrato, and falsetto are all stylistic techniques that
can be learned, developed and mastered. Why not be versatile as possible?
T is for
Talent. Talent? I believe that talent is an illusion that only people who’ve
practiced a great deal will ever possess. I have students who practice
regularly, and students who don’t – the difference is abundantly clear.
Adhere to a structured practice regiment and you will be “talented” too!
U is for
Undaunted. People often take their singing ambitions very seriously, and
then along comes some person of authority who says “It’s unrealistic to
think you’ll ever be a professional” for whatever reason. Think for a moment
and try to come up with the names of five superstars to whom this person
would be likely to say the same thing!
V is for
Visualization. Many vocal coaches use visualization techniques for the
placement and projection of the sound. For one example, if you imagine
the sound appearing out of nowhere above and just in front of you, you
can aim more accurately with your pitch (no fading, or “dipping” into the
note) and from there, project it away from you (pushing with your diaphragm).
Project in a outwardly round manner for a fuller sound.
W is for
Warm Up! I would not be caught dead singing without warming up first. You
go to hit a note… and a different one comes out! Your delicate little vocal
folds were not made to go from 0 to 60 in three seconds. You must stretch
them to their full range gently and gradually.
Y is for
Yak and Yell. Once you have developed your skill with regard to using your
voice without damaging it, use this technique in your daily life. If you
speak a great deal, or need to project your voice in a noisy environment,
or cheer at a concert, scream on a roller coaster, shout instructions at
a sports event, argue with your family, etc… you must preserve your voice
with skill - or it won’t be there when you need it to sing!
Z is for
Zeal. If you’re a performer, then you must be zealous in all your endeavors.
From the preparatory and organizational phases, to the performance – your
enthusiasm and ardor will be a key factor. If you’re tired and you need
to sing 30 songs now, pretend you’re not tired! Good luck, and have fun!!!
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MORE FREE
SINGING TIPS!
A-Z Free
Singing Tips 3
l
A. Air.
Learn to control your airflow. Make sure you breathe from the diaphragm
and not from the upper chest area (also known as Claviculur Breathing.).
Try to imagine your lungs filling up from the bottom to the top……OK, who’s
that student at the back standing on their head? That’s not what I meant!!!
B. Breathe!!!
If you don’t you may expire and that can be a little worrying for us coachesJ
Build up breath control by doing breathing exercises such as; inhale for
4 beats, hold for 4 beats, exhale for 4 beats, then rest for 4 beats, Keep
building this up until you can hold your breath for a count of 16 beats
or more. Remember if you feel dizzy STOP!!!
C. Care!
There’s nothing worse (ok, maybe route canal surgery is a little worse)
than watching a singer perform a song that they just don’t care about.
Sing songs that you love and that you care about and your audience will
care about you.
D. Diaphragm,
diaphragm, diaphragm, diaphragm. (did I mention diaphragm?). To me the
diaphragm is the most important muscle in singing. Find out where it is
and how to control your airflow. In a very short space of time you can
become a much better singer simply by learning to control your diaphragm.
E. Enjoy.
Singing is fun. It’s actually very hard to be depressed when you are singing
and there is lots of evidence all over the internet to support this theory.
Most people find their weekly singing class very therapeutic, so relax,
let go of your inhibitions and ENJOY!! E is also for England where I come
from.
F. Freehold
New Jersey is where I teach. You can contact me on 732 685 2069 if you
are interested in voice lessons. F is also for fear. Don’t be afraid to
try new things. As long as you are gentle with your self and listen to
your body it’s very unlikely that you will do any serious damage whilst
working with a professional coach.
G. Guide
your voice to where you want it to go. Our bodies (very conveniently I
think) are full of nooks and crannies where, with careful guidance we can
change the sound, timbre and resonance of our voices. Find out where these
places are and experiment placing the sounds in different areas of your
head and chest. Try singing like Yogi Bear, (with an open throat) then
try as if you are looking over the top of a pair of glasses. Notice any
difference? …. actually where are my glasses?
H. Learn
to support your head, I don’t mean save all your money to put it through
college, I mean learn the correct posture. Just as there are optimum body
postures for singing there is also correct head posture. If you believe
my fellow countryman Charles Darwin you’ll know that the human body was
not designed to stand erect, something went wrong during our evolutionary
development and we ended up upright. The neck muscles therefore get very
tired if we don’t use correct posture. Head rolls and self massage are
great. So no more monkey business!!
I. Imagination
is the singers greatest asset. Use it wisely. Eliminate all negative thoughts
and think positive. If you imagine that you can do something then you almost
certainly can. The opposite also applies. If you are having trouble with
a song try imagining you are the singer who sings it. Unlike guitar players
or other musicians (and yes, singers are musicians) we do not have fret
boards, keys or buttons to press so we must develop our imagination to
hit the right notes, in the right key, at the right time.
J. Join
a group or a band. There’s no point in spending your hard earned cash,
on singing lessons if you are not going to disclose to the world just how
great you are. Choral groups and choirs are also great places to meet kindred
spirits and to have fun.
K. Karaoke.
I LURVE Karaoke. Once I’m up there you literally have to drag me off. Karaoke
files make great backing tracks for you to practice with as well. A great
site where you can download Karaoke files and the software to play them
on is:
http://www.vanbasco.com.
L. Larynx.
Learn to get control over your Larynx. When we sing we need to avoid lifting
the Larynx. Find out where it is (ok, it’s behind your Adam’s Apple) .Very
gently, hold your Adam’s Apple between your index finger and thumb. Sing
a high note, then sing a low one. Notice what happens. When we sing high
notes the natural thing to do is to raise the Larynx but by doing that
the Larynx gets in the way of all that lovely air flow you’ve been working
on. It sounds complicated but if you order, or download Singing Is Easy!
Basic Foundation Series from http://singsmart.com/ you’ll find all you
need to get this and other techniques under your control.
M. Music
theory. When I began in Musical Theater back in London, it was imperative
for singers to be able to sight sing. Nowadays, even on the top West End
shows, singers learning new material are given CD’s with the songs already
recorded . I think this is a little sad as it’s killing a skill which is
A) not that hard to learn and B) a definite advantage when learning new
songs. You don’t have to be a Mozart so don’t be afraid to learn Music
theory. It’s easier than you think.
N. Nodules.
These are nasty little suckers that grow on your vocal folds if you don’t
learn how to use your voice organ properly. Dehydration, alcohol abuse,
shouting, screaming, smoking ( especially if all of the above are done
simultaneously) can ruin your folds and you end up with having to have
them scraped. Many of the old school of “screaming” rock stars have had
nodules removed. In my opinion once this happens the voice organ is never
quite the same again. Better to avoid nodules in the first place by learning
to sing correctly.
O. Observe
yourself in a mirror. We all pick up bad habits regarding our posture and
stance. Watching ourselves perform gives us a much more objective view
of anything we may be doing wrong. Go on, no one’s watching, knock your
self out!!!
P. Preparation
is very important. Like an Athlete always make sure you are properly warmed
up and prepared both mentally and physically before you begin any singing
regime. If you were to run a hundred yards straight off the bat without
warming up, you would probably pull a muscle. Same with singing. Gently,
warm up your voice and think positive thoughts before you begin.
Q. Quiet
time. I always start my classes with quite, diaphragmatic breathing. Gently
winding down from all the stresses of the day. Focus on getting your breath
down from the chest and into the diaphragm area. If you have a puppy or
a kitten watch how they breathe. Their tummies’ rise and fall gently, with
no stress or pressure. Breath in for a count of 7 then out for 11, This
fools the body into becoming very relaxed, very quickly. This is a great
technique to try if you are waiting for an interview or an exam. Don’t
do this when driving though as it can lower blood pressure and increase
your vehicle insurance should you crash!!
R. (actually,
R &R) . Rest and recreation are great for the voice. Try to get a full
8 hours sleep every night and fill at least 20 minutes of your day with
cardiovascular work outs. Even if it’s just climbing the stairs instead
of taking the elevator. Do something to get your heart pushing oxygen around
your system. Always consult your doctor before you embark on any vigorous
cardio regime.
S. Soft
Palate. This fleshy little feller needs to be raised when we sing and there’s
an easy way to do it. Just imagine a little smile at the back of the inside
of your throat and hey presto, your soft palate will rise. Have a yawn
too. Get used to this yawny feeling as it’s something similar to what we
want to happen when we raise the soft palate and sing with an open throat.
When you yawn though, try not to drop of to sleep. Hello …. You still there…hello
..wake up!!!
T. Avoid
Tea, Coffee, Alcohol, Ice Cream Milk, Soda, Peanuts, and chips just before
you sing. Theses liquids only help to dehydrate your voice and the peanuts
and chips leave debris all over your vocal folds …Ewww! In reality you
should avoid all of the above period and just drink lots of water (more
on water later). However, us coaches understand that you’re not training
to become Monks so we do allow a little indulgence from time to time. Remember
though, all things in moderation.
U. Understanding.
If you don’t understand what your coach has told you or why you are doing
a particular exercise please ask. We need feed back in order to provide
you with a better service and sometimes we make mistakes. Last week I told
a 6 foot four 185 lb MAN that he was a Soprano. Duh!! I didn’t even realize
I’d made that mistake until he came back the next week and told me what
I had said. So don’t be afraid to ask questions if there’s something you
don’t understand. Still can’t believe I said that!!!
V. Vibrato
Still on the subject of Sopranos, in relation to vibrato, Tony Soprano
would say “ forget about it”! Just let vibrato happen of it’s own accord.
If it aint happening just yet then it will, believe me. It can’t not happen
as your singing technique improves. Never try to force vibrato it will
sound horrible.
W. Water.
Always drinks lots of room temperature water. Water is your body's principal
chemical component, comprising, on average, 60 percent of your weight.
Every system in your body depends on water. For example, water flushes
toxins out of vital organs, carries nutrients to your cells and provides
a moist environment for ear, nose and throat tissues. The Institute of
Medicine advises that men consume roughly 3.0 liters (about 13 cups) of
total beverages a day and women consume 2.2 liters (about 9 cups) of total
beverages a day. Interesting huh!!!
X. Xylophone
players rarely make good singers. Ok, I made that up, but you try thinking
of a singing tip that starts with X.
Y. Your
voice is your instrument. Look after it and it will look after you long
into old age. Treat it with respect and you will reap rewards.
Z. Z is
for Zorro. Be the best you can and leave your mark on the world.
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More A-Z
SINGING TIPS
A = Athlete--
Singers need to train their body like an athlete. Your body is your instrument.
Put a priority on: 1) taking care of your body -- rest, food and warming
up to sing, and 2) building and maintaining your instrument.
B= Breathing--
Knowing how to breathe in singing is a basic technique. A diaphragmatic
approach is important here. Use your back muscles for support. Fill up
air into your rib cage and back but not into your throat. This creates
a baseline support level called holding up. Then take smaller breaths for
phrases as
you need
them.
C= Control
-- control in singing is a combination of techniques. Breath control, resonance,
pitch, placement, holding up and being able to ride the air are all elements
of control. Like riding a bike, it's the balance of all of these things
that contribute to effortless singing.
D= Drop
Your Jaw -- Relaxing and dropping the jaw in (pop) singing is the key to
reaching notes effortlessly, making range transitions and supporting the
ends of your range.
E= Eat
for Energy -- Proteins are essential for maintaining energy in singing.
Singing takes energy. Many performers lose energy halfway through a set
and then end up efforting, pushing and stressing their vocal cords.
F= Fatigue
-- Fight fatigue. As a singer, this is a huge enemy. Fatigue will sap you
of technique and have you working against yourself. Many singers strain
their vocal chords, push their range, get hoarse, and get a variety of
other problems when they get tired. The antidote is rest and self-care.
G=Get
out there-- The best way to create your own style as a singer is to do
it. If you're a beginner, work with nurturing people (and a coach). You
can play coffeehouses, open mikes, sing with friends, but just get started.
H= Hydration
- Stay hydrated. Drink lots of water (no lemon). It takes energy and lubrication
to sing.
I= Initiate
-- Look for opportunities to sing. They are out there. Be like a tiger,
watch for opportunities and do the work to be able to take them.
J= Jaw
-- Relax your jaw. Called a Dumb Duh, it will feel unnatural to keep your
jaw loose and dropped but it is the best way to get a smooth sound and
not effort in singing. It also allows you to get exact placement of pitch
and replicate it.
K= Keep
Your Eye on the Ball -- Don't get discouraged if your voice isn't where
you'd like it to be. It takes time to develop your instrument. Singing
is a complex performing art and everyone who's successful has done the
work at some time or another. Keep going and you'll keep growing.
L= Less
is More -- Strive to do justice to the song and your interpretation of
it. Just deliver the message. Vocal gymnastics is not a prerequisite for
doing a great vocal performance.
M= Mouth
sounds -- Using mouth sounds such as a creek or a cry, give your voice
more resonance and presence. In your chest voice, knowing how to use mouth
sounds properly is critical -- especially in getting to record quality.
Many singers mistakenly put their sound in their nose. Practice putting
the sound in your mouth by placing it all the way in your nose and then
forcing the sound into your mouth. FEEL the difference. Your body can assist
you with correct placement.
N= Not
Efforting -- This is a concept of using your body as an instrument. Not
efforting involves holding up (standing straight, having a support of air
in your body), doing a proper placement of pitches, dropping your jaw,
riding the air up and over, and relaxing into the groove.
O=Open
Stance -- An open stance to the audience is: holding up, standing straight,
shoulders down, head and jaw relaxed, head straight forward, eyes open
-- focused on a point, arms relaxed and wide. Watch Bono, Jagger, Aretha
to get the idea.
P- Placement
-- Knowing (not guessing) where pitches are placed is critical to being
in control as a singer. You can actually have your body help you in remembering
where pitches are placed. If you are on stage and can't hear/have no monitors
etc..., knowing placement will allow you to stay on pitch no matter what
happens
around you.
Q= Quit
Pushing -- Feeling powerful in singing and being powerful in singing are
two entirely different things. While efforting -- pushing chest, singing
louder to hit pitches, creating and pushing sound from the throat -- may
feel powerful, it actually sounds worse. It's easy to go off pitch, sound
strident (even painful), hurt your voice, crack etc... when you sing in
this way.
R = Riding
the Air -- Riding the air is a concept and a set of actions that are extremely
helpful for singers. Riding the air means holding up the air in your body
so that you are supported, then sending/directing the sound up and over
in a line to a point (imagine) across the room. Part of this is a mental
image, part is a body muscle memory stance and the last part is mouth placement
(riding along the palate).
S= Sing,
Sing, Sing -- Sing everyday. If you aren't in a group, sing in the car,
take classes, and most importantly, do vocal exercises. They will maintain
your instrument (and build it) as you look for a steady singing gig.
T= Take
feedback and direction. Be teachable. Sometimes other people can guide
us when we don't know the way. Sometimes other people are dead wrong. Trust
your intuition. Learn who to trust and then take what you like and leave
the rest.
V= Vocal
Exercises -- Vocal exercises are critical to maintaining and building your
instrument. Do NOT underestimate them. They warm up your vocal chords in
ways just singing a song cannot and will not. Lip rolls are a good way
to start any warm up routine and can be done on a variety of scales.
W=Warm
Up -- This is critical to a great performance -- you must warm up your
muscles. A rule of thumb is to do at least 20 minutes of vocal exercises
and 40 minutes of singing. If you perform a lot, it could take less time.
If you perform infrequently, warm up longer. Otherwise you warm up on your
audience or, worse, you find congestion, range weakness or other problems
on stage rather than in the privacy of your home -- where you can work
to overcome them. If you're sick or tired or very congested, having enough
warm up time allows you to make good decisions on song selection and the
actual set list.
X= X Factor
-- Once you've got some solid vocal technique, let your personality and
spirit shine through. Your voice is the window to your soul and vision;
your technique needs to support your vision, not overtake it. If you are
technically in control and have clear intent, even a single word can move
listeners to tears.
Y= You
are the Messenger -- If you're on stage or in the studio and you have to
be perfect, it never works. Focus on communicating the song, sharing that
experience with the audience. It's easy to make mistakes when it's all
about us (how great or
not we
are).
Z= Get
in the Zone -- Singing is a mental, spiritual, emotional and physical pursuit.
It takes preparation, focus and energy! Prepare mentally for a performance.
Take time to get quiet and focused before you sing. Warm up and visualize
yourself giving a great performance.
