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.