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May 19, 2009

They say, "you mean it's just sounds?" thinking that for something to just be a sound is to be useless, whereas I love sounds just as they are, and I have no need for them to be anything more than what they are.

Thanks for the huge reply! I did do some EQ/compression/reverb on the recording I made, but I probably didn't do it too well if it sounds raw. Well, trust me that the raw version is much, much worse-sounding. As far as the mic gain goes, there is a -10db switch on it...but even with that switch set I still had to stand all the way across the room to record the screaming parts. There doesn't appear to be any sort of gain dial on the mic (it's a $50 USB condenser from Amazon).

Anyways, my conservatory is letting me take voice lessons this semester instead of piano so hopefully I'll improve.


Nov 15, 2005


Omniphile posted:

So here are a few covers.

No backing instrumentals and I've never been formally trained, so take them as you will. I'm looking into getting a teacher soon though, so any tips/pointers would be greatly appreciated.

I wanted to chime in cause I think these were sort of lost and you didn't get any comments, but be warned I have no expertise in this area at all.

I like the singing, but it sounds like you're not "pushing" it enough. Does that make sense? Like, if that was me singing, I'd think I was embarrassed and holding back cause I think I sound dumb or something.

Were you listening to the songs while singing? A few bits maybe sounded off the original song (mainly listened to the REM one caused I knew that song), so I'm guessing no.

Try again but really push stuff out there. Does that make any sense?

Like I said I'm not a singer, so take this all with a pound of salt.

Apr 11, 2013

Galileo's Finger

Hi- I don't feel I would suggest that Omniphile "push" more. I would not typically suggest that for singers, though I know some people do. What you seem to want from Omni is a larger more open sound. It feels to you as if Omni is holding back somehow. There might be a couple of reasons for this. The songs are sung at the bottom of Omni's range I think. I suspect Omni may have an undeveloped top end. Omni certainly has an amazing ear. I might want to ask if the nasality in the tone is on purpose? This might be one of the things that leads to comments about 'push' since it can feel a bit closed. One the other hand it is a very cutting sort of tone appropriate to certain kinds of music. Based on those tracks Omni could probably sing with the "high lonesome" sound often present in bluegrass leads or traditional musics from Appalachia and such. I would also ask if the slides in and out of notes is intentional? The way to discover that is to sing and record the track for yourself without any slides at all, whether or not you feel that is the best interpretation of the song. Omni seems to slide into most pitches, but also seems to have a good enough ear that it shouldn't be necessary. I think some choices could be made there.

Colonel J
Jan 3, 2008

Wow, this thread is slow. I'll bring it back from the dead to share my excitement. Even though I play many instruments, I've historically been a pretty bad singer; I had very little sense of pitch and a very limited range due to a total lack of technique. My girlfriend is a great singer and she's been coaching me gradually and even though my technique is still lacking, my range opened up and I can now sing on pitch most of the time.

We've even been able to dabble in harmony and I'm starting to pull my own pretty well. I understand the general idea; 90% of the time, harmony notes seem to be within the chord being played. If I "lock in" the note before we start singing and I know the chords being played I'll usually be able to follow pretty well (I just imagine my voice traveling on the notes of a piano, following the chords).

It all falls apart when I try to "jump in" a song though. I can never really find a proper starting note and even if I do, I'll rarely know where I am in the chord and thus cannot "move" freely. Is there a trick to this, besides just playing lots of songs and trying out all the harmonies I can find in them? I guess eventually if I do many repetitions my instinct will get better but if there's any specific exercises I could do I'd love to hear about them.

Jun 20, 2003

Jesus Died for Your Songs

Try some of the ear training exercises on Sounds like you just need to understand how to pick out a root, 3rd, 5th, or 7th. Start with roots only if you struggle. In most music the root will 90% of the time what the bass player is playing.

Stalins Moustache
Dec 30, 2012

~~**I'm Italian!**~~

While this might be a very stupid question, I need some help. I quit singing last autumn due to money issues, but I'm thinking about starting again. I was getting taught to sing opera, specifically bass because my voice is deep as gently caress once I start singing so my teacher wanted me to continue with that. It got to the point where I could sing the male part of Phantom of the Opera technically good(all the right notes and such), but she kept saying that I should be more emotionally involved with the song to give it that "edge". I had to quit before I got that far, but now that I've got a steady income I'm going to start again soon. Any tips on how to completely let go and give singing that emotional edge? Note that I was 18 when I started and had just become 19 when I quit. I had no prior experience with singing, playing music or acting before that so I think it was mostly about me being insecure about my abilities. I know that there's no proper way to let go of your emotions, but any tips or recommendations would be nice.

Jun 20, 2003

Jesus Died for Your Songs

Here's what works for me (teaching middle schoolers). They don't get how to be emotional in music either. It's one of those lame things where you have to approach it very mechanically before it clicks and you understand intuitively how to add emotion to music.

First, the words. What are you talking about? What emotion are you sharing? If this is the titular song from Phantom, you're the Phantom and you're being a creepy gently caress. Sorry, I kind of hate this musical...anyway, you should examine the words and emphasize - over pronounce and sing louder - all the words that further that effect. Like most singers will emphasize "here" and "mind" because it makes the whole sentence super creepy. See? Circle all the words in your music that you're going to emphasize.

Second, you can't just sing a bunch of words and then sing one word super loud. It sounds dumb. So now look at the music and the musical phrases (helpfully, these tend to match sentence phrases) and decide if the music should crescendo (get louder) or diminuendo (get softer). As a general rule, if the focus word is at the end of a phrase, crescendo, and vice versa. If it's in the middle, crescendo to it then diminuendo after it. There are exceptions (like diminuendo to a very soft focus word to sound creepier).

After a while it should kind of click how to do this without breaking it down like this, although to be honest with you I still do it with my jazz stuff.


Jul 29, 2003
Famously tasty.

If you're not a professional, just don't sing music where you don't identify with the lyrics. Not that amateurs can't be expressive, but if you're not getting paid to fake it why would you want to? Read the lyrics and understand the words and meaning, and deliver them as concepts not abstract words with a pitch. It can help if you extract the text from the music and spend a while with it, looking at the lyrics as prose. Dynamics and phrasing are important too, of course, but your teacher is (or was) probably treating this as a separate issue.

For the record, I absolutely hate the acting portion of vocal performance, so take my advice with a grain of salt.

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