Judy Rodman - All Things Vocal Blog

Voices and Allergies... Practical Tips To Quell The Mucous Monsters

2013-05-13T11:24:00.001-05:00

Ah spring!
Tis the season to be sneezin' - and it's no laughing matter for singers and public speakers!

Your body decides that some particle is a foreign invader and has to be stopped at all costs... even at the cost of inflaming your sinuses, nasal passages, throat and/or vocal cords. Sometimes allergies can trigger an asthma attack in your bronchial tubes. And to add insult to injury, your inflamed tissues act like mucky petri dishes awaiting to birth the next overgrowth of bacteria, fungi, etc to launch your spring cold. What can you do???

My first line of defense is the Neti pot. If. you fear contracting bacterial infection or brain eating amoebas, read articles by The Survival Doctor about "how to use a Neti pot safely" ... and "the best way to irrigate sinuses without a Neti pot".

Hydration to thin out excessive mucous is vital. Drink like a fish... and breathe in steam from various sources such as shower or hot bath, pot of steaming water with towel draped over your head, personal steam inhalers such as MyPurMist

Have throat soothing drinks available during your vocal rehearsals and performance. Diluted pineapple juice (about 1/4 juice to 3/4 water), ceyenne-lemon-water, ginger tea, H2O Overdrive all can work wonders for soothing and hydrating irritated tissues.

Try herbal remedies such as butterbur, peppermint, ceyenne, ginger, oil of oregano, echinecea, Superior Vocal Health's Sinus Clear Out, etc. Check with a doc if there is the chance you are allergic or have other reaction to an herb (for instance, some cannot take echinecea without heart racing and adverse reaction). Then experiment and find what works for you. CAUTION: Don't experiment with herbs on the day of performance... try them out before!

Use prevention... avoid allergens as much as possible. Common sense, but I can't tell you how many of my highly suceptible people who have animals to which they are allergic! Clean house... wash and replace filters, pillows, throws, etc.

Minimize your use of over-the-counter (OTC) remedies that can dry you out. Again, try these things out when you don't have an important performance scheduled and notice how they affect your voice when you talk or sing. In an emergency gig situation, prescription steroid nasal sprays work but can be addictive. If you use steroids, count on going on voice rest after the gig you need them for.

Using throat pain anesthetic sprays is NOT a good idea for performance. There are several reasons, the main one is that the numbness can fool you into thinking you can push your wounded voice so hard you sustain lasting vocal damage.

Rest your voice as much as possible. GET SOME GOOD SLEEP! And try not to sleep on your back, allowing post nasal drip to coat your throat tissues all night. Sleep on your side.

Warm your voice up with best form of exercises and use great vocal technique! When you do as I teach and pull instead of push your voice, you will be using breath support/control balance that will keep you from excessively winding and drying out the edges of your vocal cords. Your throat should also not get tight.

Decide whether or not to cancel performance. Stuffy nose and sinus? I wouldn't record a master lead vocal but you should be fine for live performance. You'll just sound a bit more resonant with thicker m's and n's. Where does it hurt when you sing? Do you just have irritated throat tissues from post nasal drip, or does it hurt at vocal cord level (laryngitis)? Consider cancelling.

And finally... deal with the root of your allergy issue. There are alternative health remedies that really work such as acupuncture, lasers (treatment of choice by my chiropractor Dr. Dwaine Allison) and progressive types of allergy shots (ask your doctor about these).

OK here's where the audience participation part of this post happens... what remedy ... medical or alternative ... has worked for YOU? Stuffy noses would love to know!

Using Hands For Singing and Speaking

2013-04-07T16:47:00.003-05:00

Your voice needs your whole physical and emotional being to sing or speak best. Today I'd like to focus on the use of hands - without which our voice is missing out.

The first time I actually noticed the importance of singing with my hands was many years ago when an unenlightened recording engineer told a group of us singing background to keep our hands perfectly still so we wouldn't move a fraction of an inch from the mic. I noticed it shut me down vocally. I lost range, tone color and control. Since then I've dug into why.

Your hands are connected to your arms, which are connected to your spine which is connected to your ribcage which is connected to the edges of your diaphragm. What we do or don't do with hands can affect the diaphragm, which is the organ that is responsible for balance of breath support & control, which is at least in part responsible for nearly everything you can think of that's important to the voice.

But to work most efficiently, the diaphragm needs help. First of all, we shouldn't feel our voices 'coming from there'... instead, we need low pelvic floor power that should help open, not tighten the ribcage. Then, we can use our hands! Try the following:

1. Hang your hands limply at your sides. Notice the relative lowness of the ribcage. Now simply rotate your hands, palm away from thighs. This alone should cause your ribcage to expand.

Again with hands hanging loosely, try ever so slightly moving hands back so you can lightly press the back of your hands or your thumbs behind your thighs for a hard note. This can help you keep your ribcage open even in choir or group situations where you are required to keep hands 'still'. (Not my cup of tea!)

Bring your hands up waist high. Now move your elbows back. That also should open your ribcage.

Press your fingertips into each other lightly, and notice you can stabilize the opening of your ribcage. This represents what your guitar, piano or microphone can do if you use your hands in ways that open your ribcage.

Try being overly communicative and really talk with your hands. Don't push people away with your hand language, invite them in, express passion, bring your hand way out from your side, above your head... but whatever you do, make what you to do open your ribcage. You can then tweak your hand movements so they communicate but don't distract from what your voice is doing. (It's an art, not a science, people... experiment! :)

And lastly, notice what great singers and speakers do with their hands. Different ways of using hands work better for different people, different settings and different musical genres. Some styles use larger hand movements, some are quite subtle. But if the voice is working well, the hands are NOT hanging limply dragging the ribcage down. Experiment and use what works for you to open your ribcage. Oh, and it should help open your throat, too, if you're doing it right.

What works for you?

The Writing Voice: Punctuation Communicates!

2013-03-27T06:30:00.000-06:00

Ron Oates

Hi all... In keeping with my theme for this blog "All Things Vocal", I want to address the writing voice today. It matters. Music makers also need to be able to communicate in non-musical ways, and be assessed as somewhat intelligent to be taken seriously. I am stunned at the bad presentation of thoughts written by some people I otherwise know to be very smart.

I'm not sure why people don't capitalize or use all caps, write 'there' when they mean 'their', spell atrociously - even when that red squiggly line beneath the word is begging them to reconsider. Texting - well of course that's one reason. You can really help yourself by remembering that text language is not, and doesn't necessarily need to be, formal writing. It's shorthand. We all need to up the ante on our English to be taken as serious people. If you want to bend the rule for fun or originality like e.e. cummings, learn the rules first so you know how to break them on purpose intelligently!

Here is an email sent by a dear friend of mine who is also deeply concerned (and also hilarious!). Ron Oates is a legendary, platinum-selling studio producer, pianist, arranger, composer - and astute writer of English. Here is his great rant about just one of the things we need to address in our public writing - the lowly apostrophe:

It is flaggerbasting (my spell check just fainted) to look at professional websites and publications... major magazines, newspapers and best-seller list books... with blatant grammatical and punctuation errors. It dampens my opinion of the individual (or the company’s) credibility when those things fly off the screen or the printed page in my face. One of the common idiocies is the omission of the apostrophe from the word “we’re”, making it “were” and, therefore, a nonsensical sentence. Without a doubt, the apostrophe is the most commonly abused mark of punctuation. You might find this difficult to grasp as did I, but there has been a campaign for the last five or six years to abolish the apostrophe. WHAT???

I think I recall telling you that my secret dream as a youngster and teenager was not to have a life in music, but to grow up to be an English professor. [Judy's note: That would have been most unfortunate for the singers like Gladys Knight, Eddie Arnold, Sawyer Brown, Linda Ronstadt, Dolly, Dobie Gray, Dave Loggins, yours truly and an absolute ton of others he's worked with through the years] In keeping with that thought, or revelation, you’re (or if they ditch the apostrophes, your) going to think I’m obsessed when I show you the kinds of things I find interesting. For instance, in this instance, the apostrophe:

The apostrophe may be the simplest and yet most frequently misused mark of punctuation in English. Here are six guidelines for using the mark correctly.

1.   Use an Apostrophe to Show the Omission of Letters in a Contraction

Use the apostrophe to form contractions:

•   I'm (I am)
•   you're (you are)
•   he's (he is)
•   she's (she is)
•   it's* (it is)
•   we're (we are)
•   they're (they are)
•   isn't (is not)
•   aren't (are not)
•   can't (cannot)
•   don't (do not)
•   who's (who is)
•   won't (will not)

Be careful to place the apostrophe where the letter or letters have been omitted, which is not always the same place where the two words have been joined.

2. Use an Apostrophe with -s for Possessives of Singular Nouns

Use an apostrophe plus -s to show the possessive form of a singular noun, even if that singular noun already ends in -s:

•   Harold's crayon
•   my daughter's First Communion
•   Sylvia Plath's poetry
•   Dylan Thomas's poetry
•   today's weather report
•   the boss's problem
•   Star Jones's talk show
•   Victoria Beckham's husband

3. Use an Apostrophe Without -s for Possessives of Most Plural Nouns

To form the possessive of a plural noun that already ends in -s, add an apostrophe:

•   the girls' swing set (the swing set belonging to the girls)
•   the students' projects (the projects belonging to the students)
•   the Johnsons' house (the house belonging to the Johnsons)
•   If the plural noun does not end in -s, add an apostrophe plus -s:
•   the women's conference (the conference belonging to the women)
•   the children's toys (the toys belonging to the children)
•   the men's training camp (the training camp belonging to the men)

4. Use an Apostrophe with -s When Two or More Nouns Possess the Same Thing

When two or more nouns possess the same thing, add an apostrophe plus -s to the last noun listed:

•   Ben and Jerry's Cherry Garcia Ice Cream
•   Emma and Nicole's school project (Emma and Nicole worked together on the same project)
•   When two or more nouns separately possess something, add an apostrophe to each noun listed:
•   Tim's and Marty's ice cream (Each boy has his own ice cream.)
•   Emma's and Nicole's school projects (Each girl has her own project.)

5. Do Not Use an Apostrophe with Possessive Pronouns

Because possessive pronouns already show ownership, it's* not necessary to add an apostrophe:

•   yours
•   his
•   hers
•   its*
•   ours
•   theirs

However, we do add an apostrophe plus -s to form the possessive of some indefinite pronouns:

•   anybody's guess
•   one's personal responsibility
•   somebody's wallet

* Don't confuse the contraction it's (meaning, "it is") with the possessive pronoun its:

•   It's the first day of spring.
•   Our bird has escaped from its cage.

6. Generally, Do Not Use an Apostrophe to Form a Plural

As a general rule, use only an -s (or an -es) without an apostrophe to form the plurals of nouns--including dates, acronyms, and family names:

•   Markets were booming in the 1990s.
•   The tax advantages offered by IRAs make them attractive investments.
•   The Johnsons have sold all of their CDs.

To avoid confusion, we may occasionally need to use apostrophes to indicate the plural forms of certain letters and expressions that are not commonly found in the plural:

•   Mind your p's and q's.
•   Let's accept the proposal without any if's, and's, or but's.

Ron Oates

Jes Fine Productions

www.ronoates.com

PPP Vocal Training Method Endorsed by Acting Director Darren J. Butler

2013-03-20T17:41:00.001-06:00

Cast of the Butler/Rodman musical "We The People" using PPP Vocal Technique

I just got a wonderful surprise in my email... my co-writing partner in the musicals "Runaway Home" and "We The People" sent this glowing endorsement of my vocal training method. It is all the more precious to me because it is based on the real-world, practical experience Darren has had with actors whose well-being and success I know he deeply cares about. Me too:) Here's Darren...

“The POWER of Power, Path and Performance”
by Darren J. Butler

In the early spring of 2006, my theatre company sponsored a vocal workshop for young people and adults. I went into this kicking and screaming. Our plate was so full, I didn’t see any way we could afford to take a day out of our schedule on a Saturday to do this workshop. It had nothing to do with ego. I knew our actors and actresses needed help with their voices, but my assembly line of shows for the season was kicking me in the tail. Finally, I gave in and scheduled the workshop.

About fifteen minutes into the workshop, I was wanted to go outside and horsewhip myself. My gut told me this woman was about to change everything...for the better. Little did I know at that time, it wouldn’t be for the better; it would be off the chart amazing.

Judy Rodman’s Power, Path, and Performance is an incredible vocal toolbox that empowers singers to reach their potential. Period. To my good fortune, Judy trained me in the method and allowed me to pass along her knowledge to my vocal students. Instantly, I saw results. Students with nasal qualities to their tone experienced a vocal make-over. All nasty, nasal qualities vanished with a posture correction and “wall work” as Judy refers to it. Students who experienced tired voices or pain in their throat quickly found a path of strength and pain free singing.

Seven years later, there is a long list of students whose lives have been altered by utilizing Judy’s method. Many of them have had the great privilege to work with her one on one. She has this incredible ability to diagnose vocal problems and show students how to fix them. These are not quick fixes; they are answers to improving a student’s voice for the long haul.

As a result, I have students writing songs, creating CD’s, and performing for audiences. They have the tools they need as well as the confidence to pursue their dreams. As a vocal coach, I see my role as “a passer on of the concept.” With an extensive musical theatre background as a director and performer, I bring unique tools to a vocal session. I pass along the Judy concept for the power and the path, and I use my background to focus on the performance.

Last summer I directed The Wizard of Oz. I directed the show and played musical director. I taught the entire cast how to implement Power, Path, and Performance into the show. It definitely raised the show to a new level, but there were underlying waves I had no clue about. Two young ladies in the chorus took the training to heart. A couple of months ago, they opened for a band at a local theatre, and my family and I attended. Katie and Lindsay Konig, fourteen year old twins, took the audience by storm. My jaw dropped. They were up there “pulling” and using Judy’s method every step of the way. No lessons. No formal training. Simply using what I had taught them during music rehearsal for Oz.

The bottom line - there are probably hundreds of methods in the world. I would hate to even think about how many hits one would receive if you Goggled the topic. But, if you’re looking for a tool to provide a singer with consistent vocal training and stability, you cannot go wrong with Power, Path, and Performance.

Vocal Warmup: Why You Should Not Skip It

2013-03-15T08:03:00.002-06:00

Maria Sarah on NBC Today Show

At 4:30 Central, 5:30 NY time this morning, I finished a Skype vocal warmup with my student Maria Sarah. This wise young singer chose to get up a half hour early to do her vocal exercises before going off to perform her piano/vocal solo on the Today show. Because she was warmed up, she sang with confidence and ease even in the heady, pressured environment of her first live national TV performance.

Here's why I advise you not to skip a good vocal warmup routine before performance:

Flexibility enables finer movement of vocal apparatus.

A colder muscle is not as flexible as a warmed up one. Your vocal apparatus needs all its parts to be flexible, agile, stretchable to perform all the variety of movements necessary for great singing.

Thick vocal cords need to be pumped thin.

The action of doing careful vocal exercises with correct form pumps interstitial fluid out of puffy vocal folds (cords). If the voice is sounded strongly with puffy vocal cords, it will not operate nearly as easily, and is much more at risk for being damaged in the process.

Great vocal technique needs to be automatic by the time you perform.

The 'muscle memory' of your voice needs to be reminded to operate optimally. Not only should you warm up... you should warm up with as much perfect form as possible. When you practice 'pulling' your voice instead of pushing, getting your voice coming from pelvic floor, over the back top of your head and to an audience point during exercises - it automates the process so you don't have to be thinking about it during performance. You also will be re-memorizing how it feels to have your voice buzzing in your mask, having your posture correctly enabling balance of breath support and control, getting articulation in the front of your mouth instead of your jaw.

Other factors you should consider when doing vocal warmups:

Do them right...

Form is everything. Do learn HOW to do effective vocal exercises properly, or a vocal warmup could become a vocal tighten up! Here's a check list for assessing your vocalise routine.

Do them long enough...

Consider your situation to figure out how long you should do your vocal exercises .

Do them afterwards, too...

Like any significant athletic endeavor, vocal muscles need to be warmed down after performance... especially when the performance has been a strenuous or long one. Any recovery time needed can be significantly shortened when the voice is warmed down. In fact, if properly warmed up, worked out in performance and then warmed down, your voice should only need water, sleep and nutrition to not only recover but also be in even better shape for its next performance.

It truly matters...

Whether it's 5:00 in the am or the pm, for best vocal results and for maintaining vocal health, whether using your voice for public speaking or for singing: don't skip your vocal warmup! And for important gigs you might even want to schedule your warm up with your vocal coach:)

9 Tips for Singing Better High Notes

2013-03-03T07:15:00.001-06:00

Using my own technique to sing the long high end of 'One Way Ticket'

Hitting high notes seems to be the rage these days. Also known as the 'money notes', they can be over-rated, because if the rest of the song is not delivered, good execution of high notes will just be a momentary audience or talent contest judge 'wow', not a career-making vocal performance. That said, if the high notes are missed, flat, or splatted, it will definitely detract from an otherwise solid performance. So...

Here are 9 tips for singing high notes:

1. Make sure you are well hydrated.

Your vocal folds need to have a thin -not thick and not too thin- layer of mucous in order to perform well. High notes and dry throat tissues do not dance well together.

2. Warm up your voice

duh. Stiff vocal folds can't work nearly as well as warmed up, flexible and hydrated ones. But do remember... form is everything when doing vocal exercises. You don't want your warm up to become a tighten up!

3. Aim at high notes accurately

Don't just make a blind stab and hope for the best. Actually know what note you want to hit and intend to hit it.

4. Set them up

For short I call this concept 'Lift before you Sound'. Lift the notes before the highest notes so you'll already be 'at' the high note before you sing it. Do not lift the PITCH making those notes sharp, just lift the PLACEMENT of where you resonate these pen-ultimate notes.

5. Back off breath pressure

The biggest mistake I hear people make when going for a high note is pushing them as hard as they can to try and make them go up. This upsets the balance of breath support/breath control. Back off the pressure, add passion (by the way you articulate the lyric) and you will be amazed at how they can just 'fall up'.

6. Use your hands

Learn to 'talk with' and use your hands to widen and stabilize your ribcage so it doesn't collapse, pushing too much uncontrolled air.

7. Form vowels more vertically

Open your mouth more and allow your jaw to loosely fall and your soft palate to lift.

8. Pull them through

This concept is core in my Power, Path and Performance vocal training. Much like threading a needle, use articulation to pull instead of push your high notes. It's imagery that works miracles - and conquers vocal strain.

9. Follow through

Now that you have that high note sounded, don't think you're done. Like a baseball player throwing a ball, you need to follow through at the end of the note, instead of just dropping your support and minimizing the importance of the rest of the phrase, or the end of the high note.

Let me know if you try any of this. If you'd like to take an in-office or Skype vocal lesson on it, contact me. I'll be happy to make this personal for you and your voice. Or get your copy of PPP vocal training.

Singing Soft Powerfully - Make Light Phrases Zing!

2013-02-17T22:53:00.003-06:00

Singing soft doesn't have to mean communicating weakly. Getting this right can make the difference between a soft passage that no one pays attention to and one that subtly but surely sucks the air out of the room and demands attention!

First verses, breakdown choruses, light bridges, tags are some common places that can be more effective with softer dynamics. Confusing soft singing with meek, ineffective sound is actually something I hear all too often and is too important to leave uncorrected. Here are some ways to get powerful emotional responses from soft singing:

Don't drop your voice off the map...

Good and interesting vocal dynamics require variety in volume intensity. However, level your intensity a bit... definitely back off loud notes, but also don't sing so soft or 'covered' (hollow, hooty) that you can't be heard, especially on low notes. Use tone variation -- communicate passion in all the notes and lyrics -- instead of huge volume swings. Your voice won't scare or lose your live performance listener, and it will also record much better.

Keep your articulation clear...

Lowering vocal volume shouldn't lower your clarity. You can whisper and still draw the ear to you if you make sure to make the words are understandable.

Use the power of hushed intensity...

This is something I learned as a jingle singer where everything we sang had to have memorable impact as well as surgical precision. Keep energy in your breath compression power source! Your soft tone needs to be supported and controlled. Singing soft is a kindred art to ballet, juggling, plate spinning, putting a golf ball... it looks so easy, but it takes real power to support the apparent effortlessness (quite the paradox, isn't it?)

Listen to playback

Put on the listener's hat. Do you hear yourself communicating or just keeping the message to yourself?

Remember: Soft singing is not for wimps! Come on... zing somebody!

A Sneaky Source of Vocal Tension... Dehydration!

2013-02-11T23:58:00.001-06:00

This is a quick post today. Just thought I'd share with you something besides wrong vocal technique that can cause vocal tension and strain. When you have this condition, it doesn't matter how right you sing, your voice will still get tired. I actually diagnosed this pesky source of vocal fatigue in one of my students just yesterday:

It's dehydration!

Even if you're just a little short of water, your vocal cords will suffer to some degree or another, because your body doesn't consider them as first priority for scarce h2o. You can read my article about hydration and the voice at the H2O Overdrive site.

So what do you do if you are in need of a quick fix (you don't have time to let your body absorb in the usual time-lag way the water you drink that your voice needs)? I have three suggestions:

1. Drink a diluted solution of 25% pineapple juice (a little can of Dole's will do) and 75% water. The pineapple juice has enzymes that make the throat feel wonderful.
2. Drink one of the products they sell at the H2O Overdrive site. These formulations really are fantastic. I like diluting mine with water, about half and half. I keep them on hand for my own performances.
3. Hydrate yourself through steam before your performance (shower, hot bath, warm air humidifier).

But the best thing of all to do is stay hydrated on a regular basis. A good rule of thumb I've heard from nutritionists is to take your weight, divide in half, that's the average ounces of water you should drink daily.

Think this fix is too simple to be that important?

Let me answer with old proverb... possibly dating in some form back to the first century:
"For The Want Of A Nail"

For want of a nail the shoe was lost.
For want of a shoe the horse was lost.
For want of a horse the rider was lost.
For want of a rider the message was lost.
For want of a message the battle was lost.
For want of a battle the kingdom was lost.
And all for the want of a horseshoe nail.

My paraphrase would end with the line:
"For the want of water the voice was lost." Word to the wise:)

How to Reduce Stage Fright After the Speech is Over

2013-01-23T05:30:00.000-06:00

To my readers who are public speakers: I have a guest post today for you from Ryan Rivera, who is an expert in anxiety disorders. He introduces an important contributing factor to speaker's stage fright that had not occurred to me... that is, what you do AFTER you speak. Ryan says...

Stage fright is an upsetting issue. You go up there, you talk in front of an audience, and your mind essentially panics. You're afraid of stumbling over the words, you're afraid of the audience, and you're afraid that everything you do is going to be judged. That's why so many people worry about going up in front of an audience and making a presentation, and why a large number of people seek out helpful tips on overcoming these stage fright issues.

Most of these tips tell you what to do before your speech, and possibly even during your presentation. But what you may not realize is what happens after your speech is over may have just as powerful an effect on your fear of public speaking as what happens before and after.

The Post-Speech Anxiety

Much of public speaking is behavioral, based on expectations and the way you judge yourself and your abilities. That's why so many people are effected by what happens after the speech. The presentation is over, and immediately the mind goes to the negative:

• "I screwed up at this part."

• "The audience didn't look like they enjoyed it."

• "That was so scary."

You essentially fill your mind with these negative thoughts, and unfortunately those thoughts end up leading the way to future public speaking anxiety. You essentially convince yourself that public speaking is a fear inducing challenge, and so even if you feel you did well in your speech overall, by the time of your next speaking engagement all of the fears and emotions come running back.

That's why it's important to use strategies to reduce public speaking after your speech is over, to reduce the chance of it coming back. Examples of this include:

• Positive Thinking Techniques

Make sure you're not letting your mind focusing on the negative. No matter how bad you feel your speech was, there are always positives to take away. After your speech is over, write out a list of 10 to 20 genuinely positive things that came from the speech, like "I was able to speak loudly and confidently" so that you aren't focusing only on the "mistakes."

• Running and Anxiety Reduction

It's easy to feel yourself on a high after a speech is over. That high is anxiety, and the faster you get rid of it the better you'll feel. One way is to go running. Others are to start deep breathing techniques that calm the mind and body. Don't let yourself stay anxious – find a way to control it immediately.

• Giving the Speech Again

Replacing your memory can also be effective. You remember the speech that you just gave almost too well. Replace it quickly by going home and giving the speech again, either to yourself or to an audience of a friend or two. Replacing the memory of your last presentation with one that was significantly less stressful can be advantageous for future presentations.

• Don't Over-Celebrate

Finally, there is a tendency for those that gave a good speech to over-celebrate by going out and getting drinks or partying. If possible, try to fall into this trap. In a way, by giving yourself a big celebration for the presentation being over, you're essentially acknowledging to yourself that it was "so difficult" that it's worth being excited that the presentation is complete. Ideally, you want to minimize the importance you give the presentation. Staying active and having fun after a speech is good for coping, but try to avoid celebrations.

Fighting the Fear of Public Speaking

Human beings are social creatures, and social creatures can overcome their public speaking fear with enough practice. Stop this type of anxiety through the tips above and strategies shared on this blog and others, and you'll find that your presentations become extremely easy in the future.

About the Author: Ryan Rivera had severe anxiety that interfered with his abilities as a public speaker. Now he provides general and specific anxiety reduction strategies at www.calmclinic.com.

Vocal Tension and The Purposed Touch

2013-01-17T19:39:00.003-06:00

In my vocal coaching practice, I use a very valuable tool I learned about from three different sources. This tool is at the tip of my fingers... in fact, it's at the tip of yours, too. It is the purposed touch, which can drop tension out of an area - or cause the area to wake up!

First of all, I'd like to credit the following friends for sharing this concept with me:

Pro vocal coach Jeannie Deva
Chiropractor Dwaine Allison
Alexander Technique practitioner Ethan Kind

The purposed touch is deceptively simple to be so powerfully effective. You (or your vocal coach or health practitioner) use the power of suggestion: touch yourself wherever you sense muscular tension, and tell yourself to 'let go', 'relax there', 'drop it', whatever phrase works. For the voice, here are common spots where I use this purposed touch with my clients:

outer corner of cheekbone
eye pad (tissue under eye)
Jaw hinge
Adam's apple (front tip of thyroid cartilage )
shoulder
neck
occipital bone (bottom of skull)

You can use this touch to suggest that the spot relax or activate. For instance, I sometimes have a numb vocal student who can't 'get into' the eyes to touch an eyebrow and tell it to communicate. Usually works like a charm:)

It is very important to understand you can't just touch the area and expect results. You have to mentally 'will' that place to respond.

Used correctly, it's a light, focused and purposed touch. It's the awesome power of suggestion, and it can change things.

Spring Toys Every Singer or Speaker Should Have

2013-01-11T17:29:00.002-06:00

My Bubbles, Hula Hoop and Martian Popping Thing

Because every vocal student I have brings unique vocal strengths, weaknesses and personalities, I keep lots of weird things in my office. Just ask anyone who's ever taken a vocal lesson from me... it's never boring:) I use different toys, objects or gadgets with different voices on different songs. Note: They work with speakers, too! Some of the ones I use most often (my students can name many others)...

The Martian Popping Thing

What you do with it:

Squeeze the bottom bulge and the eyes and ears bug out!

What I use it for:

... to help the singer or speaker experience the voice-freeing sensation of low breath power. The effort necessary to support breath should come from low abs and butt so that powering the voice actually causes the bottom of the ribcage all the way up through the nose and eyes- even the ears - to expand instead of tighten!

Bubbles with Wand for Blowing

What you do with it:

Blow bubbles... with the goal to blow the biggest, longest lasting one you can.

What I use it for:

... to get the singer to understand the sensation of balanced breath support/control for the most precise powering of the voice. Blow too hard and you get very small and quickly popping bubbles. Blow too soft and a bubble won't form. Blow just right and you get... big bubbles that last!

Hula Hoop

What you do with it:

Twirl it around hips and try not to drop it. Doesn't matter if you're successful, just try!

What I use it for:

... to get the singer to loosen up! Lots of vocal students come in tight, tense bodies. This kind of tension is always counterproductive to the workings of the breath, throat and communication techniques. I find that if I ask a stiff client (who trusts me not to be filming) to play with a hula hoop for a few moments, they instantly acquire some flexibility in the spine, hips, knees, shoulders, neck, jaw and as they laugh they even develop flexibility in the face and mask. And yes, I use it on guys, too!

The Motive Behind The Madness:

Playing with certain things while working with the voice gets past the conscious mind and frees up the automatic nervous system to try something different. So next time you pass the toy isle this spring.... check and see if you can find something for yourself!

What about you? Ever had something weird help you gain vocal progress? Are you my vocal student? What tool did we use that turned the light on for you?

New Year Resolutions for Voices

2012-12-29T16:45:00.003-06:00

...next year ???...

I love the end of the year time. It's a time when I can stop, be grateful for the good of last 12 months, breathe deeply, spend time with friends and family, re-assess where I am and where I want to go and yes... make resolutions! Why do I find them helpful? Because with my personality, I find that intending something helps me actually do it. Here are some New Year Resolutions for my voice and for yours. I may or may not keep all of them, but just writing them down registers somewhere important in my brain that has to do with acting on them! Here goes...

Drink more water

I need to practice what I preach!

Manage time better

I will eliminate some activities and schedule sane, do-able daily, weekly, monthly tasks that reflect my real priorities. I will make time to plan for success at what I want to accomplish.

Write and co-write some really great songs

I will dig a little deeper in the well.

Practice and rehearse voice, instrumental and performance skills more

This is also how I discover more of what works for others and makes my vocal coaching more effective, so in doing I am better at teaching.

Take better care of myself.

I intend to eat better food more regularly, get more wise physical exercise in, find more time to daydream, get outside more, get new sleep-friendly pillows for our bed.

Take regular time off

I recently checked my pulse and found... I'm human! I need to get back to starting the day in silence, prayers for discernment, reflection. I am longing for more time with family and friends. I also need to do nothing a lot more!

Learn something new every day ... Do something new regularly

I want to discover new things about the voice, piano, guitar, performance, music marketing, art, health, making tabouli, aquariums, my friends and family, myself, etc. Create music I've never made before.

Keep better balance between work, play, interests

Too much music can a dull, numb, lonely musician make. I find I need to both teach and perform, create and record, watch great movies and read a book, hang out with musicians and people with no musical backgrounds or interests, play putt putt and do a little Kung Fu.

Make every single songwriting session, vocal performance, vocal lesson, recording production or spoken presentation something worthy of the effort.

I believe the art should drive the business rather than the other way around. I will be more personally fulfilled and more useful to others if I go for more excellence and less mediocrity in everything I do.

To play a gig in the venue pictured on top of this post

...and I wish the same for you!

So dear voice... what about you? As you watch the midnight ball descend in Times Square Dec 31st or play your New Year gig, what are you intending to do differently beginning the next morning?

And happy New Year to us all!!

26 Gifts for Voices You Love

2012-12-09T13:49:00.001-06:00

It's that time again! Have you finished your shopping yet? Here is a list of Christmas and holiday gift suggestions for the voices (singers and speakers) you love:

A case of H2O Overdrive - super hydration for studio and stage.

Glass bottles , or stainless steel containers, for water - to minimize use of plastic, which is bad for health and for the environment.

A pitch pipe for acapella singing (and/or... a tuner for guitar).

Singing In The Studio - Multi-media DVD of serious professional training for anyone going in to the studio to record vocals.

A digital voice recorder

A music stand - the link goes to 77 different types, some quite creative.

A vocal lesson with me.

Music marketing material (see Bob Baker, Ariel Hyatt)

A microphone and/or mic stand - a "boom stand" is useful for rehearsing with an instrument and for practicing studio vocal technique.

Vocal training on CD - two packages of Power, Path and Performance (comprehensive professional method of vocal technique proven best for studio and stage.

A concert ticket - there's nothing like 'being there!'

A new CD of their favorite artist or an iTunes gift card - useful when you don't know what music they are into at the moment.

A pair of in-ear monitors for stage performers

A warm air humidifier

A massage - full body or just shoulder. Fantastic to relax tension and free the voice.

A chiropractic visit. My fav is at the link; or find out who your vocalist regularly goes to and give a visit there.

A natural health practitioner nutritional assessment visit. Again... my fav is at the link, but there are many others you can choose from. The voice needs the body to be healthy.

Hearfones - an amazing vocal training gadget that helps a voice hear itself much more accurately. Highly useful to improving vocal tone, articulation, intensity, balancing breath pressure, and more.

A new guitar strap, tuner, strings or pick holder.

"The Easy Way To Stop Smoking" book- for your favorite voice who smokes

New speakers for mp3 players - many are made to accommodate iPods as well as other brand of players

A gym membership - yep, voices need bodies!

Masterwriter - creative writing software for songwriters

A new scarf - the singer's neck needs protection! I have a box full myself.

IC Virtual (Global) Music Conference (Feb 26 - 28th) - buy a participant ticket or an artist booth

A new website - check with techs who know how to market music, not just any business.

OK, this is by no means an exhaustive list. But hopefully this will get you thinking creatively. What gift are YOU giving your favorite singer or speaker? Help fill out this list!

How To Sing Tired... When To Cancel Vocal Performance

2012-11-26T12:17:00.000-06:00

The holidays are now officially upon us with all their wonderful and stressful sides. Tis the season to be jolly... and quite often... tired. And if you are a singer, it's also the season of lots of... singing. The problem comes when you're both tired AND singing! This combination can at best cause vocal control, pitch and range limitations and at worst, vocal strain and the onset of damage.

When you are physically tired, drained, exhausted, sleep deprived or 'under the weather' for whatever physical or psychological reason, your body does not want to support your voice. It just doesn't want to work that hard. This is because it takes more glucose and oxygen to work the bigger muscles of your core - your gluts, low abdominal wall, back, thighs - than to work the smaller muscles of the shoulders, throat, larynx, vocal cords, tongue and jaw. Delegating the effort necessary for good singing to these smaller muscles is detrimental to them, causing tension to set in at all the wrong places.

What to do when singing tired (live stage or studio):

Be extra sure you are well hydrated. Steaming your throat in a hot shower is a great idea. Water at your performance is, too... maybe with a little pineapple juice or other helpful flavor added to keep throat tissues lubricated.
Up your immediate energy level: Get simple, easily digested nutrition in... maybe add a good vitamin.mineral supplement.
Do not use alcohol or other mood altering drugs to help you get through. They can mask pushing, straining and dehydration of the vocal cords.
Take extra care to do your vocal warmups.It is vital to know how to 'pull' instead of 'push' your voice as you sound it. In fact, consider trying to connect with your vocal coach to warmup by phone or Skype before your performance.
NON-NEGOTIABLE: You must make yourself support your voice from your low core... even if you don't feel like it! Your body won't like it, but your voice sure will.
While singing, you must keep yourself tall and flexible... avoid like the plague the typical slumped posture of tiredness that will sabotage your breath control.
The use of correct vocal technique for breathing, keeping an open throat and communicating authentically becomes all the more necessary when you're tired.

What you should experience:

You should finish singing and notice your vocal cords don't feel strained at all. In fact, you should be able to sing even better at the end of your performance.
You should feel even more physical (instead of vocal) exhaustion... and probably be hungry!

Or... Don't!

If you really can't gather the low placed, big muscle energy to float your voice on top or the tall, energetic posture necessary to open your ribcage and control your breath, then by all means, don't sing. If you do, you risk short or long term vocal problems.
You will end up pushing too much breath through your cords to get them to work, you will experience less vocal ability and problems with notes and passages you can usually easily accomplish.
You may start the 'guarded stance' habit. This is a fear induced inward crunch that tries too hard and can become a spiral downward to terrible vocal technique and real vocal dysfunction.

I've done this wrong. I've sung when too exhausted and have set my voice back as much as three weeks. I don't take chances anymore. From experience my advice is:

Be capable of supporting your voice and applying good vocal technique...

or cancel your performance and live to sing another day!

SIngers and Speakers: Want to Quit Smoking?

2012-10-22T16:55:00.004-05:00

It's nuts to smoke if we want to sing... or speak... or of course, live long. Yep, we know that. Yet dedicated, serious singers and speakers all over the world have not been able to quit. Guess what? Now you - even you - really can this time join the millions of people who have put the last one out for good.

I found out about this method from a touring singer who learned about it in Europe. It's called "The Easy Way To Quit Smoking". There are clinics all over the world (now finally even in the US) who report over 90% success rate, but all the ex-smokers I know did it just with the "easy way to quit smoking" book . There's now even an audio CD of the book.

Buy it. Read it. Spread the news. And let me know how you did! YAY

How a Music Career Is Like a Boogie Board

2012-10-08T07:46:00.001-05:00

Me on a good ride

It was that time again last week... for my annual boogie boarding vacation at the beach! While I was out in the ocean this week looking for the perfect wave to catch, it hit me that there are a lot of parallels between boogie boarding and a music career. A great ride, either on the ocean or in music, requires:

STRENGTH

Your board needs to be strong enough to ride.

After many years of using white styrofoam boards (they looked like cheap cooler material) that barely lasted for the vacation, I bought a much better board, designed for more serious riding. It cost more and has dings but it's still going strong after several years of use, and gives me a much more satisfied ride.

Your voice needs to be strong enough to sing.

To be at 'ride' level, you need to develop your physical voice by practice correctly til your voice has the stamina required. There is no substitute for full voice singing with correct technique! It may cost you some time and money for training and dedicated practice, but your voice will last much longer without strain, and gives you the possibility of a much better career ride.

ABILITY

You need to know how to ride.

You have to start somewhere. BUT... if you are a novice boogie boarder, stick with the easy waves near the shore before you go out and try to ride the big ones. The wipe out can be painful and humiliating (ask me how I know!) I had to learn not just to jump on a wave but to move with it, and to wait til the initial breaking was done, then quickly to shift my weight forward and angle the front of the board down as I rode. Also I had to learn the coordination to steady the board over the ever changing wave as I went.

You need to know how to sing.

Of course you can sing as a beginner... and the more performance experience you have, the better! BUT... If you try and sing live or record your voice for significant career makers hoping your performance will turn into a good career ride, you better have your 'chops up' as they say. YouTube is full of bad video performances that have the power to end careers before they begin. The wipe out can be painful and humiliating! I learned (and teach) the fine art of balancing breath support and control, a concept I call 'pulling instead of pushing' the voice. It's also vital to keep an open throat and to connect and communicate authentically through the song. I call this combined synergistic vocal training method Power, Path and Performance.

TIMING

Learn to read the ocean waves.

You can't predict with certainty which waves will give you the best ride. I've jumped on some waves that jumped back on me!) However, there are some indications. Catch one too soon or too late and the wave breaks at the wrong time to ride. Catch one too small and it won't take you very far... catch one too big and it can really injure you. Catch a good one just as it breaks and you can ride all the way to shore. My favorite one was the first one I caught this year: It was a double... a high one with another just behind it strengthened by a sandbar, creating ideal conditions of power and forward motion. I rode all the way to shore, actually running my board aground!

Learn to read the music industry.

There are no guarantees in the music biz. It has broken many a talented heart. But... preparation, research, planning and developing the right network of industry professionals can vastly increase your 'luck'. If your music isn't what the major industry seems to be looking for, try creatively marketing and promoting your unique music another way. You could ride the industry as the next leading edge instead of just another artist clone. The current music industry has created much wider opportunity for all ages of artist and sub-genres of music to succeed in ways impossible not that long ago. Do remember that any deal - small or large - offered you should be thouroughly vetted by an enertainment attorney who can help you avoid a financial or emotional wipe out.

ENJOY THE RIDE

Too much concentration on the next wave keeps me from enjoying the ocean I'm in.

Boogie boarding gets me out into the ocean, makes me breathe deeper, puts me in the sun that feeds my mind and spirit. It's not just about the perfect wave. It's about the joy of the whole process and reality of riding.

Worrying about the music business too much keeps me from enjoying making the music.

Making music is ALWAYS a ride. It feeds the soul, connects us to people and gives our voices meaning. If you catch a ride in the music biz, large or small... don't forget to be joyfully present with the music you're making... that's the only way to make it a truly great ride!

Performance Magic: The Power of Almost Losing Control

2012-09-24T21:33:00.001-05:00

Ready To Create Magic?

Performance is, or should be, an experience for your audience so powerful they lose themselves in it. If you add a little magic to your performance, you can really take the audience for a ride. I call it the 'illusion of almost losing control'.

Notice I say 'ALMOST' losing control. Think about it, we don't go to the circus to actually see someone fall to their death or get trampled by an elephant. We want to see the beauty of the impossible physical feat completed without a scrape. We don't really want to see NASCAR carnage - we want the driver to walk out of the car miraculously unscathed. But the real or perceived danger of the performance is definitely a draw.

For a singer, this edge of control/lost control should be COMPLETELY under the singer's control. What does it take?

1. Energy ... Vocal, mental and emotional stamina warmed up and ready to the nth degree. Always be able to do more than you will have to vocally accomplish.

2. Rehearsal, rehearsal, rehearsal. Full voice, full band, practicing as close to performance situation as possible.

3. Confidence from experience, experience and more experience performing before an audience.

There is no shortcut around the above to this illusion of standing on the edge of space. When you pull it off, you can give your audience a gift good enough to spirit them away for the duration of your performance. And it is SOOOOO much fun!!!

What do you think? What performer do you performs this demanding, rehearsed, confident illusion best?

Stance Secrets to Singing With Guitar

2012-09-10T06:00:00.000-05:00

Practicing my new stance

Singing with guitar can be helped or sabotaged by some subtle stance choices. I've been having to up my game due to my upcoming band 6Play's showcase - I play guitar on a couple of our songs.

I was having trouble with buzzing strings, cramped hands and back, hurting shoulder and a tendency to forget lyrics because of too much mental distraction from my guitar playing issues. I ended up going to Gary Talley (guitar teacher), Dr. Dwaine Allison (my chiropractor) as well as consulting with 6Play members Eric Normand (lead guitar) and my husband John Rodman (drums). You know I'm always doing research for you, so here are some tips I learned from them that pretty much fixed all those issues:

1. Gary Talley noticed two things.. that my hands were weak from not playing for years (I got complacent... playing guitar on keyboard settings). That has been cured by just DOING IT. He also noticed some chords that I could be making much easier, with fewer fingers and less motion necessary. Again... practicing will bring that home.

2. While rehearsing with me on afternoon, my husband John noticed my weird hand positions. Ergonomically- minded drummer that he is, he suggested I raise the neck of the guitar to make my hands less awkwardly positioned and cramped. OH MY GOSH... presto, so much easier to play! My chiropractor confirmed this wisdom.

3. Dr. Allison noticed that my back muscle tension below the right shoulder blade was due to my uneven shoulders while playing. He had me lower my left shoulder (on the neck side of my guitar) til it relaxed the muscle cramp I had been creating in my back. OH CHEEZBURGERS, THAT feels better!! He also suggested that I put one foot more forward to keep my head back so my chest stays open. (He's my guitar-playing vocal student, so he knows that I always advocate not crunching over a guitar so as not to tighten ribcage).

4. At rehearsal the other day, our fantastic lead guitarist Eric Normand suggested I get a bigger, padded shoulder strap. He also confirmed the different fingerings suggested by Gary. Also, since he is my vocal student, he confirmed that the tension he used to carry in his neck and the back of his head has gone away now that his stance is more voice friendly (ribcage open, head loosely bobbling over heels). I must practice what I preach to him:)

5. It's not enough to know intellectually... I really do have to practice these new stance tips. I have to practice enough - correctly - so I don't have to THINK about them when I'm on stage. When I sing and play, I have to be a singer playing, not a player singing. The voice comes first. And... when it does, I can remember my dang lyrics!

OK, what say ye singing guitar players... have any thoughts or suggestions? Please share!

How Vocal Vibrato is Like Garlic

2012-09-04T20:40:00.000-05:00

Vocal vibrato is like garlic... some songs/dishes call for more, some less. Sometimes you want artichoke garlic, sometimes elephant garlic - sometimes you want faster wave vibrato, sometimes slower. What you want in both the singer and the chef is... control!

Garlic aside, in my practical experience, these are the two most effective remedies for control of vibrato:

1. The diaphragm.

You must enable the diaphragm to control itself so the air sent to your vocal cords is controlled (enabling breath control). The diaphragm works in conjunction with the automatic nervous system. What you can do for it consciously is to widen the base of your ribcage, giving it a good taught stretch. This helps it control the air bounce it sends upwards.

2. The mental intention.

Again.. the diaphragm is directed by the automatic nervous system. What you can consciously do is to fully intend a certain amount and speed of vibrato. Just 'think' it clearly... do you want to hold a tone straight? Want to start straight and end with a 'shimmer' of gentle vibrato? Start with vibrato, go straight and/or shimmer out at the end? Want a big wavy vibrato? Be proactive... INTEND what you want to do. This gives your automatic nervous system its marching orders.

Special note... you can sometimes reinforce your mental intention by looking at your hand moving up and down, at the speed you want your vibrato.

And btw, garlic is good for your voice!

When the Songwriter is a Minor

2012-08-16T22:11:00.000-05:00

(Note that I said a minor... not a miner.) If the songwriter is under (minor) age, and wishes to sign up at a performing rights organization (PRO) such as BMI, ASCAP, SESAC, etc, there is a step which must be taken first. According to a client of mine who just went through this process for her daughters;

If the songwriter is a minor, their parents/guardians will need to set up an UTMA account at the bank where the parent/guardian is the Custodian. This verbiage was received from BMI: "Some common custodial/trust accounts are called Blocked Coogan Accounts, UTMA accounts, and UGMA accounts. Your bank should be able to provide more information regarding setting up this type of account.”

This mom said the process is really simple, and free. And yes... if your child is a songwriter who has professionally recorded material, you really should ensure they are signed up with a PRO that can collect and distribute any performance moneys their songs might make.

The Raspy Voice... Cool Sound or Vocal Suicide?

2012-08-05T22:57:00.002-05:00

Yours truly adding a little rasp sitting in at BB Kings, Nashville

The raspy voice has been a signature sound for some singers with legendary careers. Rod Stewart, Stevie Nicks, Bonny Tyler, Macy Gray and Brian Adams are among the artists that come to mind who have successfully used this sound. In many contemporary music genres, a degree of raspiness can add a cool, communicative factor to vocal performance.

The raspy voice can also be the tell-tale clue to vocal damage. It's one of the signs of vocal nodes, polyps, cancer, spasmodic dysphonia. Yes, there are surgical techniques to remove and repair damage. But watch these vocal surgery videos (especially the first two) and I think you may find yourself freshly dedicated to preventative vocal cord care instead of possible vocal suicide!

So should you sing, or learn to sing, with a raspy voice? It depends on several factors such as:

the degree of vocal strain or damage present (vocal health)

I had a professional child singer come in for a vocal lesson. I found her voice to be breathy and raspy, and I could not enable her to speak or sing without those sounds. Recognizing the clues, I sent her to Vanderbilt Voice Clinic in Nashville, where they examined her vocal cords, diagnosed vocal nodules and put her on vocal rest for months. It effectively stopped her career in its tracks. If you have any vocal strain or damage, do not sing or speak with a rasp, vocal fry or gravel. Period. Picture rubbing two wounded emery boards together every time you sing. Wait until the vocal damage and fatigue is completely healed before attempting to create rasp.

If you have a raspy voice already, it's important to know why it sounds that way. For instance, you could have excessive mucous on your cords from allergies or dehydration. You could have a growth on your vocal cord(s). You could have throat cancer. You could be fatiguing or damaging your voice by the vocal fry you use when you speak.

Contrary to what you may hear, it is not a good idea to ignore it just because you've had vocal raspiness for a long time, and think it's 'natural' for you. Any chronic case of vocal raspiness, hoarseness or discomfort should be investigated by a doctor. It's best to go to a vocal health center where medical voice specialists can scope your cords, rule out anything serious and illuminate you about anything you may be doing or not doing that is causing the sound.

the level of strength of the vocal apparatus (vocal stamina)

Some voices can just get by with more punishment than others. Think of the guy or girl you know who can eat habanero peppers like candy. Some voices are strong enough, or have been exercised long and correctly enough, to create vocal sounds that would fatigue or damage weaker voices. It is my opinion that such is the case for career raspy singers like those mentioned above. How do you know? If it hurts, your voice is not strong enough... stop!

the way the voice creates the raspy sound (vocal technique)

There are techniques to singing with a raspy sound that are healthy; if this is a sound you desire, you should learn how to do it in such a way that protects your cords from vocal strain. For metal screamers, I recommend the Jamie Vendera product "Extreme Scream". For those of you who'd just like some random rasp, I recommend my Power, Path and Performance 'pulling' method of deconstructing technique.

Bottom line:
Don't sing or speak with a raspy sound or vocal fry unless you mean to. And if you do mean to, learn vocal techniques to make those sounds in ways that protect your vocal cords. Raspiness can be cool, or it can be a voice killer.

In-Ear Monitors: Don't Use Just One!

2012-07-29T17:28:00.002-05:00

My new Sensaphonic 3-D Active Ambient in-ears

Live performers need some kind of stage monitors that will help them perform accurately and be confident enough to deliver performance magic. The mix of sounds in the monitors, the envelope, ambiance and volume of the sound heard in monitors can make or break a performance... especially a vocal performance.

In my career, I have most often used stage wedge monitors, but recently got a set of in-ear monitors to use myself and to be able to advise my students. I finally made the plunge because these particular in-ears have the capability of adding ambient sound so I'm not feeling cut off from the stage/crowd sounds. My Sensaphonics product is called 3-D Active Ambient in-ear monitors.

I had yet to use them (I'm such a creature of the on-stage wedge), waiting on a question I wanted answered. We've all seen artists on stage, even on the major music award shows, with one in-ear monitor dangling on their neck. I received conflicting advice about the safety of this practice, from other singers and from different doctors. However... the jury is now in:

Never use just one!

I met doctor of Audiology Michael Santucci at his Sensaphonics booth at NAMM recently. I asked him point blank about this and he said in no uncertain terms that it creates a serious risk to hearing to use just one in-ear. He explained why, but rather than try and call that up for you verbatim, here is Santucci and Mike Dias of IEM manufacturer Ultimate Ears, explaining it in Mix Magazine:

One danger from too much isolation comes when musicians decide to “fix” the problem by wearing an earpiece in only one ear. “When players take one out, their brain loses its ability to do binaural summation, where two ears together add up to a 6dB increase in your perception of loudness,” Santucci explains. “If you're hearing 90 dB in both ears, your brain thinks it's hearing 96 dB. If you take one ear away, then that one ear has to go from 90 to 96 to sound like 96. And now the other ear is open and getting bashed by the band, the P.A. and the crowd. So this loud sound coming into the open ear causes you to turn the other ear up even more. In terms of ear safety, using one earpiece is a dangerous practice — it could actually be worse than using none at all.”

“There's a common misconception that an artist can use just one earpiece and still use stage monitors, but this results in the worst of both worlds,” says Dias, who offers a simple experiment to demonstrate this. “Have someone stand onstage with a beltpack using one ear and turn it up to a comfortable performing level. Now shut the beltpack off and run the stage monitor to a comfortable level. When you turn the monitors and the single earpiece on, the artist inevitably thinks the in-ear sounds weak and cranks it up to compensate. But when you turn the wedges off, the artist will notice that the earpiece is too loud. In the case of one-ear listening, you don't get the benefit of hearing protection and you don't get the accuracy benefit of the in-ears.”

(Read the full article here)

I don't know about you, but I value my ears too much not to heed this advice from this authority. If you find yourself in the habit of dropping one of your in-ears on stage, it might be worth an upgrade to ambient sound in-ears.

When Voices Aren't Heard

2012-07-20T11:05:00.002-05:00

Voices need to be heard. When they aren't, not only is the individual somehow compromised, the world is, also.

I woke this morning to the horrible breaking news of another mass shooting of innocent, random victims, this time in a movie theater in Aurora, Colorado. Because one of my precious sisters lives in Colorado, it particularly hit me personally. Watching the news unfold, I began to wonder if they will find that, as usual, the shooter is doing this to be 'heard'.

Not being heard does not, thank God, usually end up in this kind of psychopathic, inhuman, murderous behavior. However, harm does come however subtly the form. For instance:

The voice:

The unheard voice feels invalid, less than, not important, insecure.
The unheard voice is therefore characteristically small, thin, unsupported, weak. After a while, it becomes an unexpressed voice with a spirit that is easily marginalized and abused. Eating disorders and partner abuse are but two of the many common issues that victimize unexpressed voices.
Or the unheard voice lashes out with the opposite... boisterous, yell-y, with inappropriately loud, harsh, punishing tone. The voice easily becomes physically strained. Get two unheard voices together and you have a co-dependent situation from hell.
The unheard or unexpressed voice can become chronically depressed, angry, vengeful. It can develop other mild to severe psychological conditions, insanity, hate and attraction to outright evil.

The world:

The world around that voice misses the unique and important messages that voice is too unsure to deliver. Because every voice really IS important, the missed messages of even one voice causes problems or withholds solutions.
The world misses out on the beauty of the voice unheard. How many stunning singer/songbirds have decided not to sing or write because no one is (or is perceived to be) listening?
The world can be at the receiving end of the voice that acts out of its perception that the world is deaf to it. This can be as mild as having to listen to the unpleasant sound of the harsh voice, or as severe as the violent situation in Colorado.

What can we as a community do? Two things come to mind:

We need to know we can't control another person's perception. Survivors guilt is counterproductive and unwarrented. If someone has a false perception of not being heard, all the listening ears in the world can sometimes not convince them otherwise. This kind of voice truly need to be heard and worked with by an intuitive and gifted psychological therapist... both for the person's sake and for the world's.
We need to remember to use our ears as well as our voices.. in fact giving equal time!

We need to develop a culture of listening to each other. All I hear on the news and in the music business is voices trying to get their sound/viewpoint/music career heard. We need to actively listen... that's when we allow for the possibility of what we hear to change us, give us new information with which to form judgements, give us another side of truth. Information from another voice doesn't mean that we WILL change our minds, in fact it may confirm what we believe, but if we are not even willing to listen, our guarded hearts and minds become hard, unbending, and yes...unloving.

Questions to myself (you can use them if you wish):
When is the last time I actively listened to:

a political viewpoint different from my own
a medical or alternative medical thought which derails what I've come to believe
another vocal coach teaching something I don't
a spiritual path I don't take
a foreigner of any kind
a different genre of music than my usual preference
a new book (these are 'voices', too)
a new or old singer different from myself

May God, as well as human community, comfort the victims of the Colorado tragedy. Something's got to change in this adversarial, deaf, guarded society. As voices, let us all remember... we also have ears.

Demo Lead Vocals: Can They Be Released?

2012-07-11T12:05:00.002-05:00

I was asked this great question by a relatively new session singer who is starting to get some demo work:

If I sing a demo and get paid up front and then it ends up getting used (with my vocal on it) for commercial purposes, do I have any right to any more more money? I'm being asked to sign a contract that is essentially for a demo, but in the contract it says they can use the master for anything they want. I'm just concerned that this song will end up being the biggest selling single of all time with my vocal on it and I'll only $100 out of the deal. - Kinda New At This Game

Ouch... That would indeed suck. My two cents:

Union affiliation:

Here’s the thing- if you are a member of SAG/AFTRA, the contract both parties would sign specifies the allowed uses of your recorded vocal performance. The minimum payment scale is established - and is more for doing leads than just backgrounds. You put on the contract whether you sang a solo, duo, small or larger group, and the applicable fee applies. If a recording is played long enough (it takes a lot) you may even be eligible for royalty payment as a session singer.

Non-union work:
If you are not in the union there is no set fee or protection for session work... you just have to make your own deals. What's fair? For a demo lead vocal, $100 is a fair fee… but not if they will put that record out for release and sale. That’s not a demo, it's a master, and it would not be fair. If you want to go ahead and sing it anyway for your reasons - maybe for studio experience or the money that they are offering - that’s your business choice.

If you sign a contract that says your recorded vocal performance can be used for any purpose, or if you haven't had them sign a contract stating you DON'T give permission to release it, then they have the right to release it if they want to, with no further payment to you.

Consider your career goals:

Are you going for a session singing career? Do as many sessions as you can- leads and background vocals. Network as a session singer, get a demo reel done and get it in the hands of songwriters, publishers, producers and other session singers who might book you.

Are you going for a recording artist career? The quality of both the song and the recording need to be good so that it’s not a career negative for you if it does aired publicly. I've known about some nightmare scenerios such as when a recording artist sang what she thought was a demo lead on a dumb, low quality song/recording. It was released to radio and soundly trounced by a major music reviewer. Ouch!

Bottom line:

It's good to make an informed choice about the leads we sing for others. Hopefully this can help you make a wise one.

Branding Your Voice: Artistic Definition

2012-07-04T20:13:00.000-05:00

If you want to have a commercial music career with your voice, there is a step you don't need to skip: Branding your voice. I like to call this your "Artistic Definition".

What goes into branding or defining yourself as an artist? Here is an excerpt from "Singing In The Studio", copied from the ebook of that multimedia course:

•    Uniqueness.

How do you become unique? By becoming in touch with, and being able to express, your authenticity. You are the only one who has your physical instrument (larynx, resonation surfaces, physical stamina, etc.) AND who has your life history and emotional experiences. And here's what I believe: There is no competition with uniqueness. Talent shows won't tell you the truth—they can't. Imagine a competition show for an orange, an orangutan and a bedpost. Each has its place, its audience and its detractors. How do you judge such a contest?

•    Sound.

Your sound has to do with things like choices of instrumentation, microphone, studios and mixes, your vocal technique habits and quirky embellishments. You can change your sound, and that change should have to do with things like accessing your full resonance, making sure vocal licks are appropriate and choosing a sound that communicates your message most authentically.

•    Message.

What have you got to say to the world? How do you give your original slant to those thoughts? What do you want the overall take away to be from your audience about your show?

•    Style.

Your style has to do with your sound, message, way of articulating AND
your phrasing. It generally dictates the genre of music the industry puts you in, though the lines are more blurred now than ever. Your style also would include your 'look', the type of stage clothes you wear, and other
identifying factors (think Bono's sunglasses, Tim McGraw’s signature black hat, and Lady Gaga's costumes).

Branding your voice draws your ideal audience ... who would LOVE what you do ... to you. If you want to be a music artist, take your time and get this right. My suggestion is try not to put on the internet anything that does not fit your artistic definition. If you have anything online that your vocal branding has outgrown, take it down so you don't confuse the audience or the industry.

A real world example: The branding of my new band 6Play includes the following...

Uniqueness: Original songs, most of which I have written or co-written.
Sound: Our unique sound will come from truly gifted musicians and singers, all pro veterans of studio and stage, and will sometimes include two keyboards, organ, flute as well as guitars, drums and bass. I am lead singer, two background voices sing with me for a full vocal group sound. We also have a male solo vocalist for some songs.
Message: Our songs will come from veteran soul's wisdom, stories and situations. We will especially market to mid and older demographic which remembers bands like Doobie Brothers and Carol King/James Taylor from the past and appreciates bands like U-2 and artists like Adele today.
Style: We will be a band of energy, ability, intellegence and friendship. We will be extraordinarily connected to our audiences, encouraging the power of community. As lead singer, I have developed a particular vocal style from decades of singing and songwriting. With songs spanning r&b, pop rock, ballad and country, we believe we best fit within the vast Americana genre. We will be getting press photos soon and will need to consider all these points of our branding as we prepare for those photos.

For more on how to develop your artistic definition, as well as a ton of other unique, insider information vital to recording artists, do your career a favor and get 'Singing In The Studio' multimedia guide.