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Post by cowboycoalminer on Nov 17, 2020 12:56:30 GMT -6
With any kind of DSP (Apollo/PT HD) etc, there's always a fair amount of delay that messes with the brain. I know everyone nowadays claims there's hardly any latency but there is latency. All major studios and most highly productive studios use analog to record playback with. Zero latency. What you hear is what you get.
I'm not advocating that everyone go back to analog monitoring but the pros still do. Just saying.
And the best takes I've ever gotten have been through an analog console.
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Post by thehightenor on Nov 17, 2020 14:06:27 GMT -6
This should go without saying, but a great headphone mix can make all the difference sometimes. For some singers getting rid of the headphones can make all the difference!
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Post by chessparov on Nov 17, 2020 14:27:22 GMT -6
Amen! Chris
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Post by Vincent R. on Nov 17, 2020 15:30:16 GMT -6
I make a new experience better diction helps to breathe better... I have no idea why, but it's true... @vincent? Unfortunately, there isn't really a cut and dry answer to this. Certainly this kind of singing is the norm for many opera singers today. I can show you clips of Giuseppe Di Stefano or Mario Lanza that are very much a middle ground between what he is saying to do and the exaggeration he gives of what not to do. I sing in that middle ground. I can also say that in our conversations Michael's biggest gripe with my technique is what he referred to as my overused down bowing, which he advised uses more energy than to sing the way he is demonstrating. He knows I'm a Lanza nut and he was fortunate to do a lot of work with George London before his death. George London sung with Mario Lanza before he skyrocketed to fame. Due to the way Lanza sang George had told Michael that by the end of a concert Mario was exhausted. There is probably some truth to it. Going up for the ending of "Nessun Dorma" or "Che Gelida Manina" relaxing the diction a little to get the notes to shine is a help. Once you're on the high B of C the rest isn't quite as important. What I'm not sure is how much of a benefit this is to non classical vocalists. The best advice I can give to most singers is to sing on the pulse of the music. Che GELiDA maNIna. Se la LAsci RIscalDAR CerCAR che GIO VA? Al BUio NON si TRO VAThe music sounds much more impassioned that way.
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Post by rowmat on Nov 17, 2020 15:42:16 GMT -6
With any kind of DSP (Apollo/PT HD) etc, there's always a fair amount of delay that messes with the brain. I know everyone nowadays claims there's hardly any latency but there is latency. All major studios and most highly productive studios use analog to record playback with. Zero latency. What you hear is what you get. I'm not advocating that everyone go back to analog monitoring but the pros still do. Just saying. And the best takes I've ever gotten have been through an analog console. We used our analog console for monitoring and cue sends and setup cue mixes that usually included our hardware Lexicon 480L and later our EMT140 plate. A cue mix that sounded more like an album mix with zero latency was what we aimed for and most clients appreciated that. The few who wanted no headphones often had been put off by bad cue mixes in the past.
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Post by mrholmes on Nov 17, 2020 16:06:49 GMT -6
I make a new experience better diction helps to breathe better... I have no idea why, but it's true... @vincent? Unfortunately, there isn't really a cut and dry answer to this. Certainly this kind of singing is the norm for many opera singers today. I can show you clips of Giuseppe Di Stefano or Mario Lanza that are very much a middle ground between what he is saying to do and the exaggeration he gives of what not to do. I sing in that middle ground. I can also say that in our conversations Michael's biggest gripe with my technique is what he referred to as my overused down bowing, which he advised uses more energy than to sing the way he is demonstrating. He knows I'm a Lanza nut and he was fortunate to do a lot of work with George London before his death. George London sung with Mario Lanza before he skyrocketed to fame. Due to the way Lanza sang George had told Michael that by the end of a concert Mario was exhausted. There is probably some truth to it. Going up for the ending of "Nessun Dorma" or "Che Gelida Manina" relaxing the diction a little to get the notes to shine is a help. Once you're on the high B of C the rest isn't quite as important. What I'm not sure is how much of a benefit this is to non classical vocalists. The best advice I can give to most singers is to sing on the pulse of the music. Che GELiDA maNIna. Se la LAsci RIscalDAR CerCAR che GIO VA? Al BUio NON si TRO VAThe music sounds much more impassioned that way.
Cool advise again. I am now up to practice 2-3 hours every morning and I can say it gets better and better every week. I was surprised by myself how good it can get, and I am in my 40s.
Practicing helps a lot constant practicing and not giving up helps too... Sometimes I do detours but it all comes together...
Now it's more than I wanted, but I will see how far I can get... more clarity, better diction better popular music vocals.
A few of Michael's tips work well. The breathing ideas were better explained by a teacher from New York on YT and the explanation of my vocal coach helped too. But I had to do my own research to find the door to Appogio...
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