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There are quite a few different ways to do this. The simplest way is to double the existing vocal track, and then shift the copy slight in pitch (by a few cents) and/or time (10-20 ms). You could also shift one towards the left channel and the other towards the right to gain more seeming independence of the voices. Applying a compression effect can also ...


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For your singer, you ideally want to go condenser as they have better pickup in the lows and highs which give a very clean and "colourful" sound (I am going all in with the buzzwords). However, your big problem is the fact there is a piano blasting out sound right next to your singer, so go for a cardioid or other very directional microphone that is pointed ...


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My tip - hope it's accurate as it seems to work for me For dynamic mics go with a cardioid dynamic mic instead of a supercardioid mic - the reason is that supercardioid mics have a smaller pattern to pick up your voice which is great for a standing vocalist who wants to reject ambient noise and for feeback suppresion on stage. For a singing pianist who ...


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I am a professional Baritone and unfortunately get colds all the time. You must ensure that you do not strain your voice - if you can't get a note, stop trying and try the next day. To ease your full range back, there are a couple of things you could do: 1) Try vocal exercises like starting on a C, and singing 1-5, 5-1, 1-9, 9-1, and gradually moving up by ...


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You would both be well advised to learn musical notation. Then you can read EXACTLY who sings what words, to what tune, at what time.


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Both, of course. How would a singer prevent himself from hearing his voice by all available methods? Nowadays they will also listen to recordings.


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Having recently taken up singing it was really interesting to me to see how singing trains your ears as well as your voice. You need a certain amount of aural skills in all music but for the performing aspect of singing it becomes more crucial than what is usually the case. You have to learn to hear what you are trying to sing so you can hear in your mind ...


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I believe that a tenor - for example, sings with the vocal chords 'closed' in head voice but still maintains the tenor range. The same voice singing in falsetto opens the chords and sings in an 'artificial' range. I suppose that an excellent example in (old) popular music is Roy Orbison who seamlessly crossed from chest to falsetto. In classical and ...


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It's not arbitrary. American accents in choral singing (especially Southern) produce several disadvantages in tone, tuning and volume. Specifically, the American hard "r" forces the speaker/singer to close the jaw and lift the tongue, both of which reduce the air space within the mouth and the back of the throat, reducing resonance. The result when singing ...


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I believe practicing or singing during an allergy or any infection is very dangerous as it gives a lot of strain to the already strained muscles of the throat. A proper medication is really required to recover. Yoga, meditation and breathing exercises really help for singing. Either ways, a good exercise and a good balanced diet is required to maintain a ...


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It's common for a certain musical style to be associated with a certain accent. Adele ditches her Norf Laaaaaaandan accent for a distinctly American sound when she's belting out her latest soul-tinged ballad. Birmingham (UK)-born Ali Campbell of reggae act UB40 does a half-decent job of sounding like a Jamaican. On the flip side, punk singer Joey Ramone's ...


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It's a bit old-fashioned, and reasons have to do with placement (our accent has a lot of nasalization of vowels) and airflow restriction (try saying "er" as you normally do, and then the way the Brits do it, and you'll see that you don't restrict the airway as much in the latter). However, while these reasons may be musical reasons, they are also pretty ...


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If you're game to choral works there is a tremendous amount of repertoire available, including more classical based works and popular (i. e. folk) songs from all parts of the world arranged for choir. Try a google search specifying "choral" or "choir score", or let us know some more specific taste preferences for some more oriented guidance. Regarding pop ...


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I think you're not seeing it around just because it's not that common a label for a singer to apply to herself. But think of it as a hybrid of a lyric and a lyric coloratura. Specifically: the warmth of a lyric, plus the lightness and flexibility of a coloratura, with a range not necessarily as high as a coloratura. So a good example of a leggero role ...


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The worship team leader at our church is a powerful true tenor which makes it nearly impossible for our untrained congregation to sing well within his range. The alternative is to "harmonize" which is beyond the ability of most. But the music is so loud only God can hear the voices of the regular members anyway.


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I'm assuming your question is about arranging the non leading voice parts. If you don't know even where to start I suggest a 4 part harmony homophonic approach in the classic way. Whole volumes have been written on this subject only, but a simple basic approach is not so hard if you know your way around basic chords and scales. 4 part harmony assumes 4 ...


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On some singers it can be hard to tell,,, The difference especially on bass and baritones I find is very easy to spot,, Falsetto has a totally different tone to it.. More breathy and airy,, You can with practice get a strong loud falsetto but it always sounds different than connected headvoice.. As Rockin Cowboy said,, the difference is in teh mechanics.. ...


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Depends on the style of singing.... If you want to sing rock and belt in your highest part of your register and need to sing into your passaggio it takes a lot of practice.. Its so easy to start "shouting" on the early notes of the passaggio. For men this part of the voice is never used in daily talking etc.. So in order to get the delicate control of the ...


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In my limited knowledge, Todd's answer pretty much says it, and Mathew's initial comment is also relevant. I would just add that RELAXATION of throat and larynx is of the utmost importance, both to the extension of your vocal range (get those high notes) and to minimize throat tiredness. In my experience, this relaxation, if you don't have it naturally, is ...


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As a brass player myself, I'd like to extend some tips for learning how to perform multiphonics on brass instruments. These tips are presented in a specific sequential order. 1.) Practice buzzing your lips while humming (without the instrument) The first thing you need to do is begin getting use to the sensation of doing those two things at the same time ...


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I've experienced this and from what I've read, I'm pretty sure it's actually your vocal cords touching each other, which tickles/itches and can cause uncontrollable coughing for a bit. I suspect it's not good for your voice, but if it's like what happens to me, it doesn't matter if it's good or bad, I have to avoid it because I can't sing for a few minutes ...



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