How To Sing Good 3 Easy Tips For How To Sing Good
Hi there. Aaron here from Superior SingingMethod and in this tutorial, I want to talk about how to sing good. OK. How to sing good. The ironic thing aboutthe statement how to sing good is it is bad grammar. So let me just get that out of theway first. How to sing well, yeah, that's better grammar. So this is not a grammar lesson.This is actually a singing lesson so let's jump into that. How to sing well, how to sing good. Firstof all, at the end of this, I want to give you a good vocal exercise that will help youto be able to sing well and it's one of my
favorite ones. It's a good warmup exercisethat will kind of get you going in the morning as well. It's the only one you do. It's agood one to start with. So how do you sing wellé What are the different things that ittakes to learn how to do thaté First of all, understanding the voice. Thereare two probably yeah, three main things I think. It's like understanding the voice,learning proper technique and doing vocal exercise. So last one I'm going to give youis that vocal exercise. So understanding the voice, what does that meané Things like nasality. A lot of people whenthey sing, they sing and it just sounds kind
of like this. It sounds nasally and nasallydoesn't come across. It doesn't sound very good and nobody really wants to hear a nasallysinger. So understanding the voices, understandinghow to for example, it would be how to get rid of the nasality in your voice and it couldbe a lot of things but mostly it's probably the soft palate and I won't go too much intoit now. But soft palate is just beyond the hard palate which is the roof of your mouth.Soft is set behind there and usually nasally means soft palate is down too low. So understanding the voice, understandingthat the voice is a delicate instrument, understanding
that when you yell and you're like tryingto belt a note, like that, that puts a lot of strain on your voice and doesn't soundgood with tone but it also can hurt your voice. So just understanding those there is a lotof things to understand about the voice. These are just a couple of examples. The second thing is learning proper technique.Proper technique is things like learning how to breathe from your diaphragm. Breathingfrom your diaphragm is taking a just to give you a little, tiny glimpse of what it is,it's basically having proper posture, taking that complete breath and allowing your diaphragmto descend, creating space for your lungs
to be able to expand and your stomach cavityand as you sing, the tendency is to let your chest kind of collapse, to fall like that.But instead of doing that, keeping your chest nice and high, like kind of just like I amnow, not super high. Those are some of the basics of learning howto diaphragm breathe. So that's learning the proper techniques and there are a lot of techniquesof learning how to sing but that was just one example. So it's understanding the voice, learningproper technique and then doing vocal warmups. Vocal warmups are important because yourvoice is made of muscle and cartilage and
you need to build up those muscles to be ableto manipulate the notes the way you want to and to be able to sing all the things youneed to sing and know what your voice is going to do when. You need to strengthen those musclesso that they respond the way that you want them to respond when you're singing, rightéRight. So let's get to the voice exercise. This isa good one. It's one of my favorites as like a morning exercise. It's going to be Zs, Zs,We're going to do Zs on just basically five notes descending. So it's going to be vocalexercise. I started a little low. I will start a little higher. vocal exercise Dothat with me. vocal exercise And then you
Drum Beats Drum Beats Slow Blues Play Along
Now, we're going to do the play along of theslow blues with Sean Mahoney on guitar, Taylor Lee on bass. I'm going to demonstrate twophrases, excuse me, two forms of a slow blues, so you're going to hear a 12 bar pattern twice.Nice and slow, sixty beats per minute, and feeling the triplets. Here we go. There youhave a slow blues feel. Now granted, the original pattern was, I added a few notes. Really,I just added, but the important part with the original pattern, was still there. I addedto it. I didn't take away from it. It's very important that you don't take away from theoriginal groove. Just keep that in mind, as you are working on this field.
Drum Overheads Recording Drums without Samples Part 1 Mastering Drum Overheads
Hey my name is Ryan and you are watching Creative Sound Lab. A weekly tutorial show withrecording tips, pointers and offthewall recording techniques. This episode is actually the start of an entireseries on mastering the art of recording drums without samples. I am going to teach you my practical methodsand advice and I even have a really cool case study at the end of it all. This is a fivepart series that talks about recording drums. I realized that I have never really made atutorial that really covers stuff top to bottom.
So todays tutorial I am going to give you threesteps to mastering the drum overheads and I will go ahead and give you those steps. Step one is divide the drums. Step two isto decide on the height and step three we are going to be choosing the technique thatyou want to use. So let us go over the studio glass and talk about how you can slice upa drum kit in half. Here we can see the typical image of the drumkit. If I were to record the drums as they were set up on stage, then most of our stereoimage would be on one side. The low floor tom and the ride cymbal would be on the otherside.
The idea is to ignore way the drums are facingand look at ways you can divide the drums so that the important ones are right downthe middle. One way to do this is to point the drums,or better yet, move the imaginary line to come in at a different angle. If we draw aline so that it goes over the bass drum and the snare drum, we can see that it looks alittle funny but it actually gets us the most important drums in the center of the stereoimage. We also have a ride cymbal which is slightly off to one side, and the Hi Hat whichis slightly off to the other side. The crashes and toms form a nice variationfrom side to side that keeps things interesting.
In this example you can hear what it soundslike when I divide the drum kit up visual down the middle. Music Deep grooves In this example you can hear what it soundslike to split the kit down the auditory middle. You can hear that the kick and the snare areright down the middle and the ride and hi hat are pretty close to the middle but oncomplementing sides. Music Pocket Grooves and Funk The idea is to get this left and right imagehow you like it, and then bring in the close
microphones to fill in what you already havein the in the overhead microphone. For example, if you could only pan your HiHat microphone to the exact point that it appears in your overhead stereo image wouldyou be happyé This is why it is important to split the kit the way that you plan tomix it. The mixing process is starting right now andit is with our overhead microphone. More deep grooves and pocket drumming Step 2 is to decide the height of your microphone.Is your room a nice room or is it a little rough. You can easily control the direct drumsound and indirect drum sound that you record,
just by adjusting the height of your microphones. My standard height is a little higher thanme when I am standing. If I move the microphones and little closer than that, say five feetaway, I would get a wider stereo image and a little bit more direct sound. If I were to move a little bit further away,say 7 feet away, I get a narrower stereo image and I capture less direct sound. Here is anexample of having overhead mics a little bit closer to the drums, and it is a great wayto cover up a bad sounding room. Music