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
FL Studio Guru Harmor Vocal Resynthesis
In this tutorial we'll show you how we madethe Resynthesis Vocal Packs for Harmor so you can do the same with your own vocals.If you haven't seen Harmor sing yet, here's a quick demonstration with VEELA. Cool. Let's start with the original vocal,as sung by Veela, and reveal the process. Yes we asked the poor girl to sing 100'sof phrases, monotone on a C note. Now, it's not 100% important your vocals start thisway, but we did it to maximise the quality and flexibility of the end result. You can Resynthesize a pitched vocal, butthen any note you play will be an offset to
the original pitch and that can make playingthe vocal inkey a lot more complicated later on. So, lets pitchflatten our vocal in Newtone. So I'll use Alt+A to select the entire phraseand then click C5 on the keyboard. This will autorepitch the selected audio to that note.The next steps are optional. We'll fully correct the Global Pitch Center, Mininimisepitch variation and turn transition time to minimum. All this is to create a pitchperfectvocal ready for resynthesis. If you don't do this your vocal will have a more naturalquality, but may lead to some pitch inaccuracies when used as an instrument. Up to you.
The next step is super important. We needto know exactly how many bars long the vocal is. In this case we are setting it to 4 bars.You will need to know the precise bar length to set Harmor to play the vocal in perfecttime with your project. We will be using a temposynced LFO envelope to control the imagetimeoffset. While we are here in Newtone, let's tidy up some timing issues and get everythingperfectly on beat. Again this is all optional. As is removing breath noises for example. Now we are ready for Harmor. First, choosethe Template gt; Resynthesis preset. This prepares Harmor to resynthesise your vocal. Drag anddrop it onto the Image Section. And now we
can play it. In this mode it's more likea sampler, with the vocal retriggering on each note. Let's set it up to play temposyncedendto end. Deselect the velocity to volume so the vocalplays at the same level regardless of note velocity.Image fine (play) speed is set to 0, as coarse is already. We're doing this as we'llbe linking the Image Time (or play position) to an LFO envelope. Set Image timeoffsetsmoothing to zero, as it improves position responsiveness. Next set the Time (or playbackposition) to 0.5, that is in the middle of the playrange. We do this because the LFOenvelope is bipolar, ranging from 0.5 to
+0.5 so 0.5 is be the start, 0 the middleand +0.5 the end. We'll set Imagetransient sharpening to 100 to help preserve transients.Now we are ready to set that Imagetimeenvelope. Select ENV (envelope), then from the Targetmenu, ImageTimeOffset. This controls the play position. If we modulate that with andLFO. We can use it to sweep the playhead across the sound. As I mentioned earlier, you willsee the envelope is Bipolar, that is above and below the zeroline. First, lets, setit to Tempo sync, this way it will follow project tempo, and Global so all notes sharethe same envelope and so play position. Otherwise each note will retrigger an LFO which willput chords out of sync.
Now we are going to set the LFO to the samelength as our vocal. Remember we have 4 bars, but you just need to set this to match yoursample length. Precisely. Notice I have the snap setting on here in the envelope, that'sgoing to make setting things a little easier. To set the length drag this point across 4bars. Each heavy division on the grid is 1 bar. You will need to drag, zoom a littleand drag to get enough width. Use the Speed control to set 1 cycle over the sample length.And then Skew all the way to the right to make a ramp. Playback now proceeds at a steadypace, but we need to set the phase so it's 0.5 at the start and +0.5 at the end. Dothis by clicking anywhere on the LFO waveform
Nova Musik Roland JDXi Crossover Synthesizer with Scott Tibbs
Hi, I'm Scott Tibbs from Roland, andI'm here at Nova Musik showing you the Roland JDXi Crossover Synthesizer. Now this is Roland'sfirst step in this 'crossover' concept, where we take our highest level of DSP technologyand we couple it with pure analog sound. Let's take a look at the top panel of the JDXi.Over here we have the 'cannon' input for the vocoder, we have the controls for not onlyparameter adjustment but for calling up programs, we have tap tempo, of course we have the modwheels and the pitch bend, octave buttons, arpeggiohold, we have the four part selection,we have the tone selection here, the pattern
sequencer. As far as the oscillator is concerned,we have the waveform selection here. For the digital parts, we have the category selectright there. And then it goes over to the filter section: we have the digital.thevariable digital filter here, the amplifier, the LFO section, and then we go into the digitaleffects. Now over here with the analog side, we have its own separate analog filter, andinstead of the ADSR sliders we have a very simple, just one knob control that reallyhandles a lot of the very cool features of the typical ADSR sliders. The depth knob forthe LFO, and effects on and off and variable effects settings that you can apply. Hereis the fourpart step sequencerâ€”you can
do this in step time or you can also do itin real time. This also doubles as your favorites list, so you can chain patterns together,you can have them tempo locked if you want, or they can have their own individual tempo,so it's really nice to have the favorites section so you can go from one pattern tothe next. Within the pattern sequencer you can have up to four measures of pattern data.So, very, very cool, very thorough. Now, the Roland JDXi Crossover Synthesizer is a combinationof both our highest end DSP technology, which is the digital side, and a pure analog side.So we have two digital parts and we have a drum part, and these are all PCMbased soundand this can go through the variable digital
filter and then through the amplifier, LFO,so on, and through the digital effects. Now, there's also an analog voice, one pure analogvoice that has three different waveformsâ€”the saw, the triangle and the square with pulsewidth for the squareâ€”and its own analog filter, and that can go through the digitaleffects if you want or you can just bypass the digital effects. So let's take a listento the digital sounds. Now the category select here allows me to select any of thesecategories, like brass category. or any keyboard part.
so you can tell it's very,very versatile. synth bass. Now, the digital parts, they are based on our SuperNATURALtechnology, so this is very, very highend, very deep into the synth, sort of. modelingthe synth behavior of, like, from our Jupiter and from our other synthesizers. So we havethat, that capability with this very, very cool, flexible digital synth DSP technology.Now, let's go into the drums. Now there's thirtythree different drum kits. Now, youcan choose all kinds of different drum kits, or you can just tweak the sounds that arethere, and it's very easy to do. So, for instance,
if I want to tweak this snare, I just hitthe snare. tweak it. maybe tweak this kick. Now, if you notice, the filter changesfor each instrument sound, so you can tweak your own kit right away. You can even adjustthe effects for each note, so if you want to have the compressor on this one, you canhave it, but maybe not on this one. Very cool! Okayé So, now let's go to the analog part.Now this is where it gets really, really special. Pure analog sound going through its own individualanalog filter. Now you have three different waveforms: you have the saw. the triangle. and the square with pulsewidth. Now, with each of these oscillators you have a oneoctave sub. or a twooctavesub.