Basic PhysiologyHUMAN VOCAL SYSTEMAIR P R E S S U R E S YS TE M :d iap h ragm , ch e s t and ab d om inalm u s cle s , lu ...
Basic PhysiologyAIR FLOW “SIGNAL PATH”1 . E nte rs Lu ngs      Th rou gh oral cavity / trach e a2. E xits Lu ngs     E xp ...
Basic Physiologyhttp://www.youtube.com/watch?v=v9Wdf-RwLcs LO W TE N S IO N : Air e s cap ing a re laxe d vocal fold (op e...
Vocal TimbreELEMENTS OF VOCAL TONEP H O N ATIO N :Air flow le ve ls and ch ange s ofth e q u as i p e riod ic vib rations ...
Formant Typescity   s it   be d   b ad   fath e r   ?   you   put   flood   ?
Formants Continued            PHISICAL CHANGES            for VOWEL FORMANTS
Formants in the Mix
Vocal RangeQuick Vocal Range Tips1 . D e fine d as th e lowe s t toh igh e s t note a p articu lar voicecan p rod u ce .2....
Vocal Ranges SSATBB Common Vocal Ranges in Hz Soprano:    C4 – C6 = 261Hz-1046Hz Mezzo-Soprano:    A3 – A5 = 220Hz – 880Hz...
Vocal RegistersVocal Register Tips BASIC ROUNDED OFF VIEW1 . N ot to b e confu s e d w/ vocalrange                        ...
Moar Vocal Registers   Some Vocal Register Types and SubtypesF R Y/ ATTLE / C R APE :       R              SLowe s t vocal...
Why Warm Up?        I Work Out1 . N e e d to re tu ne e ve ryd ay2. M u ch like WorkingO ut3. Vocal ch ord s H e ald u rin...
Warming Up     1. M os t Vocalis ts fe e l s illy        warm ing u p in front of        p e op le .     3. F ind a nice i...
Warm Up Time?       How long?1 . Vocal warm u p s canrange from 5-20 m in2. Any longe r and its tarts to cu t d own onh ow...
Technique What to do / not do1. Try to ke e p vocalis t   from forcing a tone2. If it s ou nd s like it h u rts ,   it p r...
“The Voice”I want to sound like HIM!1.   E ve ry p e rs ons voice is     u niqu e .3. H ave th e vocalis t   s p e ak th e...
How To Help     Monitor Fatigue1. Always h ave wate r at   th e s e s s ion.2. F igu re ou t wh at le ve l   of training t...
Signal Processingcommon techniquesWHILE TRACKING1 . u s e of a p los ive (p op ) b locke r.2. u s e of a large r d iap h r...
Signal Processingcommon techniquesWHILE MIXING1 . e d iting b e s t p e rform ance s to a com p track.e d iting ou t u nwa...
Vocal Damage & Abuse VOCAL FOLD NODULES    VOCAL FOLD CYSTS    VOCAL FOLD POLYPS  E AC H C AN BE C AU S E D BY O VE R U S ...
Vocal instrument literacy
Vocal instrument literacy
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Vocal instrument literacy

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    1. 1. Basic PhysiologyHUMAN VOCAL SYSTEMAIR P R E S S U R E S YS TE M :d iap h ragm , ch e s t and ab d om inalm u s cle s , lu ngs , rib sVIBR ATIO N S YS TE M :voice b ox (larynx) and voice fold sR E S O N ATIN G S YS TE M :th roat (p h arynx), nas al p as s age soral cavityAR TIC U LATIN G S YS TE M :jaw, lip s , tongu e
    2. 2. Basic PhysiologyAIR FLOW “SIGNAL PATH”1 . E nte rs Lu ngs Th rou gh oral cavity / trach e a2. E xits Lu ngs E xp e lle d b y d iap h ragm / ab s3. E ncou nte rs & Vib rate s Vocal F old R e p e ating alte rnating p re s s u re s from top and b ottom cre ate au d ib le cyclical p u ls e s of air4. E nte r Vocal R e s onators Th roat / M ou th / N os e D e ve lop Tim b ral Q u alitie s6. Articu late d b y j aw, lip s , & tongu e into langu age and oth e r s ou nd s
    3. 3. Basic Physiologyhttp://www.youtube.com/watch?v=v9Wdf-RwLcs LO W TE N S IO N : Air e s cap ing a re laxe d vocal fold (op e n th rou gh th e m id line ) cre ate s a “ b re ath y” s ou nd . H IG H TE N S IO N : O ve rly te ns e vocal fold will s tru ggle or s train at h igh e r fre qu e ncie s . C H AN G E S IN M AS S : S we lling in s oft tis s u e can alte r vocal fold te ns ion.
    4. 4. Vocal TimbreELEMENTS OF VOCAL TONEP H O N ATIO N :Air flow le ve ls and ch ange s ofth e q u as i p e riod ic vib rations ofth e vocal fold .F O R M AN TS :U niq u e and fu nd am e ntalch aracte ris tics of vowe l s h ap eand ch iaros cu ro (b alance ofh igh tone s to low tone s ).R E S O N AN C E :S ize , s h ap e , & m as s of th eb od ys re s onant cavitie s .
    5. 5. Formant Typescity s it be d b ad fath e r ? you put flood ?
    6. 6. Formants Continued PHISICAL CHANGES for VOWEL FORMANTS
    7. 7. Formants in the Mix
    8. 8. Vocal RangeQuick Vocal Range Tips1 . D e fine d as th e lowe s t toh igh e s t note a p articu lar voicecan p rod u ce .2. S h ou ld b e d e fine d as th elowe s t to h igh e s t m u s ically u s e fu lp itch e s a p e rform e r can p rod u ce .3.Be ing ab le to d e fine ap e rform e rs m u s ical range willh e lp you p lay to th e ir s tre ngth s .4. Th e s tre ngth zone (te s s itu ra) isge ne rally fou nd in th e m id d le of ap e rform e rs range .5. S S ATBB R ange s ove rlap , b u tnot te s s itu ras . H z ch arts com ing
    9. 9. Vocal Ranges SSATBB Common Vocal Ranges in Hz Soprano: C4 – C6 = 261Hz-1046Hz Mezzo-Soprano: A3 – A5 = 220Hz – 880Hz Alto: F3 – F5 = 175Hz – 698Hz Tenor: C3 – C5 = 131Hz – 523Hz Baritone: F2 – F4 = 44Hz – 349Hz Bass: E2 – E4 = 82Hz – 328Hz
    10. 10. Vocal RegistersVocal Register Tips BASIC ROUNDED OFF VIEW1 . N ot to b e confu s e d w/ vocalrange of the FOUR MOST COMMON2. D e fine d as a s p an of p itch e s VOCAL REGISTERSth at are p rod u ce d b y one (of th efou r vib ratory p atte rns of th e vocalfold .3. E ve ryone can p rod u ce s om e ofth e m . N o one can p rod u ce allfou r.4. E ach re gis te r h as its ownvib ratory p atte rn, com m on p itchrange , and ch aracte ris tic s ou nd .5. Th e fou r vocal re gis te rs arecate gorize d confu s ingly from
    11. 11. Moar Vocal Registers Some Vocal Register Types and SubtypesF R Y/ ATTLE / C R APE : R SLowe s t vocal re gis te r. M any cannot re ach it. Ve ry tigh t vocal fold vib ratingirre gu larly. Too m u ch u s e can ge t u nh e alth y.C H E S T (LO W/ ID D LE ): MR e fe rs to th e natu ral m anne r of actions of th e vocal fold . Te nd s to h ave warm e rd arke r tim b re s . O fte n d ivid e d into Lowe r and M id d le ch e s t s u b re gis te rs . Lowe rch e s t ofte n as s ociate d w/ “ ch e s t re s onance ” arou nd 1 00H z. M id d le C h e s t ofte ras s ociate d with m ale vowe l s ou nd s and with s inge rs trans itioning from C h e s tre gis te r to H e ad re gis te r.H E AD :O fte n calle d “ h e ad voice ” d u e th e com m on fe e ling th at th e re s onance of th e vocals ou nd is p rim arily occu rring in th e h e ad and h as a ch aracte ris tic ringing tone . H e adre gis te r can b e carrie d d own and m aintaine d lowe r, to wh at wou ld b e th e C h e s tre gis te r, b u t th e tone of th e voice will ge ne rally b e com e th inne r and lowe r p itch e sand re s onate m ore p oorly th an it wou ld if th e natu ral C h e s t re gis te r we re b e inge m p loye d .WH IS TLE :
    12. 12. Why Warm Up? I Work Out1 . N e e d to re tu ne e ve ryd ay2. M u ch like WorkingO ut3. Vocal ch ord s H e ald u ring S le e p4. N e e d s tre tch j s t like um u s cle s
    13. 13. Warming Up 1. M os t Vocalis ts fe e l s illy warm ing u p in front of p e op le . 3. F ind a nice is olate d s p ace for th e m to warm up. 5. Vocalis ts are b orn with th e ir ins tru m e nt wh ich m ake s th e m ve ry s e ns itive ab ou t it.
    14. 14. Warm Up Time? How long?1 . Vocal warm u p s canrange from 5-20 m in2. Any longe r and its tarts to cu t d own onh ow long th e y will b eab le to s ing3. M onitor tim e andm ake s u re th e y d on’ twarm u p to long
    15. 15. Technique What to do / not do1. Try to ke e p vocalis t from forcing a tone2. If it s ou nd s like it h u rts , it p rob ab ly d oe s3. Th e s inging voice s h ou ld s ou nd like th e talking voice4. N o two h u m ans are alike . You r tone will b e u niqu e as long as you d on’ t try to s ou nd like E d d y Ve d d e r.
    16. 16. “The Voice”I want to sound like HIM!1. E ve ry p e rs ons voice is u niqu e .3. H ave th e vocalis t s p e ak th e line and th e n s ing th e like th e way th e s p oke it.• Try not to m im ic s om e one e ls e ’ s voice b e cau s e it’ s alre ad y b e e n d one .
    17. 17. How To Help Monitor Fatigue1. Always h ave wate r at th e s e s s ion.2. F igu re ou t wh at le ve l of training th e y h ave h ad3. P ros will know wh e n th e re tire d and th e y will le t you know.4. A rookie m igh t not know and it’ s th e e ngine e rs j to ob m onitor th e ir fatigu e .
    18. 18. Signal Processingcommon techniquesWHILE TRACKING1 . u s e of a p los ive (p op ) b locke r.2. u s e of a large r d iap h ragmd ynam ic or cond e ns e rm icrop h one3. u s e of an colorizing p re -am p lifie r4. u s e of an is olate d e nvironm e nt5. u s e of an ap p rop riate lyvolu m e d h e ad p h one s e nd6. u s e of an ap p rop riate ly e go-b oos ting “ vocals + p roce s s ing”
    19. 19. Signal Processingcommon techniquesWHILE MIXING1 . e d iting b e s t p e rform ance s to a com p track.e d iting ou t u nwante d m ou th s ou nd s and oth e rnois e / le e d b2. u s u ally s om e form and am ou nt of tu ning3. e qu alization to d e -e m p h as ize low m id s ,nas al s ou nd s , and u nwante d s ib ilance4. e qu alization to e m p h as ize warm th ,p re s e n ce , and / b re ath or4. com p re s s ion (als o com m o n to com p re s sb e fore E Q ) ofte n to re d u ce th e d ynam ic rangeand to ad d p u nch and m aintain cons is te ncy.5. re ve rb s e nd / d e lay s e nd (s tand ing ou tp ote ntial)6. s coop ing ou t vocal fre qu e ncy s p ace u s ingE Q . s co op ing ou t s te re o im age s p ace withp an or M S .s coop ing ou t u s ing s id e ch ain com p re s s ion
    20. 20. Vocal Damage & Abuse VOCAL FOLD NODULES VOCAL FOLD CYSTS VOCAL FOLD POLYPS E AC H C AN BE C AU S E D BY O VE R U S E C an le ad to: F atigu e H oars e ne s s Lim ite d R ange Lim ite d Bre ath C ontrol

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