June 13, 2025 • 67 mins
What if singing powerfully had less to do with pushing, and more to do with control? Ali came in thinking she needed to “do more” with her voice—but what really changed things was doing less. This coaching session shows what happens when a singer shifts their focus from volume to balance, and learns how to smooth out their sound without losing strength.
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Episode Transcript
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(00:08):
at the club great
can you give me 10% less volume on the word girl yeah
yes how did I feel better
that sounded so good it's just smoother
(00:30):
yeah right
more even
more even exactly exactly
a lot of times as singers were like
what can I do to make it more powerful
when actually the question should be
what can I do to make everything smoother
which means 50% of that equation is not just doing more
but actually also doing less
(00:57):
hey Vox star and welcome to from singer to artist
I'm Lara Chapman award winning singer and songwriter
turned viral vocal coach and the host of this show
at VoxTape Studios
we help singers from all over the world
level up their voices
by teaching them the three fundamental skills
all singers need technique
awareness and artistry whether you're looking to go pro
(01:18):
or just develop your voice for fun
my team and I are here to help
check the link in the description
to book your first session
or grab some of our other resources
Alrighty are you ready
let's get started it is Friday
which means it is time for some more singing
in the studio today I have with me
welcome Ali Peck
thank you so much for being here
(01:39):
and for sharing your beautiful voice with us
I've had the pleasure to sing with you
oh my gosh hold on
like one lesson we had together
this was a couple months ago
I don't even know was
is it already a year or maybe it was last year
sometime last year but it's been a minute anyways
you blew me away then so
(02:01):
I'm so
excited to now have you here in the studio with me
so how we got connected is through Leonard
he I met him back when I was doing business with him
and you are in and living proof yes
his band or in the band together with him
so you guys perform a ton of like corporate events
weddings oh yeah
(02:22):
things like that
so you're used to performing and singing a lot
so tell us a little bit more about your whole music
journey
so I started singing for as long as I can remember
um in church and I was in theater
show choir um
church choir stuff like that
and then about three years ago
I moved to Indianapolis and joined Living Proof
(02:45):
okay so yeah
that was already three years ago when you joined yeah
oh my God that is so funny
as soon as I moved here joined the band
did you replace somebody else who left in the band
yes cause Leonard and I
we were literally just sitting here
and we just recorded an episode together as well
and he's like
I was trying to get you to join the band and I
and I just didn't have the capacity
(03:06):
so you got to join instead
that's so perfect he was telling me about that
I was like that is so funny yes
oh my God I
I love that I love that for you
I that could not do what you guys do
because it's a schedule like it's a lot
it is yeah
how's your voice keeping up with that
because you know
there's a lot of singing um
(03:26):
that's a good question sometimes okay
it depends like
especially in the summertime when we're a lot busier
I notice that my voice is strained and I get sick a lot
okay during that time
yeah'cause just you know
working so much and so most of the time I try to
(03:47):
you know drink a lot of water
honey stuff like that to keep my voice okay
but yeah and um
if I remember correctly there's like three lead singers
right yes
and a couple other people who also do some singing
like the drummer and and so forth
Leonard just told me um
how much singing do you do
(04:08):
you do like at in one night
like for one gig how much singing are you doing
um so it's pretty even
we like rotate so like Leonard will sing a song
then west then me okay
so it's pretty it's pretty even three hours of singing
so okay
okay and I'm also
backing everyone up on almost every single song
(04:31):
so there you go
so it's not like you get a break for two songs and then
you come back and do your thing
yeah you're maybe not doing the lead vocals
but you're still doing the harmonies or whatever right
yeah so you're still singing a ton
yes do you ever feel like uh
when you're harmonizing or like singing backup vocals
that you do get a little bit of a break
compared to when you're singing lead
or are you treating it the same
(04:53):
um I would
if I would say it's more of a break
mm hmm for sure
yeah cause you're just in the background
you know yeah
and I I think that's a good thing
first of all you know
you don't want to sing like
full out three hours straight
I mean yeah
you can people have done it and I've done it too
like it's possible
without hurting your voice or anything like that
(05:13):
but if you can give yourself breaks
give yourself the break right
you don't have to and when you're singing backup vocals
you do wanna be the backup vocalist and like
sing it with that in mind and not like
I'm the lead singer hear me sing right
so I love that you're already doing that
yeah yay
(05:34):
amazing
so today we're gonna be doing Pink Pony Club Chapel
Rowan yeah
shall we do it let's dig in
um I would say if it's okay with you
first verse pre chorus chorus
and then stop there for now and like talk about it
see what's happening sure
yeah and then move through the rest of the song too
yeah yeah let's do it
(07:15):
all right you better sing it girl
how do you feel
I should have drank water before singing that
but take a sip of water now
you know it's um
we've been filming down here for four hours already
there's a lot of lights it's very warm down here
and because it's warm it's dry
so you know
it's like oh my God
oh my God oh my God
but when you're performing
(07:35):
it's like well
you don't know what situation
you're gonna be running into
or like walking into rather
so for sure it's like well
we gotta do with what we get hahaha yeah
but and also with hydration too
it takes a good 24 hours
for your body to actually absorb the water
cause everything you drink
none of that touches your vocal folds
it goes down your food pipe yeah
(07:56):
not your windpipe and if it does
you're coughing all over the place and you die
worst case scenario don't do that um
but right
so it takes a while for your body to absorb that water
so when you have a gig on Friday
make sure you drink plenty of water on Thursday
because it takes that much time
oh interesting
I didn't know that yeah
I feel like I struggle like with having dry vocal cords
(08:19):
and then I'll drink a bunch of water before a show
and I'm like it didn't help
so now you know why
because it doesn't actually touch your vocal folds yeah
neither does the honey or the tea
or anything that you swallow
nothing touches your vocal folds
it's just you overall need to be hydrated
your body needs to be hydrated yeah
and then your vocal folds feel that
what you can do if you're struggling with dryness is um
(08:43):
either use a steamer like a uh
sinus inhaler steamer kind of thing
that way you're literally inhaling hot steam
so those are little tiny water droplets
and those do go directly on your vocal folds
and hydrate your vocal folds
because you're breathing that in
rather than swallowing it right
(09:03):
or a nebulizer
a nebulizer is just smaller droplets so your um
your body your voice can absorb it more quickly
um
but nebulizers are a lot more expensive than steamers
hahaha and with a steamer
do it in the morning if you have
if you have a gig at night cause uh
and then not
don't use your voice after steaming for like 15 minutes
(09:23):
OK like let it rest
let your voice absorb the water um
the moisture essentially and then a couple hours later
start using your voice and warm up
you don't really want to steam
15 minutes before your gig'cause
then you're gonna vibrate the water
right off your vocal folds again wow
okay yeah
with a steamer it's different steamer
you can do right before a gig
(09:44):
because the water droplets are smaller
and they get absorbed much more quickly
gotcha and it's not technically water
it's saline solution but anyways
that's already a detail um
but yeah that's what you can do for dryness um
but talk to me besides feeling dry
how did this feel
so something that I still struggle with
I think is high notes because like I said before
(10:09):
I was in choir and show choir and I was always an Alto
okay so in my head
I've always like been an Alto
and those higher notes are harder for me to like
project or I feel like I'm projecting too much
and then I'm just yelling
so yeah finding that in between
yes is hard yeah
(10:30):
especially
I assume you're talking about the Pink Pony Club
yes I'm gonna
I'm dancing yeah
um so you have the hard p right
pink pony club
and if we're really leaning into those consonants
it can very quickly start feeling yelly
because it's like
all of that pressure gets released really quickly
(10:51):
um and what you did this time was much more mixy right
like a pink
dancing that's a little chestier right
yeah but again
then we need to make sure that you're not yelling
(11:13):
so um
I wanna see if we can access
just a little bit more power up there
without going overboard
can you give me your best Santa Claus impression
Ho ho ho ho ho ho alright yeah
one more time Ho ho ho great
so do you feel space in the back of your mouth at all
when you're doing that
um
maybe try it again and focus on creating that space
(11:37):
like ho ho ho
ho ho ho yeah
there you go yeah
right did you feel or hear a difference at all
for sure yeah yeah
so just a little bit more space back there
depending on the singer
sometimes we need to bring it more forward
sometimes we need to create more space in the back
so I wanna
try going the route of creating more space in the back
first OK
(11:57):
so uh
let's try the
the the melody on Ho Ho ho this is gonna be weird
but Ho ho ho ho ho ho ho it does not sound pretty
but again it's about the space that we're creating OK
OK try that yeah
ho
(12:19):
Ho ho OK how's that feeling better
it's a it's definitely a little
a little bit more powerful
a little mixier yeah
I feel like I more we can get like 5% more chesty OK
yeah try yeah OK
ho ho ho ho ho ho ho ho ho ho ho OK
(12:40):
how's that
I know it's weird with the ho ho ho ho ho yeah um
how how did that feel
it feels better for sure it's definitely chestier
definitely yeah
does it feel like this is something I can sustain
or do you feel like you're gonna get tired quickly
when you do that hmm
I might get tired you might get tired doing that OK
yeah let's try it on
(13:03):
LA LA instead of the ho OK
LA LA LA LA LA LA LA LA
that feels a lot more intense to me
like I strainy strainy yeah OK
stick out your tongue
(13:23):
ah how was that better
yeah so when you were doing the LA LA LA
do you know who Shakira is
uh huh you kind of started sounding like Shakira then
ah ah ha ha that yeah um
and that's tongue tension
tongue retraction so I was like
nope let's get the tongue out of the way
to make sure you're not getting stuck back there um
so try that one more time ha
(13:49):
ага ага ага ага
can you try it on Lee Lee Lee
cause I wanna make sure we're not getting too shouty
OK right yeah so Lee Lee Lee
this is super hard but I know you got it OK Lee Lee Lee
how's that better
that was great so what we did is we went from
(14:13):
quote unquote too mixy
right a little headier than we wanted it to be
to like oh hold on
now we're overshooting it a little bit
yeah and so we wanna keep that same chest like quality
but by changing the mouth shape we're
controlling it a little bit more so it doesn't get shouty
right so going from an open ah
to a E
(14:35):
makes it easier to control it
so whenever you feel like you're getting too shouty
too loud too powerful see
I mean obviously
you can't just drop the lyrics and start singing Li li
li li every time right
when you're performing but getting a like
making your mouth shape smaller in like
on purpose intentionally
so that it's not getting to Pink Pony Club right
(14:58):
Pink Pony Club club
that's much more control to club it's more shouty yeah
so keeping it smaller
but first we have to make it chestier
because if we're too heady
or for what we're trying to go for too heady
and then you make the mouth shape smaller
you're not gonna get more powerful right
(15:19):
first you need the the power
then the smaller mouth shape make sense
yeah okay
so with that in mind
that smaller mouth shape shape pink pony try that
OK
big Bonnie club I feel like go ahead
no no no no
(15:40):
no I wanna know what you're feeling
I was just saying I wanna try it again OK
OK try again big Bonnie club OK
your peas are really getting after like
you're really getting after them right
pink you you create a launch pad with it
and so can we almost make bees out of the peas okay
(16:01):
Bing Bonnie club
nobody's gonna know that that's what we're doing
they're just not gonna be so explosive right yeah okay
Club great
use your breath so
through the entire
Pink Pony'cause you're kind of going
Pink Pony and not really using the breath anymore okay
(16:22):
so keep it flowy okay Pink Pony Club
can you just say pink pony
pink pony
try one more time pink pony yeah
using so much more breath there
when you're going pink pony
like it's like not really coming out yeah
(16:43):
haha hmm
can you try sing Sony Club
sing love
okay that's more flowy
did you feel a difference there
I did feel a difference for sure okay
so that's the flow the breath that I was talking about
right don't hold back with your breath
sizz or fizz
like s or f helps you get the breath flow going
(17:06):
or a Z like a zebra also
but that's voiced
so now let's actually try that zing zoni club
like a Z instead of an s okay
zing love
okay not bad
how you feeling
better better on the club
can you keep that smaller
(17:27):
so instead of club club
like making all that oh
like you're almost like falling a little bit down um
like it sounds like you're pushing your tongue down
when you get to club okay
to create this space so
club
Club smile let's try that smile while you're singing it
(17:48):
alright Pink Pony Club OK
yes that
how did it feel better yeah
I could feel a difference for sure
it's more even yeah
right instead of duh
duh duh duh I'm exaggerating
it definitely wasn't that I'm exaggerating
but it it's more
it's more even that was really good
you wanna take water yeah
hahaha I just see you looking at it like super dry
(18:11):
I'm in the same boat
I've been speaking for the last 5 hours
I know exactly what you feel like
pink OK
it's in B flat yeah
that was really really
really good
so two things we wanna think about flow on Pink Pony
right it's almost like you're adding an H after the P
pink Pony OK
to get the air out yeah
and then club small with a smile club
(18:34):
so rather than club down we're thinking lift and smile
okay
one more time pink
how was that Pink Pony club yeah
let's try with the music let's see what happens
(19:04):
Hollywood okay
I'm gonna pause right there
yeah yeah
no no
you're good you're good um
so how did the pink pony clubs feel
um I don't know
I still feel like I could
get more power
more power into it you know what I mean
yeah yeah
I agree
this is a little less powerful than what you were doing
(19:26):
before um
and I truly think it's a mental thing for you for sure
it's just like oh no
not to do it with music and it's scary right
so you hold back but honestly
I'd rather especially
you know knowing that you sing a lot for a long time
like in a in one sitting essentially
I'd rather have you do too little than too much
(19:49):
yes right
cause I don't want you to blow out your voice
so yeah
I'm glad you're going in this direction rather than
and just yelling the entire thing right right
so that's a good thing now trust yourself
so can you when you're performing you're moving right
yeah so can you move however you would
I know you're not holding the mic right sorry OK
(20:09):
um but yeah
just like just with your upper body
or even like walking with your
with your legs pink pony club okay
just
that movement helps you kind of get out of your head
a little bit yeah okay okay
yeah let's try with this music
(20:38):
I'm gonna keep alright we're gonna do that again
cause otherwise you're getting too heavy
and then the jump from club to arm
you're always gonna have a bigger
difference in tone there
when you're really dropping into club yeah
so the club doesn't need to be as big
I know you know
(20:58):
it's another
it's another thing to like actually do it in context
it's much harder yeah
but I know you can do it let's try it again alright
(21:28):
we're close we're close
we're close okay
how do you feel
I actually
I don't know that transition from Pink Pony Club to
I'm gonna keep on dancing
is kind of difficult for me as well
just yes yes um
cause you're going I'm gonna keep on
(21:49):
you're scooping up which makes it a lot harder to do
yeah
okay mental note for yourself
it's just a half step higher than Pink Pony Club
it is not a lot higher right
so like just knowing that it's just a half step
(22:09):
it's just the next note up
not like Whoo way
way way higher right
to me that's usually pretty helpful just knowing oh
it's not as high as I thought it was right
so Club Club
I'm hum can you sing
I'm gonna keep on dancing on that top note um
let's try just that transition club hum
(22:33):
club hum
hum hear that
the slide yes hum hum
club
I'm home
OK so hold on uh
pink pony club I'm gonna
OK you
I want you to take a breath there OK
(23:00):
okay yes
now the H is making you a little lighter in your mix
than what we're trying to go for
I assume yeah yeah
like huh
okay um
we're gonna add the glottal attack in there
do you know what a glottal attack is
it's that uh uh
that harsh clicking sound um
um compared to hum
(23:22):
that ease is more into the note
so we're attacking the note a little bit more
quote unquote harshly just to get the power up there
okay so pink
and hear that um
uh huh
that sound uh
it's the opposite of what I would
wanna do because I'm a pusher
(23:43):
so for me it's like oh
don't do that but for you I think that could could work
so one time Pink Pony
dancing yeah
yeah but
the first one was
a lot more powerful than what you were doing before
(24:03):
talk to me about the first one yeah
what it talk about but how did it feel
um it felt better for sure
like I was projecting more
I do think your tongue is getting in your way
a little bit
we're getting a little bit of those Shakira undertones
do you hear it yes I like
yeah I'm exaggerating for sure
(24:24):
it was it felt better
in the sense that it was kind of where I wanted to be
projection wise great to be able to like
project very loudly without the strain yes
you know okay
so we're going in the right direction now
I just need to get the tongue out of the way yeah
so let's
(24:45):
let's have you do it with just sticking out your tongue
and see what happens if I need to go get some props
I'll go get some props but haha
um let's try just the um
ha ha ha ha ha ha
just on the ha ha ha ha with your tongue sticking out
focus on pushing it forward and out of your mouth OK
ha ha
(25:09):
okay how was that great
haha it felt good yeah
does does that feel sustainable ish um
yeah that feels a lot more sustainable okay
how about the intensity or you call it projection
yeah how was that
was that the tone that we're looking for
the power we're looking for or yeah
not quite I would say getting closer yet okay
(25:32):
you know a lot of times it's like
singers wanna do more than they have to hahaha
it's like you don't need to be louder than that
we get the point right
otherwise you're just working more
without actually getting a better result
but at the end of the day
I wanted to be what you wanted to be
and I really love that I thought that was
that was fantastic so tongue tension is uh
(25:52):
is something that we can recognize in your voice
which is alright it is what it is
everybody's got it like
everybody has some sort of tension
and we need to figure out where does it come from
and what can we do to release it
so um
coach Emily from our team
she calls she calls this reverse tongue tension
where you just sticking out your tongue
(26:13):
instead of letting it retract and kind of like
cramp up back here you just stick it out
so take a little bit of water
because that stuff dries you out
cause it's haha
um I do like the breath after Pink Pony club
keep on dancing
cause it gives you a little bit of a reset
(26:33):
yeah okay
um so let's try
let's do it again on the he he he he
focus on pushing that tongue forward
getting it out of the way
yeah yeah
I like that how you feeling better
(26:54):
uh huh that's good
your tongue I can watch it
like if you if you watch the recording of this
you'll be able to see
your tongue twitching a little bit
so your tongue is uncomfortable with moving forward
it wants to assist you it wants to retract
and cramp up in the back of your throat a little bit
or in back of your mouth a little bit
(27:15):
so this feels unnatural for your tongue right now yeah
but that's okay
that's how you've been singing for a while
so now we just need to start to relax into the tongue
so this is gonna be a great exercise for you
on anything that you that you sing
just first figure out
is there any sort of tongue tension in there by huh
if it gets easier when you're sticking out your tongue
then yes
(27:35):
there probably was a little bit of tongue tension
and then do it that way a couple times in a row right
like when we're learning something new
or we're relearning something in a different way
it takes repetition and it takes time right
so yes we can great we can get great results quickly
but
it's what you're then going to be practicing at home
that's actually gonna make a difference right
(27:57):
right so that you can do it again and again and again
and not here
for the sake of this podcast for five minutes
and then you can't never do it again yeah right
so that ha ha ha getting that tongue out of the way
is gonna be great for you
another thing you can do for tongue tension
is use that paper towel and you just reminded me that
we were doing that in our session
(28:17):
whenever that was a couple months ago too
so Yay tongue tension hahaha
but um
let's try holding your tongue with the paper towel
while you're singing it um
and if you want you can even add a little wiggle
let me show you what I mean huh
(28:43):
that makes it a lot easier for me to sing to that way
right just like adding the wiggle
just shakes everything loose a little bit
do you wanna try it sure let's try it alright
ah
okay okay
how how was that
(29:03):
um better
I can definitely feel what you're talking about
with the the twitching yeah
you feel it move okay so yeah
this is just gonna take a little bit of practice
a little bit of time to relax into that tongue
but now you have the tools
so now you know what you need to do
you can either just do huh
just stick the tongue out
or you can use the paper towel
you know whatever
if you're out and about
(29:24):
and you don't have a piece of paper towel close by
just stick out your tongue
reverse tongue tension right
stick it out went in out
stick it out um
okay
let's see if we can do that in the context
because we now need to add the lyrics back on this
while trying to keep the tongue out of the way
have you ever seen videos of people belting
(29:44):
and they're kind of sticking out their tongues
have you ever seen that
it happens it doesn't happen very frequently
but every so often
you come across a video and they're like
why are they sticking out their tongue
it's to create the space
and to create that reverse tongue tension
so I want you to channel your inner Adam Lambert
cause he does it
Pony Club
(30:07):
I'm kind of sticking that tongue out slightly
but I'm still doing the lyrics
just like get the tongue out of the way
okay let's try it Pink Pony
pink pony use that breath there
(30:29):
pink pony okay
uh huh um
how was that I'm gonna keep on dancing that part
um it's okay
you're getting a little open up there right
especially that um
I see a big mouth which again
like we hear vocal coaches say all the time
open your mouth open your mouth
open your mouth and yes
technically but not if we get to
(30:52):
right too pushy
so um
smaller mouth
there's a million things to think about
I know I'm sorry
it's okay hahaha
try it um
try it one more time mm hmm alright you got it
(31:13):
love
okay so that's less right
you're doing a little less up there
but if you want it my honest opinion
I think that's plenty I don't think you have to do more
you're just making your life harder okay
unless you're in the recording studio right
so if we're preparing to record the song at a studio
I would probably if I were your vocal producer
(31:34):
I would probably make you belt it more
but you then
you don't have to do it in a sustainable way
because you just do it for a couple takes
and then you're good right
but
studio singing and live singing are not the same thing
sure so what you were just doing there
in my ears sounded great like it didn't sound too weak
(31:55):
um or anything like that
how did it how did it feel
um it definitely feels better that way
um
yeah but it's also difficult when you're in a live band
um
to sing that quietly yes
(32:16):
because of sound guys and things like that
like
there's a lot of times where you're not heard
if you don't like
Project Louder even though it might not be sustainable
to do it that way yeah
so um
do you like sound guy
do you have your own sound guy or is it different
from location to location where you're playing
(32:37):
um it just depends
we do um
normally have the same sound guy okay
okay so that's a sound guy problem
not a you problem as the singer
yeah and I know it's hard
I know it's so hard
it's important that you can hear yourself well right
like cause otherwise
like if you can't hear yourself
it's really difficult to sing
(32:58):
yeah right
so I assume you have in ears when you're performing
okay yeah
so do you feel like you yourself can hear well
I always have trouble like figuring out in ears
I maybe um
need to invest in better in ears
can you adjust the mix on your specific in ears
yeah okay
(33:18):
so I maybe the next time when you have a rehearsal
or when you're performing
try adjusting the mix a little bit
so you can hear yourself better
um compared to the rest of the other instruments
uh so that you don't feel the need to push
yeah right
cause if you listen to Chapelrone sing this
(33:40):
she's not pink pop like she's not
no like that
yeah she's really not so uh
and I totally hear what you're saying
like
especially when the adrenaline of the live performance
comes as well
it's like let me sing this for you right
and it gets really loud and yep
I totally I totally get that um
(34:00):
but yeah make sure that you adjust your mix in your
in ears
so that you can hear yourself a little bit better okay
and then what's happening outside of your
in ears is not on you that's not your responsibility
I know I know it's hard
(34:20):
but you can't do it all because it's either
either you adjust
and you risk blowing out your voice night after night
or it's just not your job and it's not your
your problem then yeah
and most people I definitely needed to hear that okay
okay yeah
huh cause you wanna do a good job right
(34:42):
and you wanna be like yeah
I gave it my all and you can give it your all
but if you over extend yourself
mm hmm it's gonna get harder and harder and harder
and not easier yeah
can can we live with that if you're like
I I hear you
but I still wanna know how to make it louder
we can we can work on it no
(35:03):
I I hear you for sure um
yeah I've been thinking that as well
but I just maybe needed to hear it but yeah
that's not my job
if they can't hear me that's not my job no
it's not it really isn't it really isn't and you know
there I don't know what the reason is for the
(35:24):
the levels and all that stuff
but it really just isn't your job
and if people start complaining about it
that they can't hear you
then they're finally gonna do something about it right
yeah but it's just not your job
yeah it's hard
it's hard to accept that but that to me and you know
when you hear the recording too
like that sounded well balanced
it was not too mixy right
(35:45):
like too light you still had the strength of the chest
voice quality in there um
but it wasn't loud in the sense of like
now it's getting shouty right
because to me
there's a difference between volume and intensity
volume is just how loud is it right
is it shouty is it loud right
(36:07):
and intensity is is it chest dominant
is it head dominant is it a 50 50 mix
that's just the tone of your voice
and to me like the pink pony
those notes
were all in the same kind of mix that you were doing
so it seemed well balanced and not loud
(36:27):
loud loud after that was not the case
so because of that
because everything is more smooth and similar
in registration in your mix
it sounds powerful okay
I hope you can believe me haha
okay
haha
um can we try it with the with the music one more time
(36:50):
that pink pony
and
what do you feel like you need to remind yourself of
when you're
when you're doing this before we dig into it
um my tongue keeping my mouth like smaller yeah yeah
uh huh so it doesn't get shouty
yes yeah yeah
uh huh especially on club
(37:11):
sing Pony Club Club more smile
like more up than down right
more smile more lift than dropping
yeah uh
and um
same thing there sing everything with a smile okay
okay yeah
let's try it baby
(37:55):
I'm dancing yeah
it's getting a little headier than you were before
yeah right
but again it's
it takes a little bit of uh
of practice to do it consistently
and I can hear your dryness in your throat
do you feel it sure
I'm very dry yeah
yeah yeah yeah um
we can both drink some water so we feel a little smooth
again it doesn't touch your vocal fold
so it doesn't really affect it right now
but it can still feel soothing right
(38:16):
yeah hmm
okay the breath flow on Pink Pony Club right
Pink Pony Club yeah
and then keep the club smaller
cause if you're going bigger on club club
it's gonna be much harder to hit the high notes OK
if you're getting the club right
you can get the high note right
if you're getting the club too big
(38:38):
and too full and too open
it's gonna be harder to get the um right
sure right gotcha
let's leave this for now
let's keep moving on through the rest of the song okay
um and then West Hollywood
it's the same thing there
it's gonna be easier to sing
West Hollywood than Pink Pony Club
because you don't have those peace
(38:59):
West Hollywood it's gonna be easier to sustain the
the air through it right
so it's not big and you're kind of holding back there
so that's gonna be a little bit easier
but I wanna skip ahead to the next part
and then come back to the chorus later
(40:18):
okay I'm gonna stop you right
before you get into the hard part again um
so um
you're connecting those phrases but I
(40:40):
and by the time you get to that last note
you're kind of running out of breath um
do you have to connect those two phrases
no you don't have to do that OK
(41:02):
and yeah I think it's better I would break them
I would probably take a breath after Mama
oh
for a live setting again not for a studio recording
but for a live setting can we try that pre chorus there
sure um
and see if that makes sense
(41:22):
it might not make sense but let's figure it out
I belong okay
how does that feel the with the breath
(41:44):
yeah I think I like that better
I feel like I had more power on the I'm yes
yeah and I promise you when she sings that live
she takes that breath I don't know that for
for a fact don't fact check me
but I am pretty sure yeah
that she would be taking a breath there
especially when you're also moving around right right
cause then who
you're getting out of breath more quickly
(42:05):
so yeah take a breath there
even if she's not doing it on the recording
she's most likely doing it in a live setting
sure OK
OK so you're allowed to do that too
yeah I wanna look at the word girl'cause girl
it's the tongue right
so can you sing more GA
girl yeah
do you feel your tongue going back
(42:25):
uh huh
girl girl
uh huh we're just again
on purpose going in the opposite direction
uh huh girl okay
not girl gotcha
uh huh okay girl
(42:58):
yes oh
that was so good how did that feel better
that was that was perfect
that was so good oh
let's try that one more time that
great can you give me 10% less volume on the word girl
(43:22):
yeah let's try one more time
yes how did that feel better
that sounded so good it's just smoother
yeah right
more even
more even exactly exactly
(43:44):
a lot of times as singers were like
what can I do to make it more powerful
when actually the question should be
what can I do to make everything smoother
which means 50% of that equation is not just doing more
but actually also doing less
yeah right
so we're going from here and here to here and here
so it's more in an even plain field right
(44:06):
so doing less in the low notes
more in the high notes not just more in the high notes
usually is what it translates to right
cause usually the high notes are the ones that we wanna
had more power to right
but that was phenomenal killed it
let's do that again and then we're gonna keep going
(45:03):
okay right
don't make me do that yes
don't make the I mean
this was an exaggerated version right
every time I demonstrate something
I try and exaggerate it I understand
yeah okay um
not that that's what you sound like
but uh again
try and keep it more even right
even if you are like oh god damn it
those high notes were a little um
(45:23):
head dominant
like a little more head dominant than I wanted it to be
stay there because otherwise
it's just gonna get more and more
and more
and more difficult as you keep going in the song
I see okay right
so don't try and overcorrect once you're already in it
yeah just stay there
nobody's gonna be mad at you okay
so um I'm gonna
(45:47):
dancing at the cause then it's like
now we're like oh
she didn't get those high notes
the way she wanted it to I see okay
yeah because
and if you don't do that the
at on the bottom notes nobody's gonna know
yeah right
so stay there um
again you
we wanted to go for a little bit more power
on those top notes but if it comes out this way
(46:09):
comes out this way and then stay there
yeah okay
yeah okay
let's try that again
(46:44):
yes sorry
how was that
that felt good OK
with a question Mark it
you don't seem fully hahaha
it did I mean it yeah
felt OK yeah
felt OK um
much closer this time with the
ta da ta
it's that note right there ta da
(47:07):
and down down the
it's on at and down yeah
on those two words
so you're allowed to do 5% less on those okay
right just even it out a little bit yeah
yeah um
but that was that was way more even than before
so yeah
very good very good
let's do you have any questions about this
anything you else you wanna look at in the chorus
(47:28):
I don't think so no
um your verses
by the way stunning
oh my God your
your vibrato that comes through in the verses is
beautiful thank you
stunning thanks
do you have any questions about either of the verses
you feeling good about those
okay um
about a bridge I don't know
is there a bridge in the song
(47:49):
um kind of there's
it's the same as the verse
I believe it's the same
I don't think I left you all behind
yeah I think it's the same
okay well let's keep going with it
yeah salmon I love you
yeah like that drink
(48:48):
great okay
just for the sake of contrast
what if you did that last God here
because like there's barely any accompaniment too right
yeah like the
music is there's not a lot happening
what if you did that God
(49:12):
and almost like a little bit of a breathy
airy kind of voice okay
cause we just heard you do it more powerfully
twice already yeah
right in the first pre chorus and the second pre chorus
yeah so we already know you can do it
mm hmm so can you give us something else
yeah I can try
yeah let's try God
is it God or I'm just having fun
(49:33):
which one is it God
yeah yeah
alright do you want me to do it acapella
acapella real quick yeah God
(49:54):
up alone yeah
and then it builds again like yeah
got back into the chorus yeah so God
and we could also do that right
so the god
what those two notes yeah
are more connected and then a what high
(50:15):
have you done just the last half of the phrase breathy
let's try that okay
and great yes
one more time yeah
um can you do the God one
yes it's connected
aka not breathy
but can you do it a little quieter
(50:36):
so it's like just a little softer
yeah God
OK
God
that wasn't necessarily breathy
but I liked it okay
how do you feel um
I feel like I could try again
okay try again
(50:59):
done I don't know how to
how do you do that hi
great question uh
can you give me a sigh huh
huh
there you go that's it
done done
okay just say done done
perfect that's exactly what you need to do done done
sign more into it done
(51:21):
it's so hard oh my gosh
done
done
that's it one more time
done hold on done
yeah it's basically you're just adding an H after the d
yeah done right
done
one more time I see done
so I can't
(51:43):
so a lot of times when we sing breathy
we're like oh
it's gonna get quieter so I need to pull back
yeah um
and then there's less breath flow coming through
when in fact when we wanna sing breathy
we need more breath
because that if in order to sing breathy
we need more breath right like
how else are you gonna sound breathy
when there's no breath so turn turn
(52:06):
yeah it's just
you need to get all the air that you've got left
in your tank out
yeah
okay and it's just sighing
you're basically just sighing
you nailed it a couple times
so I know you can do it I'm like
I don't know how I did that haha
you sighed you weren't thinking about it
yeah and as soon as you started thinking about it
it was like and now it's just quiet done
(52:26):
which is also beautiful it's just different
yeah right
and at the end of the day
I just want you to have the option to do
whatever it is that you wanna do right
so done
done yes
done cause it doesn't need to be crazy breathy right
it doesn't need to be done
that's a lot right
just done
(52:46):
that's also still a lot of breath
but I'm practicing it that way
so that I know what it feels like
to get all the breath out
and then at the end of the day
if it turns into something like done
that's still breathy but it's not insanely breathy yeah
but that's a more controlled version of breathy singing
right so God
done
(53:07):
or even just on the word done God
and that also works so you can play around with it
where do you wanna add the breathiness
do you wanna even add it at all right
or do you just wanna do it more quietly
but again I want you to have the option to do it
so we need to practice singing breathy
so that you could do it if you wanted to do it sure
(53:27):
yeah
and that might be maybe a little bit
something more for the studio
if you were to record that song in the studio
because it's gonna translate a lot more in the studio
um than in a live setting
but if the band's really like calm and you know
there's not a lot happening and it's not loud
feel free to explore that softer yeah
(53:49):
part so that you can build a bigger dynamic range
try one more time that God
what have you done God
God
done
yes I kind of like that
you started getting breathy on the ending of the word
done that was nice
done
done
right versus done
yeah it was just breathy towards the end of the note
(54:10):
and I like that that was nice
okay how did you feel about it
I thought it sounded cool
yeah I did
yes I did
yes I did
let's try it again let's try that again that's softer
(55:00):
yes exactly right
cause there you have to start building
yeah after that second
or whatever right
the lyrics are yeah
how how did that feel
good I ran out of breath at the end there
but it's okay you know
yes you did
but it's was really kind of cool
because it kind of gave you that broken quality
(55:23):
yeah right
and like it's just interesting to listen to
because it's something we haven't heard you do yet
up until this point right
I'm not saying that
you should always plan on running out of breath
please don't do that uh
but it's not always such a bad thing
yeah I see
that was cool I liked it
alright let's do that last chorus
(55:43):
um
again keep it even
that's what we want to focus on
if the high notes come out a little bit more powerful
awesome if they are a little bit more head dominant
um than what we were practicing
at the beginning of the session
keep it there right
just whatever you need to do to keep it
even throughout the course okay
yeah let's try it just to practice that live setting
(56:06):
right um yeah
(56:41):
and then it's just I'm gonna keep on dancing yeah
couple like adlibs there
yeah okay okay
um how's that good
yeah talk to me good
yeah what were you gonna say
no I wasn't
I was just gonna talk about the ending of the ending
okay yes
so there is a chaperone does this like really cool
(57:02):
like a yodel almost you know okay
does that um
at the end is the I'm gonna keep on
that yeah
OK those are cries
yeah I'm gonna keep on
(57:29):
and yeah something like that
yeah right
is that what you're talking about
mm hmm yeah yeah
so okay
to do those those are vocal cries
and basically
what's happening is your vocal folds are cracking
mm hmm um
and I love it as a stylistic tool
and the easiest way to do it is by adding those ages
(57:50):
right now I'm gonna give a dance
like everywhere you wanna do a crack
just add an H in there yeah
and it's just a hahaha
yeah that sounded really good
by the way oh
(58:10):
thank you I'm Swiss
I need to know how to yodel
so you know yodel
uh anyways
try that uh dancing
ha ha ha ha
it sounds ridiculous when you're doing it that way
but okay adding those H's alright
do you want me to belt it like that
yes girl
(58:31):
give me the belt give me the belt alright
alright
I'm
and you're doing it you're doing the
that part sound crazy though no okay
no I it
it I hear how you're like
oh that's so weird
(58:51):
yeah it
because you're literally cracking
and that's the one thing that we always want to avoid
when we're performing but in this case here
that's actually what we're trying to do yeah
so can you try the same thing
like 5% less volume okay
um
it's not bad dancing yeah
(59:13):
I'm gonna give that that
oh
mm hmm dancer
dad
can you do it one more time
I wanna look at your mouth
yes OK I'm gonna
okay
(59:33):
on the first day
cause it's the same dancing
it's the same vowel right
yeah the first one you're nailing
and then when you get to the second one
when you're holding the note
you go yeah
wide so dancing
same spot okay
don't move it just keep it yeah
(59:59):
yeah yeah
can you take your fingers and push them right there
yeah one more time
yeah I'm a
the problem I had
I'm having with that is when I'm doing the h
like trying to do that flip yeah
um I have like a harder time doing that on that
(01:00:23):
because of the this yeah
okay no
like keeping it like dancing
okay I don't know how to explain it no
no I'm following
I'm following um
okay okay okay okay okay
uh can you try it one more time
because we need to get your tongue out of the way first
yeah
(01:00:46):
just stick your tongue out slightly on that dancing
that was a little better your tongue was like Wiggly
Wiggly Wiggly Wiggly
really wanted to like not do that yeah
but I do think that that's gonna be the solution to
to this um
(01:01:06):
is first getting the dancer
like sustaining that sin
um of dancing
sustaining that because the
that part is actually way easier for you than you think
it is yeah
it's the dancing
(01:01:28):
it's that notes
and you just need to get your tongue out of the way
for that one yeah
okay and you don't need to be loud on it
right yeah
try one more time dance
I'm gonna keep
hold on sorry I'm gonna
(01:01:49):
yes now I need 5% more haha
cause otherwise those haha are gonna be hard to do
yeah alright I'm gonna
and it still feels like I'm straining yeah
it's your tongue it's like weird OK
I don't know
how do your shake your head while you're doing it
(01:02:10):
I'm gonna keep on dancing
and you just shake your head side to side OK I'm gonna
and don't stop shaking when you get to the note
but yes yes
try one more time that was pretty good
I'm gonna keep on
yes it's still just your tongue
(01:02:31):
though yeah
so yeah to really nail that there
without feeling like you're working or restraining it
is your tongue so when you're doing this
when you're shaking your head
that's releasing your neck muscles
which are not that much of an issue for you
so I was hoping that maybe if we shake the neck loose
that your tongue will start to cooperate as well
but it's just really is ah ah all over
(01:02:52):
it's just kind of stuck there
dancer ah compared to dancer
like I can move my tongue in and out
and it doesn't change the tone okay
that's kind of what we're shooting for
but that's gonna take a little bit of practice yeah
but the yodels what you call them
(01:03:14):
I call them vocal cries yeah
you got those those are easy
yeah right yeah
if you just add those hahaha
those HS mm hmm
is that making sense oh
for sure yeah
I don't wanna push your voice anymore
we've been doing a lot of loud belting kind of stuff
and I don't wanna
when's your next gig
um we have a wedding this weekend
(01:03:35):
okay at
I forget where it is but it's a wedding
it's a wedding somewhere beautiful probably
I don't think it's
I think it might be Indiana roof this weekend
I don't even know where that is
but I only know where I got married and that's about it
have you ever played the Regions Tower
I don't I think so
(01:03:58):
maybe it's downtown it's the glass building downtown
it's on the fifth floor they have like a terrace
no like where the art museum is downtown
it's in that big glass
no no
no no no
no museum sorry
the the State Museum
they have glass there too
The State Museum does
but I'm talking like smack dab downtown
(01:04:20):
you know like where Mass Ave starts right there
it's a glass building it says regions on top
cause it's a bank oh okay
that's and they have
I was thinking of yeah
they have an event place on the fifth floor
and the outside terrace
uh it's beautiful
it's where I got married oh yeah nice
I wanted a barn wedding but grant was like
(01:04:40):
I wanna be downtown I'm like
alright downtown it is hahaha
but it was beautiful it was great
we were outside on the terrace all night
it was so nice nice
I got this long time ago I love wedding
7 years ago oh yeah
I do too somebody invite me to a wedding
I wanna go hahaha
um do you have any questions
(01:05:01):
about any of the stuff that we talked about
I don't think so that was really helpful
yeah gotta work on my
the tongue tongue
I think the tongue is the biggest thing for you
um and then when you're doing those P's right
pink pony that you're not stopping your breath right
pink pony that's an exaggeration
of course but yeah
(01:05:22):
pretend like there's an H after the P okay
pink pony getting that breath out okay
and your tongue that's the biggest thing
getting the tongue out of the way
reverse tongue tension thank you
coach Emily Hahaha
creating reverse tongue tension
sticking it out right
or the paper towel wherever that is
paper towel right
um um
and the word girl right
(01:05:44):
um whatever the note is on that
but girl girl and not girl
mm hmm that's gonna make that a little easier
and just overall focusing on keeping it even
even if you're getting those top notes a little softer
a little bit more head
dominant than you wanted them to be yeah
keep it even and then nobody's gonna notice right
(01:06:04):
if you then come back down into more of a chest
like quality then people are going to notice that
that wasn't as powerful as it could have been yeah
but
if you don't show us that you can do the lower notes
in more with more power
then nobody's gonna know that
you could have done that on the higher notes too right
yeah yeah
and mentally
it's not your responsibility what people out there hear
(01:06:25):
that's the sound guy's responsibility yeah
you don't need to be louder
was it really great like a couple of those
I'm gonna keep on dancing on the
like you really nailed a couple of those today
so I know your voice can do
it now it's just a matter of practice
yeah getting the tongue out of the way
yeah any questions
I don't think so yeah
yeah thank you so much
(01:06:49):
hey
you're a beautiful person inside and out
your voice is amazing and stunning
you obviously know what you're doing
give yourself
permission to not work harder than you have to
and um you're gonna do great
thank you I wanna come to one of your gigs
oh my God you should
yes when it's like an open one
not like a closed wedding
like uninvited wedding guest
(01:07:09):
whoopsie crashing a wedding
whoop LA um
but that's awesome thank you so much
hopefully
we'll get to have you come back one of these days
yeah do another session
yeah thank you
that was so helpful I appreciate it anytime anytime
thank you and thanks everybody for listening
uh can they maybe follow you on social media
yeah yeah
(01:07:30):
my social media is Ali Road 1975
oh cute
I'll be sure to link to that as well
so they can find you
do you ever post any sort of singing stuff on there
I do sometimes um okay
yeah okay
then we I'm gonna go stalk you now there hahaha
I gotta stalk you I love it
(01:07:50):
I love it thank you so much
thanks everybody for tuning in
and we'll catch you next time alright bye bye
at the club great
can you give me 10% less volume on the word girl yeah
yes how did I feel better
that sounded so good it's just smoother
(00:30):
yeah right
more even
more even exactly exactly
a lot of times as singers were like
what can I do to make it more powerful
when actually the question should be
what can I do to make everything smoother
which means 50% of that equation is not just doing more
but actually also doing less
(00:57):
hey Vox star and welcome to from singer to artist
I'm Lara Chapman award winning singer and songwriter
turned viral vocal coach and the host of this show
at VoxTape Studios
we help singers from all over the world
level up their voices
by teaching them the three fundamental skills
all singers need technique
awareness and artistry whether you're looking to go pro
(01:18):
or just develop your voice for fun
my team and I are here to help
check the link in the description
to book your first session
or grab some of our other resources
Alrighty are you ready
let's get started it is Friday
which means it is time for some more singing
in the studio today I have with me
welcome Ali Peck
thank you so much for being here
(01:39):
and for sharing your beautiful voice with us
I've had the pleasure to sing with you
oh my gosh hold on
like one lesson we had together
this was a couple months ago
I don't even know was
is it already a year or maybe it was last year
sometime last year but it's been a minute anyways
you blew me away then so
(02:01):
I'm so
excited to now have you here in the studio with me
so how we got connected is through Leonard
he I met him back when I was doing business with him
and you are in and living proof yes
his band or in the band together with him
so you guys perform a ton of like corporate events
weddings oh yeah
(02:22):
things like that
so you're used to performing and singing a lot
so tell us a little bit more about your whole music
journey
so I started singing for as long as I can remember
um in church and I was in theater
show choir um
church choir stuff like that
and then about three years ago
I moved to Indianapolis and joined Living Proof
(02:45):
okay so yeah
that was already three years ago when you joined yeah
oh my God that is so funny
as soon as I moved here joined the band
did you replace somebody else who left in the band
yes cause Leonard and I
we were literally just sitting here
and we just recorded an episode together as well
and he's like
I was trying to get you to join the band and I
and I just didn't have the capacity
(03:06):
so you got to join instead
that's so perfect he was telling me about that
I was like that is so funny yes
oh my God I
I love that I love that for you
I that could not do what you guys do
because it's a schedule like it's a lot
it is yeah
how's your voice keeping up with that
because you know
there's a lot of singing um
(03:26):
that's a good question sometimes okay
it depends like
especially in the summertime when we're a lot busier
I notice that my voice is strained and I get sick a lot
okay during that time
yeah'cause just you know
working so much and so most of the time I try to
(03:47):
you know drink a lot of water
honey stuff like that to keep my voice okay
but yeah and um
if I remember correctly there's like three lead singers
right yes
and a couple other people who also do some singing
like the drummer and and so forth
Leonard just told me um
how much singing do you do
(04:08):
you do like at in one night
like for one gig how much singing are you doing
um so it's pretty even
we like rotate so like Leonard will sing a song
then west then me okay
so it's pretty it's pretty even three hours of singing
so okay
okay and I'm also
backing everyone up on almost every single song
(04:31):
so there you go
so it's not like you get a break for two songs and then
you come back and do your thing
yeah you're maybe not doing the lead vocals
but you're still doing the harmonies or whatever right
yeah so you're still singing a ton
yes do you ever feel like uh
when you're harmonizing or like singing backup vocals
that you do get a little bit of a break
compared to when you're singing lead
or are you treating it the same
(04:53):
um I would
if I would say it's more of a break
mm hmm for sure
yeah cause you're just in the background
you know yeah
and I I think that's a good thing
first of all you know
you don't want to sing like
full out three hours straight
I mean yeah
you can people have done it and I've done it too
like it's possible
without hurting your voice or anything like that
(05:13):
but if you can give yourself breaks
give yourself the break right
you don't have to and when you're singing backup vocals
you do wanna be the backup vocalist and like
sing it with that in mind and not like
I'm the lead singer hear me sing right
so I love that you're already doing that
yeah yay
(05:34):
amazing
so today we're gonna be doing Pink Pony Club Chapel
Rowan yeah
shall we do it let's dig in
um I would say if it's okay with you
first verse pre chorus chorus
and then stop there for now and like talk about it
see what's happening sure
yeah and then move through the rest of the song too
yeah yeah let's do it
(07:15):
all right you better sing it girl
how do you feel
I should have drank water before singing that
but take a sip of water now
you know it's um
we've been filming down here for four hours already
there's a lot of lights it's very warm down here
and because it's warm it's dry
so you know
it's like oh my God
oh my God oh my God
but when you're performing
(07:35):
it's like well
you don't know what situation
you're gonna be running into
or like walking into rather
so for sure it's like well
we gotta do with what we get hahaha yeah
but and also with hydration too
it takes a good 24 hours
for your body to actually absorb the water
cause everything you drink
none of that touches your vocal folds
it goes down your food pipe yeah
(07:56):
not your windpipe and if it does
you're coughing all over the place and you die
worst case scenario don't do that um
but right
so it takes a while for your body to absorb that water
so when you have a gig on Friday
make sure you drink plenty of water on Thursday
because it takes that much time
oh interesting
I didn't know that yeah
I feel like I struggle like with having dry vocal cords
(08:19):
and then I'll drink a bunch of water before a show
and I'm like it didn't help
so now you know why
because it doesn't actually touch your vocal folds yeah
neither does the honey or the tea
or anything that you swallow
nothing touches your vocal folds
it's just you overall need to be hydrated
your body needs to be hydrated yeah
and then your vocal folds feel that
what you can do if you're struggling with dryness is um
(08:43):
either use a steamer like a uh
sinus inhaler steamer kind of thing
that way you're literally inhaling hot steam
so those are little tiny water droplets
and those do go directly on your vocal folds
and hydrate your vocal folds
because you're breathing that in
rather than swallowing it right
(09:03):
or a nebulizer
a nebulizer is just smaller droplets so your um
your body your voice can absorb it more quickly
um
but nebulizers are a lot more expensive than steamers
hahaha and with a steamer
do it in the morning if you have
if you have a gig at night cause uh
and then not
don't use your voice after steaming for like 15 minutes
(09:23):
OK like let it rest
let your voice absorb the water um
the moisture essentially and then a couple hours later
start using your voice and warm up
you don't really want to steam
15 minutes before your gig'cause
then you're gonna vibrate the water
right off your vocal folds again wow
okay yeah
with a steamer it's different steamer
you can do right before a gig
(09:44):
because the water droplets are smaller
and they get absorbed much more quickly
gotcha and it's not technically water
it's saline solution but anyways
that's already a detail um
but yeah that's what you can do for dryness um
but talk to me besides feeling dry
how did this feel
so something that I still struggle with
I think is high notes because like I said before
(10:09):
I was in choir and show choir and I was always an Alto
okay so in my head
I've always like been an Alto
and those higher notes are harder for me to like
project or I feel like I'm projecting too much
and then I'm just yelling
so yeah finding that in between
yes is hard yeah
(10:30):
especially
I assume you're talking about the Pink Pony Club
yes I'm gonna
I'm dancing yeah
um so you have the hard p right
pink pony club
and if we're really leaning into those consonants
it can very quickly start feeling yelly
because it's like
all of that pressure gets released really quickly
(10:51):
um and what you did this time was much more mixy right
like a pink
dancing that's a little chestier right
yeah but again
then we need to make sure that you're not yelling
(11:13):
so um
I wanna see if we can access
just a little bit more power up there
without going overboard
can you give me your best Santa Claus impression
Ho ho ho ho ho ho alright yeah
one more time Ho ho ho great
so do you feel space in the back of your mouth at all
when you're doing that
um
maybe try it again and focus on creating that space
(11:37):
like ho ho ho
ho ho ho yeah
there you go yeah
right did you feel or hear a difference at all
for sure yeah yeah
so just a little bit more space back there
depending on the singer
sometimes we need to bring it more forward
sometimes we need to create more space in the back
so I wanna
try going the route of creating more space in the back
first OK
(11:57):
so uh
let's try the
the the melody on Ho Ho ho this is gonna be weird
but Ho ho ho ho ho ho ho it does not sound pretty
but again it's about the space that we're creating OK
OK try that yeah
ho
(12:19):
Ho ho OK how's that feeling better
it's a it's definitely a little
a little bit more powerful
a little mixier yeah
I feel like I more we can get like 5% more chesty OK
yeah try yeah OK
ho ho ho ho ho ho ho ho ho ho ho OK
(12:40):
how's that
I know it's weird with the ho ho ho ho ho yeah um
how how did that feel
it feels better for sure it's definitely chestier
definitely yeah
does it feel like this is something I can sustain
or do you feel like you're gonna get tired quickly
when you do that hmm
I might get tired you might get tired doing that OK
yeah let's try it on
(13:03):
LA LA instead of the ho OK
LA LA LA LA LA LA LA LA
that feels a lot more intense to me
like I strainy strainy yeah OK
stick out your tongue
(13:23):
ah how was that better
yeah so when you were doing the LA LA LA
do you know who Shakira is
uh huh you kind of started sounding like Shakira then
ah ah ha ha that yeah um
and that's tongue tension
tongue retraction so I was like
nope let's get the tongue out of the way
to make sure you're not getting stuck back there um
so try that one more time ha
(13:49):
ага ага ага ага
can you try it on Lee Lee Lee
cause I wanna make sure we're not getting too shouty
OK right yeah so Lee Lee Lee
this is super hard but I know you got it OK Lee Lee Lee
how's that better
that was great so what we did is we went from
(14:13):
quote unquote too mixy
right a little headier than we wanted it to be
to like oh hold on
now we're overshooting it a little bit
yeah and so we wanna keep that same chest like quality
but by changing the mouth shape we're
controlling it a little bit more so it doesn't get shouty
right so going from an open ah
to a E
(14:35):
makes it easier to control it
so whenever you feel like you're getting too shouty
too loud too powerful see
I mean obviously
you can't just drop the lyrics and start singing Li li
li li every time right
when you're performing but getting a like
making your mouth shape smaller in like
on purpose intentionally
so that it's not getting to Pink Pony Club right
(14:58):
Pink Pony Club club
that's much more control to club it's more shouty yeah
so keeping it smaller
but first we have to make it chestier
because if we're too heady
or for what we're trying to go for too heady
and then you make the mouth shape smaller
you're not gonna get more powerful right
(15:19):
first you need the the power
then the smaller mouth shape make sense
yeah okay
so with that in mind
that smaller mouth shape shape pink pony try that
OK
big Bonnie club I feel like go ahead
no no no no
(15:40):
no I wanna know what you're feeling
I was just saying I wanna try it again OK
OK try again big Bonnie club OK
your peas are really getting after like
you're really getting after them right
pink you you create a launch pad with it
and so can we almost make bees out of the peas okay
(16:01):
Bing Bonnie club
nobody's gonna know that that's what we're doing
they're just not gonna be so explosive right yeah okay
Club great
use your breath so
through the entire
Pink Pony'cause you're kind of going
Pink Pony and not really using the breath anymore okay
(16:22):
so keep it flowy okay Pink Pony Club
can you just say pink pony
pink pony
try one more time pink pony yeah
using so much more breath there
when you're going pink pony
like it's like not really coming out yeah
(16:43):
haha hmm
can you try sing Sony Club
sing love
okay that's more flowy
did you feel a difference there
I did feel a difference for sure okay
so that's the flow the breath that I was talking about
right don't hold back with your breath
sizz or fizz
like s or f helps you get the breath flow going
(17:06):
or a Z like a zebra also
but that's voiced
so now let's actually try that zing zoni club
like a Z instead of an s okay
zing love
okay not bad
how you feeling
better better on the club
can you keep that smaller
(17:27):
so instead of club club
like making all that oh
like you're almost like falling a little bit down um
like it sounds like you're pushing your tongue down
when you get to club okay
to create this space so
club
Club smile let's try that smile while you're singing it
(17:48):
alright Pink Pony Club OK
yes that
how did it feel better yeah
I could feel a difference for sure
it's more even yeah
right instead of duh
duh duh duh I'm exaggerating
it definitely wasn't that I'm exaggerating
but it it's more
it's more even that was really good
you wanna take water yeah
hahaha I just see you looking at it like super dry
(18:11):
I'm in the same boat
I've been speaking for the last 5 hours
I know exactly what you feel like
pink OK
it's in B flat yeah
that was really really
really good
so two things we wanna think about flow on Pink Pony
right it's almost like you're adding an H after the P
pink Pony OK
to get the air out yeah
and then club small with a smile club
(18:34):
so rather than club down we're thinking lift and smile
okay
one more time pink
how was that Pink Pony club yeah
let's try with the music let's see what happens
(19:04):
Hollywood okay
I'm gonna pause right there
yeah yeah
no no
you're good you're good um
so how did the pink pony clubs feel
um I don't know
I still feel like I could
get more power
more power into it you know what I mean
yeah yeah
I agree
this is a little less powerful than what you were doing
(19:26):
before um
and I truly think it's a mental thing for you for sure
it's just like oh no
not to do it with music and it's scary right
so you hold back but honestly
I'd rather especially
you know knowing that you sing a lot for a long time
like in a in one sitting essentially
I'd rather have you do too little than too much
(19:49):
yes right
cause I don't want you to blow out your voice
so yeah
I'm glad you're going in this direction rather than
and just yelling the entire thing right right
so that's a good thing now trust yourself
so can you when you're performing you're moving right
yeah so can you move however you would
I know you're not holding the mic right sorry OK
(20:09):
um but yeah
just like just with your upper body
or even like walking with your
with your legs pink pony club okay
just
that movement helps you kind of get out of your head
a little bit yeah okay okay
yeah let's try with this music
(20:38):
I'm gonna keep alright we're gonna do that again
cause otherwise you're getting too heavy
and then the jump from club to arm
you're always gonna have a bigger
difference in tone there
when you're really dropping into club yeah
so the club doesn't need to be as big
I know you know
(20:58):
it's another
it's another thing to like actually do it in context
it's much harder yeah
but I know you can do it let's try it again alright
(21:28):
we're close we're close
we're close okay
how do you feel
I actually
I don't know that transition from Pink Pony Club to
I'm gonna keep on dancing
is kind of difficult for me as well
just yes yes um
cause you're going I'm gonna keep on
(21:49):
you're scooping up which makes it a lot harder to do
yeah
okay mental note for yourself
it's just a half step higher than Pink Pony Club
it is not a lot higher right
so like just knowing that it's just a half step
(22:09):
it's just the next note up
not like Whoo way
way way higher right
to me that's usually pretty helpful just knowing oh
it's not as high as I thought it was right
so Club Club
I'm hum can you sing
I'm gonna keep on dancing on that top note um
let's try just that transition club hum
(22:33):
club hum
hum hear that
the slide yes hum hum
club
I'm home
OK so hold on uh
pink pony club I'm gonna
OK you
I want you to take a breath there OK
(23:00):
okay yes
now the H is making you a little lighter in your mix
than what we're trying to go for
I assume yeah yeah
like huh
okay um
we're gonna add the glottal attack in there
do you know what a glottal attack is
it's that uh uh
that harsh clicking sound um
um compared to hum
(23:22):
that ease is more into the note
so we're attacking the note a little bit more
quote unquote harshly just to get the power up there
okay so pink
and hear that um
uh huh
that sound uh
it's the opposite of what I would
wanna do because I'm a pusher
(23:43):
so for me it's like oh
don't do that but for you I think that could could work
so one time Pink Pony
dancing yeah
yeah but
the first one was
a lot more powerful than what you were doing before
(24:03):
talk to me about the first one yeah
what it talk about but how did it feel
um it felt better for sure
like I was projecting more
I do think your tongue is getting in your way
a little bit
we're getting a little bit of those Shakira undertones
do you hear it yes I like
yeah I'm exaggerating for sure
(24:24):
it was it felt better
in the sense that it was kind of where I wanted to be
projection wise great to be able to like
project very loudly without the strain yes
you know okay
so we're going in the right direction now
I just need to get the tongue out of the way yeah
so let's
(24:45):
let's have you do it with just sticking out your tongue
and see what happens if I need to go get some props
I'll go get some props but haha
um let's try just the um
ha ha ha ha ha ha
just on the ha ha ha ha with your tongue sticking out
focus on pushing it forward and out of your mouth OK
ha ha
(25:09):
okay how was that great
haha it felt good yeah
does does that feel sustainable ish um
yeah that feels a lot more sustainable okay
how about the intensity or you call it projection
yeah how was that
was that the tone that we're looking for
the power we're looking for or yeah
not quite I would say getting closer yet okay
(25:32):
you know a lot of times it's like
singers wanna do more than they have to hahaha
it's like you don't need to be louder than that
we get the point right
otherwise you're just working more
without actually getting a better result
but at the end of the day
I wanted to be what you wanted to be
and I really love that I thought that was
that was fantastic so tongue tension is uh
(25:52):
is something that we can recognize in your voice
which is alright it is what it is
everybody's got it like
everybody has some sort of tension
and we need to figure out where does it come from
and what can we do to release it
so um
coach Emily from our team
she calls she calls this reverse tongue tension
where you just sticking out your tongue
(26:13):
instead of letting it retract and kind of like
cramp up back here you just stick it out
so take a little bit of water
because that stuff dries you out
cause it's haha
um I do like the breath after Pink Pony club
keep on dancing
cause it gives you a little bit of a reset
(26:33):
yeah okay
um so let's try
let's do it again on the he he he he
focus on pushing that tongue forward
getting it out of the way
yeah yeah
I like that how you feeling better
(26:54):
uh huh that's good
your tongue I can watch it
like if you if you watch the recording of this
you'll be able to see
your tongue twitching a little bit
so your tongue is uncomfortable with moving forward
it wants to assist you it wants to retract
and cramp up in the back of your throat a little bit
or in back of your mouth a little bit
(27:15):
so this feels unnatural for your tongue right now yeah
but that's okay
that's how you've been singing for a while
so now we just need to start to relax into the tongue
so this is gonna be a great exercise for you
on anything that you that you sing
just first figure out
is there any sort of tongue tension in there by huh
if it gets easier when you're sticking out your tongue
then yes
(27:35):
there probably was a little bit of tongue tension
and then do it that way a couple times in a row right
like when we're learning something new
or we're relearning something in a different way
it takes repetition and it takes time right
so yes we can great we can get great results quickly
but
it's what you're then going to be practicing at home
that's actually gonna make a difference right
(27:57):
right so that you can do it again and again and again
and not here
for the sake of this podcast for five minutes
and then you can't never do it again yeah right
so that ha ha ha getting that tongue out of the way
is gonna be great for you
another thing you can do for tongue tension
is use that paper towel and you just reminded me that
we were doing that in our session
(28:17):
whenever that was a couple months ago too
so Yay tongue tension hahaha
but um
let's try holding your tongue with the paper towel
while you're singing it um
and if you want you can even add a little wiggle
let me show you what I mean huh
(28:43):
that makes it a lot easier for me to sing to that way
right just like adding the wiggle
just shakes everything loose a little bit
do you wanna try it sure let's try it alright
ah
okay okay
how how was that
(29:03):
um better
I can definitely feel what you're talking about
with the the twitching yeah
you feel it move okay so yeah
this is just gonna take a little bit of practice
a little bit of time to relax into that tongue
but now you have the tools
so now you know what you need to do
you can either just do huh
just stick the tongue out
or you can use the paper towel
you know whatever
if you're out and about
(29:24):
and you don't have a piece of paper towel close by
just stick out your tongue
reverse tongue tension right
stick it out went in out
stick it out um
okay
let's see if we can do that in the context
because we now need to add the lyrics back on this
while trying to keep the tongue out of the way
have you ever seen videos of people belting
(29:44):
and they're kind of sticking out their tongues
have you ever seen that
it happens it doesn't happen very frequently
but every so often
you come across a video and they're like
why are they sticking out their tongue
it's to create the space
and to create that reverse tongue tension
so I want you to channel your inner Adam Lambert
cause he does it
Pony Club
(30:07):
I'm kind of sticking that tongue out slightly
but I'm still doing the lyrics
just like get the tongue out of the way
okay let's try it Pink Pony
pink pony use that breath there
(30:29):
pink pony okay
uh huh um
how was that I'm gonna keep on dancing that part
um it's okay
you're getting a little open up there right
especially that um
I see a big mouth which again
like we hear vocal coaches say all the time
open your mouth open your mouth
open your mouth and yes
technically but not if we get to
(30:52):
right too pushy
so um
smaller mouth
there's a million things to think about
I know I'm sorry
it's okay hahaha
try it um
try it one more time mm hmm alright you got it
(31:13):
love
okay so that's less right
you're doing a little less up there
but if you want it my honest opinion
I think that's plenty I don't think you have to do more
you're just making your life harder okay
unless you're in the recording studio right
so if we're preparing to record the song at a studio
I would probably if I were your vocal producer
(31:34):
I would probably make you belt it more
but you then
you don't have to do it in a sustainable way
because you just do it for a couple takes
and then you're good right
but
studio singing and live singing are not the same thing
sure so what you were just doing there
in my ears sounded great like it didn't sound too weak
(31:55):
um or anything like that
how did it how did it feel
um it definitely feels better that way
um
yeah but it's also difficult when you're in a live band
um
to sing that quietly yes
(32:16):
because of sound guys and things like that
like
there's a lot of times where you're not heard
if you don't like
Project Louder even though it might not be sustainable
to do it that way yeah
so um
do you like sound guy
do you have your own sound guy or is it different
from location to location where you're playing
(32:37):
um it just depends
we do um
normally have the same sound guy okay
okay so that's a sound guy problem
not a you problem as the singer
yeah and I know it's hard
I know it's so hard
it's important that you can hear yourself well right
like cause otherwise
like if you can't hear yourself
it's really difficult to sing
(32:58):
yeah right
so I assume you have in ears when you're performing
okay yeah
so do you feel like you yourself can hear well
I always have trouble like figuring out in ears
I maybe um
need to invest in better in ears
can you adjust the mix on your specific in ears
yeah okay
(33:18):
so I maybe the next time when you have a rehearsal
or when you're performing
try adjusting the mix a little bit
so you can hear yourself better
um compared to the rest of the other instruments
uh so that you don't feel the need to push
yeah right
cause if you listen to Chapelrone sing this
(33:40):
she's not pink pop like she's not
no like that
yeah she's really not so uh
and I totally hear what you're saying
like
especially when the adrenaline of the live performance
comes as well
it's like let me sing this for you right
and it gets really loud and yep
I totally I totally get that um
(34:00):
but yeah make sure that you adjust your mix in your
in ears
so that you can hear yourself a little bit better okay
and then what's happening outside of your
in ears is not on you that's not your responsibility
I know I know it's hard
(34:20):
but you can't do it all because it's either
either you adjust
and you risk blowing out your voice night after night
or it's just not your job and it's not your
your problem then yeah
and most people I definitely needed to hear that okay
okay yeah
huh cause you wanna do a good job right
(34:42):
and you wanna be like yeah
I gave it my all and you can give it your all
but if you over extend yourself
mm hmm it's gonna get harder and harder and harder
and not easier yeah
can can we live with that if you're like
I I hear you
but I still wanna know how to make it louder
we can we can work on it no
(35:03):
I I hear you for sure um
yeah I've been thinking that as well
but I just maybe needed to hear it but yeah
that's not my job
if they can't hear me that's not my job no
it's not it really isn't it really isn't and you know
there I don't know what the reason is for the
(35:24):
the levels and all that stuff
but it really just isn't your job
and if people start complaining about it
that they can't hear you
then they're finally gonna do something about it right
yeah but it's just not your job
yeah it's hard
it's hard to accept that but that to me and you know
when you hear the recording too
like that sounded well balanced
it was not too mixy right
(35:45):
like too light you still had the strength of the chest
voice quality in there um
but it wasn't loud in the sense of like
now it's getting shouty right
because to me
there's a difference between volume and intensity
volume is just how loud is it right
is it shouty is it loud right
(36:07):
and intensity is is it chest dominant
is it head dominant is it a 50 50 mix
that's just the tone of your voice
and to me like the pink pony
those notes
were all in the same kind of mix that you were doing
so it seemed well balanced and not loud
(36:27):
loud loud after that was not the case
so because of that
because everything is more smooth and similar
in registration in your mix
it sounds powerful okay
I hope you can believe me haha
okay
haha
um can we try it with the with the music one more time
(36:50):
that pink pony
and
what do you feel like you need to remind yourself of
when you're
when you're doing this before we dig into it
um my tongue keeping my mouth like smaller yeah yeah
uh huh so it doesn't get shouty
yes yeah yeah
uh huh especially on club
(37:11):
sing Pony Club Club more smile
like more up than down right
more smile more lift than dropping
yeah uh
and um
same thing there sing everything with a smile okay
okay yeah
let's try it baby
(37:55):
I'm dancing yeah
it's getting a little headier than you were before
yeah right
but again it's
it takes a little bit of uh
of practice to do it consistently
and I can hear your dryness in your throat
do you feel it sure
I'm very dry yeah
yeah yeah yeah um
we can both drink some water so we feel a little smooth
again it doesn't touch your vocal fold
so it doesn't really affect it right now
but it can still feel soothing right
(38:16):
yeah hmm
okay the breath flow on Pink Pony Club right
Pink Pony Club yeah
and then keep the club smaller
cause if you're going bigger on club club
it's gonna be much harder to hit the high notes OK
if you're getting the club right
you can get the high note right
if you're getting the club too big
(38:38):
and too full and too open
it's gonna be harder to get the um right
sure right gotcha
let's leave this for now
let's keep moving on through the rest of the song okay
um and then West Hollywood
it's the same thing there
it's gonna be easier to sing
West Hollywood than Pink Pony Club
because you don't have those peace
(38:59):
West Hollywood it's gonna be easier to sustain the
the air through it right
so it's not big and you're kind of holding back there
so that's gonna be a little bit easier
but I wanna skip ahead to the next part
and then come back to the chorus later
(40:18):
okay I'm gonna stop you right
before you get into the hard part again um
so um
you're connecting those phrases but I
(40:40):
and by the time you get to that last note
you're kind of running out of breath um
do you have to connect those two phrases
no you don't have to do that OK
(41:02):
and yeah I think it's better I would break them
I would probably take a breath after Mama
oh
for a live setting again not for a studio recording
but for a live setting can we try that pre chorus there
sure um
and see if that makes sense
(41:22):
it might not make sense but let's figure it out
I belong okay
how does that feel the with the breath
(41:44):
yeah I think I like that better
I feel like I had more power on the I'm yes
yeah and I promise you when she sings that live
she takes that breath I don't know that for
for a fact don't fact check me
but I am pretty sure yeah
that she would be taking a breath there
especially when you're also moving around right right
cause then who
you're getting out of breath more quickly
(42:05):
so yeah take a breath there
even if she's not doing it on the recording
she's most likely doing it in a live setting
sure OK
OK so you're allowed to do that too
yeah I wanna look at the word girl'cause girl
it's the tongue right
so can you sing more GA
girl yeah
do you feel your tongue going back
(42:25):
uh huh
girl girl
uh huh we're just again
on purpose going in the opposite direction
uh huh girl okay
not girl gotcha
uh huh okay girl
(42:58):
yes oh
that was so good how did that feel better
that was that was perfect
that was so good oh
let's try that one more time that
great can you give me 10% less volume on the word girl
(43:22):
yeah let's try one more time
yes how did that feel better
that sounded so good it's just smoother
yeah right
more even
more even exactly exactly
(43:44):
a lot of times as singers were like
what can I do to make it more powerful
when actually the question should be
what can I do to make everything smoother
which means 50% of that equation is not just doing more
but actually also doing less
yeah right
so we're going from here and here to here and here
so it's more in an even plain field right
(44:06):
so doing less in the low notes
more in the high notes not just more in the high notes
usually is what it translates to right
cause usually the high notes are the ones that we wanna
had more power to right
but that was phenomenal killed it
let's do that again and then we're gonna keep going
(45:03):
okay right
don't make me do that yes
don't make the I mean
this was an exaggerated version right
every time I demonstrate something
I try and exaggerate it I understand
yeah okay um
not that that's what you sound like
but uh again
try and keep it more even right
even if you are like oh god damn it
those high notes were a little um
(45:23):
head dominant
like a little more head dominant than I wanted it to be
stay there because otherwise
it's just gonna get more and more
and more
and more difficult as you keep going in the song
I see okay right
so don't try and overcorrect once you're already in it
yeah just stay there
nobody's gonna be mad at you okay
so um I'm gonna
(45:47):
dancing at the cause then it's like
now we're like oh
she didn't get those high notes
the way she wanted it to I see okay
yeah because
and if you don't do that the
at on the bottom notes nobody's gonna know
yeah right
so stay there um
again you
we wanted to go for a little bit more power
on those top notes but if it comes out this way
(46:09):
comes out this way and then stay there
yeah okay
yeah okay
let's try that again
(46:44):
yes sorry
how was that
that felt good OK
with a question Mark it
you don't seem fully hahaha
it did I mean it yeah
felt OK yeah
felt OK um
much closer this time with the
ta da ta
it's that note right there ta da
(47:07):
and down down the
it's on at and down yeah
on those two words
so you're allowed to do 5% less on those okay
right just even it out a little bit yeah
yeah um
but that was that was way more even than before
so yeah
very good very good
let's do you have any questions about this
anything you else you wanna look at in the chorus
(47:28):
I don't think so no
um your verses
by the way stunning
oh my God your
your vibrato that comes through in the verses is
beautiful thank you
stunning thanks
do you have any questions about either of the verses
you feeling good about those
okay um
about a bridge I don't know
is there a bridge in the song
(47:49):
um kind of there's
it's the same as the verse
I believe it's the same
I don't think I left you all behind
yeah I think it's the same
okay well let's keep going with it
yeah salmon I love you
yeah like that drink
(48:48):
great okay
just for the sake of contrast
what if you did that last God here
because like there's barely any accompaniment too right
yeah like the
music is there's not a lot happening
what if you did that God
(49:12):
and almost like a little bit of a breathy
airy kind of voice okay
cause we just heard you do it more powerfully
twice already yeah
right in the first pre chorus and the second pre chorus
yeah so we already know you can do it
mm hmm so can you give us something else
yeah I can try
yeah let's try God
is it God or I'm just having fun
(49:33):
which one is it God
yeah yeah
alright do you want me to do it acapella
acapella real quick yeah God
(49:54):
up alone yeah
and then it builds again like yeah
got back into the chorus yeah so God
and we could also do that right
so the god
what those two notes yeah
are more connected and then a what high
(50:15):
have you done just the last half of the phrase breathy
let's try that okay
and great yes
one more time yeah
um can you do the God one
yes it's connected
aka not breathy
but can you do it a little quieter
(50:36):
so it's like just a little softer
yeah God
OK
God
that wasn't necessarily breathy
but I liked it okay
how do you feel um
I feel like I could try again
okay try again
(50:59):
done I don't know how to
how do you do that hi
great question uh
can you give me a sigh huh
huh
there you go that's it
done done
okay just say done done
perfect that's exactly what you need to do done done
sign more into it done
(51:21):
it's so hard oh my gosh
done
done
that's it one more time
done hold on done
yeah it's basically you're just adding an H after the d
yeah done right
done
one more time I see done
so I can't
(51:43):
so a lot of times when we sing breathy
we're like oh
it's gonna get quieter so I need to pull back
yeah um
and then there's less breath flow coming through
when in fact when we wanna sing breathy
we need more breath
because that if in order to sing breathy
we need more breath right like
how else are you gonna sound breathy
when there's no breath so turn turn
(52:06):
yeah it's just
you need to get all the air that you've got left
in your tank out
yeah
okay and it's just sighing
you're basically just sighing
you nailed it a couple times
so I know you can do it I'm like
I don't know how I did that haha
you sighed you weren't thinking about it
yeah and as soon as you started thinking about it
it was like and now it's just quiet done
(52:26):
which is also beautiful it's just different
yeah right
and at the end of the day
I just want you to have the option to do
whatever it is that you wanna do right
so done
done yes
done cause it doesn't need to be crazy breathy right
it doesn't need to be done
that's a lot right
just done
(52:46):
that's also still a lot of breath
but I'm practicing it that way
so that I know what it feels like
to get all the breath out
and then at the end of the day
if it turns into something like done
that's still breathy but it's not insanely breathy yeah
but that's a more controlled version of breathy singing
right so God
done
(53:07):
or even just on the word done God
and that also works so you can play around with it
where do you wanna add the breathiness
do you wanna even add it at all right
or do you just wanna do it more quietly
but again I want you to have the option to do it
so we need to practice singing breathy
so that you could do it if you wanted to do it sure
(53:27):
yeah
and that might be maybe a little bit
something more for the studio
if you were to record that song in the studio
because it's gonna translate a lot more in the studio
um than in a live setting
but if the band's really like calm and you know
there's not a lot happening and it's not loud
feel free to explore that softer yeah
(53:49):
part so that you can build a bigger dynamic range
try one more time that God
what have you done God
God
done
yes I kind of like that
you started getting breathy on the ending of the word
done that was nice
done
done
right versus done
yeah it was just breathy towards the end of the note
(54:10):
and I like that that was nice
okay how did you feel about it
I thought it sounded cool
yeah I did
yes I did
yes I did
let's try it again let's try that again that's softer
(55:00):
yes exactly right
cause there you have to start building
yeah after that second
or whatever right
the lyrics are yeah
how how did that feel
good I ran out of breath at the end there
but it's okay you know
yes you did
but it's was really kind of cool
because it kind of gave you that broken quality
(55:23):
yeah right
and like it's just interesting to listen to
because it's something we haven't heard you do yet
up until this point right
I'm not saying that
you should always plan on running out of breath
please don't do that uh
but it's not always such a bad thing
yeah I see
that was cool I liked it
alright let's do that last chorus
(55:43):
um
again keep it even
that's what we want to focus on
if the high notes come out a little bit more powerful
awesome if they are a little bit more head dominant
um than what we were practicing
at the beginning of the session
keep it there right
just whatever you need to do to keep it
even throughout the course okay
yeah let's try it just to practice that live setting
(56:06):
right um yeah
(56:41):
and then it's just I'm gonna keep on dancing yeah
couple like adlibs there
yeah okay okay
um how's that good
yeah talk to me good
yeah what were you gonna say
no I wasn't
I was just gonna talk about the ending of the ending
okay yes
so there is a chaperone does this like really cool
(57:02):
like a yodel almost you know okay
does that um
at the end is the I'm gonna keep on
that yeah
OK those are cries
yeah I'm gonna keep on
(57:29):
and yeah something like that
yeah right
is that what you're talking about
mm hmm yeah yeah
so okay
to do those those are vocal cries
and basically
what's happening is your vocal folds are cracking
mm hmm um
and I love it as a stylistic tool
and the easiest way to do it is by adding those ages
(57:50):
right now I'm gonna give a dance
like everywhere you wanna do a crack
just add an H in there yeah
and it's just a hahaha
yeah that sounded really good
by the way oh
(58:10):
thank you I'm Swiss
I need to know how to yodel
so you know yodel
uh anyways
try that uh dancing
ha ha ha ha
it sounds ridiculous when you're doing it that way
but okay adding those H's alright
do you want me to belt it like that
yes girl
(58:31):
give me the belt give me the belt alright
alright
I'm
and you're doing it you're doing the
that part sound crazy though no okay
no I it
it I hear how you're like
oh that's so weird
(58:51):
yeah it
because you're literally cracking
and that's the one thing that we always want to avoid
when we're performing but in this case here
that's actually what we're trying to do yeah
so can you try the same thing
like 5% less volume okay
um
it's not bad dancing yeah
(59:13):
I'm gonna give that that
oh
mm hmm dancer
dad
can you do it one more time
I wanna look at your mouth
yes OK I'm gonna
okay
(59:33):
on the first day
cause it's the same dancing
it's the same vowel right
yeah the first one you're nailing
and then when you get to the second one
when you're holding the note
you go yeah
wide so dancing
same spot okay
don't move it just keep it yeah
(59:59):
yeah yeah
can you take your fingers and push them right there
yeah one more time
yeah I'm a
the problem I had
I'm having with that is when I'm doing the h
like trying to do that flip yeah
um I have like a harder time doing that on that
(01:00:23):
because of the this yeah
okay no
like keeping it like dancing
okay I don't know how to explain it no
no I'm following
I'm following um
okay okay okay okay okay
uh can you try it one more time
because we need to get your tongue out of the way first
yeah
(01:00:46):
just stick your tongue out slightly on that dancing
that was a little better your tongue was like Wiggly
Wiggly Wiggly Wiggly
really wanted to like not do that yeah
but I do think that that's gonna be the solution to
to this um
(01:01:06):
is first getting the dancer
like sustaining that sin
um of dancing
sustaining that because the
that part is actually way easier for you than you think
it is yeah
it's the dancing
(01:01:28):
it's that notes
and you just need to get your tongue out of the way
for that one yeah
okay and you don't need to be loud on it
right yeah
try one more time dance
I'm gonna keep
hold on sorry I'm gonna
(01:01:49):
yes now I need 5% more haha
cause otherwise those haha are gonna be hard to do
yeah alright I'm gonna
and it still feels like I'm straining yeah
it's your tongue it's like weird OK
I don't know
how do your shake your head while you're doing it
(01:02:10):
I'm gonna keep on dancing
and you just shake your head side to side OK I'm gonna
and don't stop shaking when you get to the note
but yes yes
try one more time that was pretty good
I'm gonna keep on
yes it's still just your tongue
(01:02:31):
though yeah
so yeah to really nail that there
without feeling like you're working or restraining it
is your tongue so when you're doing this
when you're shaking your head
that's releasing your neck muscles
which are not that much of an issue for you
so I was hoping that maybe if we shake the neck loose
that your tongue will start to cooperate as well
but it's just really is ah ah all over
(01:02:52):
it's just kind of stuck there
dancer ah compared to dancer
like I can move my tongue in and out
and it doesn't change the tone okay
that's kind of what we're shooting for
but that's gonna take a little bit of practice yeah
but the yodels what you call them
(01:03:14):
I call them vocal cries yeah
you got those those are easy
yeah right yeah
if you just add those hahaha
those HS mm hmm
is that making sense oh
for sure yeah
I don't wanna push your voice anymore
we've been doing a lot of loud belting kind of stuff
and I don't wanna
when's your next gig
um we have a wedding this weekend
(01:03:35):
okay at
I forget where it is but it's a wedding
it's a wedding somewhere beautiful probably
I don't think it's
I think it might be Indiana roof this weekend
I don't even know where that is
but I only know where I got married and that's about it
have you ever played the Regions Tower
I don't I think so
(01:03:58):
maybe it's downtown it's the glass building downtown
it's on the fifth floor they have like a terrace
no like where the art museum is downtown
it's in that big glass
no no
no no no
no museum sorry
the the State Museum
they have glass there too
The State Museum does
but I'm talking like smack dab downtown
(01:04:20):
you know like where Mass Ave starts right there
it's a glass building it says regions on top
cause it's a bank oh okay
that's and they have
I was thinking of yeah
they have an event place on the fifth floor
and the outside terrace
uh it's beautiful
it's where I got married oh yeah nice
I wanted a barn wedding but grant was like
(01:04:40):
I wanna be downtown I'm like
alright downtown it is hahaha
but it was beautiful it was great
we were outside on the terrace all night
it was so nice nice
I got this long time ago I love wedding
7 years ago oh yeah
I do too somebody invite me to a wedding
I wanna go hahaha
um do you have any questions
(01:05:01):
about any of the stuff that we talked about
I don't think so that was really helpful
yeah gotta work on my
the tongue tongue
I think the tongue is the biggest thing for you
um and then when you're doing those P's right
pink pony that you're not stopping your breath right
pink pony that's an exaggeration
of course but yeah
(01:05:22):
pretend like there's an H after the P okay
pink pony getting that breath out okay
and your tongue that's the biggest thing
getting the tongue out of the way
reverse tongue tension thank you
coach Emily Hahaha
creating reverse tongue tension
sticking it out right
or the paper towel wherever that is
paper towel right
um um
and the word girl right
(01:05:44):
um whatever the note is on that
but girl girl and not girl
mm hmm that's gonna make that a little easier
and just overall focusing on keeping it even
even if you're getting those top notes a little softer
a little bit more head
dominant than you wanted them to be yeah
keep it even and then nobody's gonna notice right
(01:06:04):
if you then come back down into more of a chest
like quality then people are going to notice that
that wasn't as powerful as it could have been yeah
but
if you don't show us that you can do the lower notes
in more with more power
then nobody's gonna know that
you could have done that on the higher notes too right
yeah yeah
and mentally
it's not your responsibility what people out there hear
(01:06:25):
that's the sound guy's responsibility yeah
you don't need to be louder
was it really great like a couple of those
I'm gonna keep on dancing on the
like you really nailed a couple of those today
so I know your voice can do
it now it's just a matter of practice
yeah getting the tongue out of the way
yeah any questions
I don't think so yeah
yeah thank you so much
(01:06:49):
hey
you're a beautiful person inside and out
your voice is amazing and stunning
you obviously know what you're doing
give yourself
permission to not work harder than you have to
and um you're gonna do great
thank you I wanna come to one of your gigs
oh my God you should
yes when it's like an open one
not like a closed wedding
like uninvited wedding guest
(01:07:09):
whoopsie crashing a wedding
whoop LA um
but that's awesome thank you so much
hopefully
we'll get to have you come back one of these days
yeah do another session
yeah thank you
that was so helpful I appreciate it anytime anytime
thank you and thanks everybody for listening
uh can they maybe follow you on social media
yeah yeah
(01:07:30):
my social media is Ali Road 1975
oh cute
I'll be sure to link to that as well
so they can find you
do you ever post any sort of singing stuff on there
I do sometimes um okay
yeah okay
then we I'm gonna go stalk you now there hahaha
I gotta stalk you I love it
(01:07:50):
I love it thank you so much
thanks everybody for tuning in
and we'll catch you next time alright bye bye
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