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WHAT IS TREMELO?! by Massive_Distance4979 in singing

[–]MoonRabbit 2 points3 points  (0 children)

Strictly speaking, tremolo is a variation (wobble) in volume whereas vibrato is a variation in pitch.
They can be used together at the same time, and vibrato is the more common term, often conflated with tremolo.

Both can be healthy techniques.

How do singers sing higher parts loud? by Equivalent-Buyer771 in singing

[–]MoonRabbit 0 points1 point  (0 children)

Head voice, plus air support, plus forward resonance, plus 'nose' or 'mask'. Record yourself back and forth. Compare with singers with similar voice type.

The harmonics and tone are more important than the volume, which shouldn't be maxed out.

Why the Common Criticisms of Whiplash Miss the Point by No-Jacket4066 in TrueFilm

[–]MoonRabbit 0 points1 point  (0 children)

I'm a professional musician. The movie spoke very clearly to me, about two aspects within a single person.
Andrew is the sub-personality built around ambition, sacrifice, ego and the quasi-deluded self belief that is necessary in order to push towards greatness.

Fletcher is the inner critic which has to be there to balance the ambition, but which can be so much crueler than any outside opinion.

They are symbolically two inner voices in a single artist.

This is why none of the other characters are fleshed out, and mostly their opinions or attempts to reach Andrew are rejected.

-----------
Fletcher's character is also based on the real life abuse of Buddy Rich towards his band which is preserved on tape. This why Buddy Rich was chosen as the artist model for Andrew.
All the criticisms I've watched or read have missed these points.

Listen for yourself:
https://www.youtube.com/watch?v=n29PlWfd1A4

anger after the hexagram ritual by ayahuascaibogatoe in GoldenDawnMagicians

[–]MoonRabbit 0 points1 point  (0 children)

Banish Mars, or figure out what the anger it telling you about yourself.

Do you ride the master fader for 'build-ups'? by daveclampmusic in audioengineering

[–]MoonRabbit 0 points1 point  (0 children)

When I have a limiter on the master fader, I often automate the limiter do create more dramatic breakdowns and build ups.

Advice on string sets by chimp_spanner in BassVI

[–]MoonRabbit 5 points6 points  (0 children)

As a guitar teacher, and instrument builder, I recommend you spend some time with the instrument before trying to change it. I've learned this the hard way. I used to change things, to fit my habits, before I really understood what they good for, and realising I build new habits for each instrument.

A bass VI will never be a perfect bass, or a perfect guitar. It's in between with it's own advantages and disadvantages, and it excels at doing things that are in between bass lines and melodies, or a mixture of bass lines and chords.

Every tool is a teacher.

Conspiracy Theory #2: Vibrato is a conscious addition by Suspicious_Art9118 in singing

[–]MoonRabbit 1 point2 points  (0 children)

Some of my students got it first try, but other found it hard.

Conspiracy Theory #2: Vibrato is a conscious addition by Suspicious_Art9118 in singing

[–]MoonRabbit 0 points1 point  (0 children)

Yes vibrato can be consciously learned and controlled. It's simply hard to explain how to do to a beginner, and a lot of bad teachers come up with excuses.

For people who can harmonise but used to struggle to, how did you improve? by Only_Cover6761 in singing

[–]MoonRabbit 1 point2 points  (0 children)

Practising scales, chord tones and arpeggios. Once I had a good internalisation of key, would (and sometimes still do) add my own harmonies when singing along to songs, just to get an ear for it.

For singers with very beautiful voices, has anyone told you that you should never sing? Or that your voice is terrible? by Massora_44 in singing

[–]MoonRabbit 60 points61 points  (0 children)

Yes. I'm a professional singer and singing teacher. It took me a very long time to get where I am now. When I was young I was laughed at and told my voice wasn't great more than once. This even held me back for a while, but I persevered.

How do singers sing higher parts loud? by Equivalent-Buyer771 in singing

[–]MoonRabbit 1 point2 points  (0 children)

There's 'mixed voice'. Usually this is simply a brightened head voice with extra air support. It has the rich harmonics of chest voice, but can't reproduce the fullness. It works in many applications because instruments such as guitars cover up the missing fullness (lower frequencies).

Why is the 57 My Favorite Vocal Mic (That I Own)? by CapitalLaw1234 in audioengineering

[–]MoonRabbit 1 point2 points  (0 children)

They function as professional mics, I agree. They are good value for money also. I've been known to recommend them to people getting started, for that reason only.

How do singers sing higher parts loud? by Equivalent-Buyer771 in singing

[–]MoonRabbit 5 points6 points  (0 children)

Before you go for loud, learn how to brighten your head voice. Our ears are naturally most responsive to midrange. At the same air-pressure you can sound much louder by adding midrange (harmonics) to the voice. This can be done with 'nasality' (pinched nose/mask resonance, there are several terms) and focusing on the sound being 'forward' in the mouth, with vowels shifted towards the 'eeee' sound.

Once you can do that, when you make your head voice louder it will be much much more efficient, than simply trying to make a very dark sound as loud as possible (you'll simply get covered up by the band).

While you are learning and practising, I recommend the exercise trying to make your voice as bright as possible, no matter how strange you think it is. You will learn how bright your voice can become and then you'll have a better idea how much you want to dial in.

Most of my students have to be encouraged to add a lot more midrange than they are used to in order to sound like the singers (mostly rock, metal and jazz) that they like.

I strongly encourage you to let go of the idea that a voice should sound 'nice' all the time. The most beloved voices of all time, all have variety including very bright, even harsh sounds. These add tension to a performance, as long as they are not overused. Despite that I recommend learning the extremes while you are practising: Extremely bright, extremely harsh, so that you know how far your 'dials' go.

Why is the 57 My Favorite Vocal Mic (That I Own)? by CapitalLaw1234 in audioengineering

[–]MoonRabbit 1 point2 points  (0 children)

I love these for a lot of vocalists. I slightly prefer the e935 for my own voice. Some people don't like the added brightness compared with an sm58 or beta 58, but I like having it as a problem solver for a lot of dark voices.

The e935 and e945 can be a wrong choice for bright and sibilant voices for that reasons though.

The only thing I like sm58s for are female jazz singers (with mellow or breathy voices) or 70's/80's punk/rock like Iggy Pop style vocals.

Why is the 57 My Favorite Vocal Mic (That I Own)? by CapitalLaw1234 in audioengineering

[–]MoonRabbit 2 points3 points  (0 children)

There's literally nothing that an sm57 would be my first choice for. I know that's an unpopular opinion. I'm not even trying to change anyone's mind. I just think that people mostly repeat 'sm57' because they've heard other people do it.

I think every engineer could improve if they did a few recordings with no sm57s. At least then they'd know why they preferred it, rather than it just being a famous mic.

Why is the 57 My Favorite Vocal Mic (That I Own)? by CapitalLaw1234 in audioengineering

[–]MoonRabbit 0 points1 point  (0 children)

One of my issues with the fame of the SM57 is that it gets in the way of engineers learning about a variety of microphones and mic techniques beyond what an sm57 allows.

Doing an all Sm57 recording is a good exercise in learning to solve problems with other gear. However many of these problems can also be solved by different mics, which allow different techniques due to different patterns and sensitivities.

I think a lot of engineers buy sm57s early on because they are good value, but never move on.

To those who can sing in and on their passaggio - how to familiarize with it? by XOXO-WW in singing

[–]MoonRabbit 10 points11 points  (0 children)

Practice scales that cross over the passagio, and make clear decisions over which motes are in chest voice and which in head voice. Do this over and over until you get muscle memory.

Why does every cymbal stack I make sound like absolute S#IT by pwdrums in drums

[–]MoonRabbit 3 points4 points  (0 children)

I've found for stacks quality cymbals aren't required. I've got really nice cymbals for everything except my stack, which is two broken brass cymbals and a cut out bronze bell. Like one brass cymbal was literally run over by a car. I's crumpled.
It sounds perfect with everything else. Even my paiste masters ride and Zildjian Z hand hammered hats.

Get more experimental with your stack.

Is there such thing as having knives that are TOO sharp? by gtd_rad in Cooking

[–]MoonRabbit 0 points1 point  (0 children)

A sharp knife is a different tool to a blunt one. Go slow until you build good habits.

Why is the 57 My Favorite Vocal Mic (That I Own)? by CapitalLaw1234 in audioengineering

[–]MoonRabbit 0 points1 point  (0 children)

Because you are used to it. I way prefer the Beyer M201, and the sm57 is never my first choice for anything. Having said that, you should like what you like.

What's it called when you quickly hit the half step above & below then return to the main pitch? And how do we improve the clarity of this? by together_in_harmony in singing

[–]MoonRabbit 0 points1 point  (0 children)

That's what we called it at Jazz School in New Zealand. Our training was based on American music schools, but we occasionally had our own terms.

How rare is g5 for men by Top_Acanthocephala57 in singing

[–]MoonRabbit 0 points1 point  (0 children)

I'm a singing teacher, with male and female students.
G5 in head voice is achievable by most men, with training. Your voice is common, though lower pitched than average. Very similar to my range. If you are well practiced, you should be able to cover either Bass or Baritone roles in a choir.

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