Zitat des Tages über Vokal / Vocal:
The kind of vocal exaggeration that I developed was based on what key songs were in.
People often ask me how I developed my vocal sound, and the answer usually disappoints them: 'It's just the way I sound when I sing.'
Well, any time I'm preparing for a performance or even a rehearsal, it's as if in a way, like any other athletes, these are muscles that support the vocal cords which are just I believe cartilage. It demands a kind of constant warming up and a constant feeling of where is the voice today.
I don't even know if I always entirely get what I'm trying to say right away with lyrics. I like a lot of things that are more subtext. I grew up mishearing lyrics my whole life, but somehow there's so much more, too, that's implied in vocal delivery and the music itself and the gestural quality of it.
These kids today, everything is about hitting a vocal home run.
Well, I happen to have a love of vocal reproduction devices.
Anyone you give a ton of money to is going to go slightly crazy. I don't think comedians are particularly special in that regard; they just are better or more vocal in their expressions of their craziness.
I had an apartment on Long Beach Blvd and San Vicente in Long Beach, California. That was the apartment I done 'Regulate' in. I had all my equipment set up in the bedroom, a vocal booth in the bathroom and in the closet, and that's where we created it. I had an MPC 60, a Numark mixer, and a Technics 1200, and a ton of records.
Acquiring a repertoire in these days, when the vocal literature is so immense, so overwhelming, that the student with sense will devote all his energies to work and not imagine himself a martyr to art.
Manchester United could have any goalkeeper in the world. I was a 23-year-old kid from New Jersey who, from an early age, had to cope with Tourette's Syndrome, a brain disorder that can trigger speech and facial tics, vocal outbursts and obsessive compulsive behavior.
My mom is one of those women... she don't take no mess. She is very vocal about what she wants and what she doesn't want.
The secret of it is to read what you've got in front of you. Don't, if you suspect that something has a double meaning, don't pause. Don't put on a leery vocal expression if you know what I mean on radio. Don't sort of do anything other than read it.
They read their sports pages, know their statistics and either root like hell or boo our butts off. I love it. Give me vocal fans, pro or con, over the tourist types who show up in Houston or Montreal and just sit there.
I love accents; I would love to find more characters with a variety of vocal intonations. It creates a character. It's like you're singing a song. Some people find their character through walking or movement - for me, voice is one of the ways I find parts of the character.
The development of new instrumental and vocal idioms has been one of the remarkable phenomena of recent music.
We are the kind of people who obsess over one word... but we have only one shot to get it right in concert. It was hard the first time I practiced with them. I was so nervous that my vocal chords were paralyzed for about a half-hour.
You can't imitate; all our faces are constructed differently... and the vocal cords; otherwise, we'd all sound alike. I don't think anybody should ever teach by imitating.
I try to be cognisant of when and how and what I eat and get as much rest as I possibly can, as that helps the vocal cords.
My vocal ability is very limited, but I'm fortunate in that I can write the songs around my vocal limitations.
Where I think the American actor is slightly at a disadvantage is in vocal technique. I don't think that words are their friend in the same way that English actors are used to using words: understanding about consonance and how to shade a vowel to show emotional color.
Just with the basic one guitar, one piano and one vocal and an audience, I think that the intimacy comes through more. People feel much more connected to the song because there's nothing in the way, and I actually enjoy doing that.
All my vocal coaches have been pretty great. Thank God.
When I was a kid, I used to listen to my Emerson radio late at night under the covers. I started by listening to jazz in the late 1940s and then vocal harmony groups like the Four Freshmen, the Modernaires and the Hi-Lo's. I loved Stan Kenton's big band - with those dark chords and musicians who could swing cool with individual sounds.
I like writing on piano and a computer, and a lot of 'Plans' came out of samples and vocal lines.
'Can't Get Closer' I originally recorded in about half an hour, just on my bed with a microphone. I actually re-recorded the song with a cleaner vocal take, but I decided to leave the demo version on there, just because I felt that instant where it was created is what captured the most emotion.
I'm more vocal about my ideas in person and music.
As women, we have more of a tendency to be people-pleasers, and I know a lot of women who are not vocal about what makes them happy.
About 10 years ago, I took some vocal lessons. I'll bet that helped. I got a tape of exercises that the girl gave me, which I don't do anymore, but they were good. And I don't smoke.
I'm happy to do voice-overs. I always have a good time doing them. I like to explore vocal nuance and accents and different people, different personalities. In a way, it is a lot more freeing than having your face up there.
When I was on the air a lot my throat and vocal chords got tired. If you don't vary your tones you can't get pretty tired of your own voice.
I would get my laugh insured! Because my laugh is very important: it's a million dollar laugh, so if my vocal chords make my laugh any different, then I'm going to have to get insured.
I try and be super vocal on the field because that's what we need, and that's what I want to do.
With vocal and choral music, first and foremost, it's the text. Not only do I need to serve the text, but the text - when I'm doing it right - acts as the perfect 'blueprint', and all the architecture is there. The poet has done the heavy lifting, so my job is to find the soul of the poem and then somehow translate that into music.
Dysphonia is not a singing problem. It's a voice box issue in the muscle on the voice, very different from having a nodule on the vocal cords, which I've never had. I'm lucky that I've never had that. It needs a long renewal time, and even today, I am still addressing it.
It took me a month to get out of the mindset of O.J. But even now, still, I think it might have done something to my vocal chords. I went to see the doctor, and he was like, 'I don't see anything. You're fine.' But mentally, I might have broke a little bit.
I have a love/hate relationship with Amy Grant, but I do go back to her Christmas albums once in a while. They're dated and sentimental and the production is nearly unlistenable, but there's something about her vocal performance that just feels really true. I would take her Christmas albums over Mariah Carey's or Destiny's Child's any day.