There was one of the episodes where Michael Douglas’s character was making love to his girlfriend, which in real sense, resulted in the actual rape, as he was already attracted to Sharron Stone’s character and felt angry, because he intuitively felt that  the outcome of it  could be deadly for him in the end.

I have a similar feeling when I am listening to a singer reciting a great song with great emotion, while actually “raping/murdering” their vocal anatomy.

The audience, who does not know any better, are saying “Oh my god, He/she is such a great singer!” while having not the slightest idea of what that singer is experiencing and what it does to his/hers vocal chords and vocal box in general.

That’s, in my opinion, qualifying as a “vocal rape”, nevertheless.

As a consequence, the singer will get a nasty growth on one or both vocal chords, or will acquire dysphonia or even the spasmodic dysphonia, God forbid.

It will happen because everybody is oblivious to the singer’s wellbeing including the singers themselves.

The industry discovers them young and healthy and evidently quite talented.

Then the wear and tear of their vocal anatomy begins, as everybody is ignorant and uneducated to what’s happening to the human’s vocal box and it’s components while there is an enormous pressure of sound being applied.

They are pushing the artist to the absolute max, imposing on them hours of rehearsals, recordings and performances.

They are pushing alright, and the artist in turn pushing to reciprocate the demand.

The result-the “vocal rape” is committed, the damage is done and… EVERYBODY LOST: the Artist, the Management, the Record Company…

The Beatles once said, “Make Love, Not War”.

I say, “Learn how to sing first, acquire the right vocal technique to prevent the vocal damage, and yes, Be Strong, but Gentle and not Strong, but Forceful-definition between Love Making and ‘God forbid’ Rape.

Usually, it’s very much so true, but in the case of working with a professional Artist/Singer, it’s not exactly right to the point.
lately, It’s been no secret that quite a few well known singers have acquired a lot of vocal problems; bleeding vocal chords, polyps, nodules, dysphonia and other nasty vocal disorders.

Why is that and what is the cause you may ask?
“We love the voice, we love hers or his songs, we love the emotions, we love the performance…”
So, what is the problem then?
The problem is that nobody knows or pays attention to the voice application and how exactly that voice is being used by the singer.
And yes, the industry usually picks up a good looking person, quite often with good song writing skills and with the potential of that person becoming the world wide recording Artist and performer.
And yes, when it comes to recording, the best producers and engineers will be producing their magic using, available to them, their magical high-tech technology.

Now what? And what’s in store for the Artist?
Now it’s time to go on tour, to promote the record…
And then… There is a “surprise”.
In a nutshell, and per say, nobody apparently knows how to sing properly and professionally, at least not in a safe and efficient way.
Moreover and evidently, the Artists’ voices have already been used up in the earlier promotional performances and concerts.
So, the tours are cancelled and everybody is cutting their losses; the Artist, the management, the record company…?

In this time an age, it is a very well-known fact that the best revenues acquired by all parties involved, would be of those derived from the live venues.
So, now the voices have to be fixed somehow and preferably, in a quick fashion, so the Artist would not get forgotten and the tour in the future would not be in jeopardy.

As a Non-Surgical Voice repair specialist, I could testify that it is not an easy task.
However, by using my Innovative Vocal Science Technique and Application, it’s definitely doable.
The biggest trick when you work with a professional singer/performer is not to change her/his tone and sound in general, which is, by that time, is very familiar to listener’s ears.
In other words, my mission is to produce the change with respect of voice application and placement, but not to change anything else about the artist.
The voice, however, will still sound much clearer, much crispier and overall, much healthier.
I guess those would be the positive changes, as a consequence of the voice now lifted off of the vocal cords and vocal box in general, and thus, structured and placed in the Singer’s facial muscles instead, thus relieving the vocal anatomy from the unnecessary pressure of the sound.

Much easier said than done, but the mission MUST be accomplished.
I need to produce THE CHANGE…with NO CHANGE.

Definition of Dysphonia:

Voice disorders characterized by hoarseness, weakness or even complete loss of voice are called dysphonia.

However, I have to assure you, my reader, that it is not as easy as it sounds.

The loss of voice is only a symptom (a print out of a so to speak disturbed software containing a virus). The cause of it is much more complex and needs to be addressed in full details.

Through my experience, the majority of the clients, especially non-singers, came with some emotional trauma in the past and in the recent past.Usually, it revolves around unsuccessful relationships and/or health issues other than the vocal anatomy.

Due to the above, the throat literally closes on those clients, but being with disagreement of the latter, they push even harder and now involve the muscles of the neck and shoulders as well, while concurrently causing symptoms. Alsmost 100 out of 100, their thyroid is involved as well. It begins to disfunction and in a lot of times, gets swollen and thus, it creates the pressure on the vocal cords.

In holistic teaching, which I studied extensively, as it is my second passion other than love for music, thyroid represents suppressed emotions and hurts.

Now, go figure, how is one involved could have a normal voice being caught up in the full drama of the events.

My last dysphonia client from Florida, U.S. just left two days ago, after embarking on the full blown five day 10 hour course and herbal treatment in the past week.

Before leaving, I conducted a full interview with her, while concurrently teaching her how to say it properly with now close to perfect support, structure, placement and thus, much better projection of the sound.

So here it is:

Diana: You were hesitant to come here, weren’t you?

Judy: Yes

Diana: Why did you choose Vocal ScienceTM method over others?

Judy: I had faith that something good will finally come my way
I was in despair and nevertheless in desperation
I was able to receive more specific information than anywhere else I went to or spoken to

Diana: You spoke to me numerous times, what was your perception while conversing with me?

Judy: I acquired more positive feelings during our conversations and positive feedback which gave me more confidence

Diana: Have you spoken to any other specialists?

Judy: Neurologists, ENTs (four of them), Speech therapists (two) and a thyroid specialist

Diana: What was the diagnosis?

Judy: Fibromyalgia, thyroid dysfunction and dysphonia.
(I was explained that my thyroid was swollen and pressing on the vocal chords which resulted in voice loss and fibromyalgia)

Diana: You arrived here five days ago and began a non-surgical voice repair ten hour course and herbal treatment.  Was it worth it to pay almost $4000.00 for my services and other expenses to travel here from Florida?

Judy: Yes it was, absolutely!

Diana: How do you describe your experience and how would you describe the results accomplished?

Judy: Wonderful experience! Amazing results!

Diana: In what sense, please describe?

Judy: Upon arriving I could not speak properly and hardly at all.

Diana: What happened then?

Judy: And now I’m speaking much better and everybody is noticing it. I spoke to my mom and my daughter over the phone, and they were amazed.

Diana: I know, as your mom called me and thanked me for attending to you.

Diana: Please describe how did you arrive to such a positive and desirable outcome of your trip – to get better?

Judy: By doing special speech exercises, and by clearer understanding of what needs to be done, and not only with my voice, but also with my health overall.

Diana: Has anyone explained anything of a kind or anything that was relevant to the actual vocal damage?

Judy: No one. Nobody at all.

Diana: Do you have a clear picture now of how to proceed from here?

Judy:Yes very much so, thanks to you.

So interviewing Judy (real name) and spending the time with her, not only during the sessions, but at least in two restaurants located in our plaza, between the sessions, I understood even more so in depth what was causing her condition.

The woman went through a lot emotionally: her own relationships, loss of business due to recession, health and other challenges.

I also interviewed her about her everyday diet and discovered that upon arrival to Canada and checking into the apartment (which I organized for her) she bought ham, cheese, mayonnaise and Sprite…!

To Judy’s credit she was extremely compliant with all of my instructions, health and diet included.

Needless to say that with the condition like this, the flora and PH of her vocal anatomy is tremendously disturbed. Therefore, the protocol is to avoid all creamy, cheesy and overall dairy products, not to mention the combination of them with the proteins. By the way, spicy foods are also not desirable (the comment for those who may be wondering).

The Sprite, or any other sparkling drinks containing carbonated gas, will also be a huge disturbance to the throat and vocal cords.

Judy hardly had any appetite at the beginning, until she started taking natural herbs and remedies, which I included into her Vocal Science(TM) Non-Surgical Voice Repair program protocol.

She followed “by the book” and on the third, fourth and fifth day of our journey, she regained a healthy appetite and mainly the understanding that in this condition, she has to attend to the live foods and not the junk or dairy for that matter.

She will have a long journey of cleansing her body from top to bottom to create a clean bottom, so that the mucous, which she is stuffed up literally up her throat, will clean out and like a dancer off the hardwood floor, the voice will be able to take off of clean and clear vocal cords and soar, by my design, to her facial and head cavities, which will begin to work in full conjunction and coordination with her abdominal muscles for the greater support of the sound.

Thus, the mission will be achieved and completed and I predict that Judy will arrive to the absolute recovery on every level.

But what about singers, you may ask?

The issues are quite related, however for more detailed information on that, please stay tuned and I will try to shed the light on that issue as well, and to the best of my knowledge and my experience.

We’re hearing a lot about bleeding vocal cords, laryngitis, polyps, nodes and nodules in Artists’ throats. Some also have dysphonia and some, acid reflux, separately or along with the aforementioned diagnoses.

Now what…?

The artist is in distress, the management and record company are in loss of millions of dollars!

How to remedy the situation like that?

It should be not that difficult; find somebody who knows how to solve these types of problems, preferably non-surgically and non-invasively, i.e. somebody who knows how to change the voice application so that the vocal anatomy would not be irritated by the pressure of the sound and somebody who knows about natural herbs and remedies, which would greatly aid any human voice, and especially the singer’s voice.

Find somebody, who, after the voice repair, will finally guide and coach the artist on how to do it properly and professionally, so that the nasty vocal problems will remain to be in the past for good.

As a side effect of learning how to sing properly, those artists will do a service to the public, and by not continuing to destroy their throats and thus cancelling their concerts and tours, they will also save the public’s ears while singing with the proper pitch and projection.

In other words, find something that works and something which does not lead back to what did not work in the first place.

The so called Artist’s Team is anxiously looking for a solution to put the artist back on stage as soon as possible and thus, not to lose more revenues, and quickly recover what has been already lost, i.e. the revenue from the concerts, tours and live performances overall.

So they make a radical decision…?

Which one, you may ask? Are they desperately looking for somebody who in a real sense could save their artist?

The answer is: THEY’RE NOT LOOKING!!!

How so, you may exclaim?

Because they’re NOT OPEN to ANYTHING NEW and they’re not finding anything better to do, than to use the same people who evidently, in the first place, “greatly contributed” to the problem, and needless to say, would not be able to solve it!

My representative was trying to get a fax number of the management of a well known artist, who is just about to face a polyp removal off of his vocal cord. He was trying to notify the artist’s management that I, his client, could actually help this artist to solve his vocal problem NON-SURGICALLY. My representative got a reply that the artist’s management is not open to receive any faxes or e-mails about anything new…?

In other words, the management companies like that are looking for a change without change. They want to cure the problem of the artist by using the same vocal coaches and consultants who clearly aided in that problem’s occurrence in the first place.

How does it make sense?

IT OBVIOUSLY DOES NOT!!!

There is an old good saying, “If something doesn’t work, try something else. It might work better”.

But that obviously would be “too easy”. Or in a real sense, evidently too hard, as it requires at least to read an e-mail or fax with an innovative proposal, which could save a lot of pain and aggravation for the artists and put back a lot of money to the management and record companies’ pockets.

However, THEY’RE NOT LISTENING and thus, unfortunately for all the parties involved, their “HEARING IS IMPAIRED” and the problem still remains to be the same.

THE ARTIST CAN NOT DELIVER!

The answer is:

* This technique allows the voice to work at the fullest capacity possible with positively no pain or strain on the vocal anatomy.

* It works wonders for the healthy voice, but if the vocal cords or the vocal box in general are already damaged (or pre-damaged), this technique will help to restructure the voice into a different set of muscles (facial/sinus cavities), which will play the role of the natural amplifier or resonator, while simultaneously being put to work in full conjunction and coordination with the abdominal muscles and where the latter will provide the support for the sound to be lifted off of the vocal cords and off of the vocal box, thus in turn, the use of the throat, larynx and the vocal cords will be minimized and practically eliminated.

* In the case of the voice repair, the natural herbs and remedies will be administered to greatly aid the healing of the vocal anatomy, which had been released from the pressure of the sound.

Question – How does it compare to the conventional vocal coaching?

The answer is – IT DOESN’T!!! Conventional vocal coaching suggests to do the exact opposite of the above – i.e., the useless exercises and scales are offered, which are drowning the voice lower into the anatomy and, thus, disturbing the anatomy and inevitably causing its damage.

Those exercises are not applicable to any singing and therefore, nobody was ever able to point out to how to apply them.

Question – Does the Vocal Science(TM) method suggest the artist to change their “natural”, bad life long adapted habits?

Answer: NO, IT DOES NOT OUTRIGHT. However, the experience shows that while going through the process, the artist naturally stops not only the bad vocal habits, but also conquers bad habits like smoking, drinking and using drugs, which, no doubts, affects the flora of the throat. However, the Vocal Science(TM) technique is such that the vocal anatomy is engaged in the absolute minimum capacity.

So, even in an undesirable scenario, where the artist smokes, drinks, uses drugs or what have you, the Vocal Science(TM) technique will be applicable and highly usable in any way.

That said, it is not mandatory for the artist to change their familiar lifestyle and feel miserable while adapting the so called “New” conventional vocal technique.

THE VOCAL SCIENCE TECHNIQUE POSITIVELY WORKS UNDER ANY CIRCUMSTANCES.

“She is talented and has a great voice!” People are exclaiming.

Figuratively speaking, it brings me near the “heart attack” to wake them up and instill some substance, first into their brains and then, if I’m lucky, activate their motor skills, which the majority of them are not possessing at all. In other words, to walk and chew the gum at the same time would be a great challenge for my “troubled” students.

The Vocal Science method requires the integration and synergy between mental, physical, emotional and finally, vocal state. To get to that vocal state I need to invent a “vocal-fibrilator” and not only for the client, but for myself as well (would be funny if it wasn’t so sad). I, evidently, am not getting any younger and due to that factor, it’s becoming harder and harder and almost nearly impossible…?

My vocal session with the student used to consist of minimum to say, five parts. The first part would contain the speech exercises, which establish the foundation for the “vocal house” so to speak, to be built in the later stages. The first exercise is to count to five with the proper placement and projection. For some people, it takes about an hour…? How so, you may ask? It requires also the movement of their feet and arms, and to coordinate all of that together, for the majority of the population, IS NOT POSSIBLE, or at least NO LONGER POSSIBLE. THAT’S TO MUCH TO ASK, they say. They’re accustomed all day to sit at the computer or play electronic games on their phones. “You mean you want me to walk and talk at the same time, let alone sing?!” they exclaim. They’re so confused and scared and perhaps even more scared than if I were to ask them to climb Mount Everest or to swim across Lake Ontario as one of the teenagers is doing as we speak and all for the good cause. Way to go! Maybe, after she does, I should inquire if she wants to learn how to sing now, as maybe, (stress maybe) she actually will be able to coordinate some movements with her voice and not only apply her motor skills in relation with the water. It’s good to know that somebody still actually’s got it.

In a real sense, how pathetic is that? Just even five or ten years ago, nothing like this was a problem or even a concern. In fact, I was able to do speech exercises, singing exercises, reading of the song in proper syllables and singing of the song while concurrently video taping the performance in only 75 minutes increments. And at that time, with absolute certainty I could say, “Beginner to Pro Singer in 10 Hours, Guaranteed!” Very outrageous claim, but I have numerous of artists who I produced then in 10 hours, i.e. Raine of Our Lady Peace (Sony), Alex Norman of illScarlett (Sony), Brian Melo – Canadian Idol of 2007,  Lukas Rossi – winner of Rock Star Supernova television show, Brian Pisani – One second Too Late (Sony), and Trish Campbell (EMI), just to name a few.

Now, my presumption is that to produce somebody of their calibre, I would need minimum 30 – 50 hours, if I’m lucky! And now I’m running my sessions in 2 hour increments and still not accomplishing all of the components I used to accomplish in 75 minutes. What does it tell you?: The world’s gone crazy and getting crazier by the second. The world’s evidently gone deaf, as they’re worshipping the ground of the artists who cannot “carry a tune in a bucket” and some of them cannot sing to “save their lives”. The people, in a manner of speaking, are physically disabled and cannot perform even simple tasks, which require coordination. Therefore, when instead of singing they’re watching a live video on stage with non-identifiable gender dancers, they’re completely amused, as these people could dance and even “lip sync” at the same time. Britney Spears once exclaimed, “Oops. My microphone was accidentally on.” That should have come to us as an absolute warning, as it took place some time ago, when some normalcy and some human vital signs were still present. She definitely was a pioneer in planting the seed and now the flowers of her labour are in a full bloom!

In 1994 the Brampton Guardian newspaper wrote an article about me, which was called “Voice Coach Teaches A Mind Over Vocal Cords Philosophy”. That was then and today the minds are somewhat present (due to the 24 hour invasion of the internet), the bodies are present very remotely and the interconnection between the latter and the former, hardly exists or fluctuates like electrical short circuits with strong activation from my part. So go figure!

Is there a solution? I’m not quite sure about it. As the more technology being introduced, the less brain and body cells are being present and being active. Where are we all going? Hopefully, not to the end of the world, but, however, it is quite probable and might not necessarily be a bad thing.

What was happening before is the history. What is happening today is the reality. And today’s reality is very confusing and at times, disheartening.

On one hand, the people are much more advanced now than they’ve ever been. In what sense you may ask? Definitely technologically. Also quite definitely, intellectually, as the technology gives them access to much wider venues than they could ever dream of before. Yet, physically, it’s another story.

The Vocal Science(TM)method, which I advocate for quite a few years, requires an integration and synergy between metal, physical, emotional and vocal state. Unless all of those components are working in compliance with each other, the mechanism required for the voice to work in its fullest capacity possible, cannot be launched. In the majority of cases, the physical component is just not present.

How could it be so, you, the reader, might be wondering? The fact of the matter is that the people are not physical anymore. They spend too much time at their innovative electronic gadgets and not enough time embarking on any physical activities. Purely and simply, they cannot “walk and chew the gum at the same time” and thus, I should say, they cannot “carry a tune in a bucket”. The balance and coordination are just not present. Therefore, the physicality of the sound cannot be enforced or can be, but with great difficulty. In other words, the people’s physical body is at least five levels below their intellectual capacities.

It is sad, but it is the reality today. Every day it is harder and harder to make people physically apply the vocal techniquesthey’re taught. Their untuned physical bodies are simply not allowing them to prosper.

Where are we all going with the advanced technology, I don’t profess to know. But my wild guess is that we’re not going to the new heights with our health and overall prosperity and definitely not vocally.

Diana Yampolsky is the Master Vocal Coach, Studio Vocal Producer, and Non-Surgical Voice Repair Specialist at The Royans Professional Vocal School in Toronto, Canada. She is also the creator of the Vocal Science (TM) method and Talent Scout & Director for the 4 A.M. Talent Development and Artist Management Group Inc.
 

If you find yourself struggling with vocal performance or are in need of voice repair, you can reach Diana by email or phone, Toll Free in North America, at 1-888-229-TUNE (8863)

Let’s suppose that you know a lot about computers, but do you know how to fix it if something goes wrong? Let’s say you’re a good driver, but if you break down in the middle of the trip, will you be able to fix your car and continue your road adventure? The majority of people will not be able to do that and they will rely on professional help.

There is absolutely nothing wrong with that, as nobody could be good and knowledgeable at everything. However, some people do not admit it and try to rectify all the problems themselves and quite often fail to do so and do rather more damage than good. If to refer to the music business, I can forever elaborate about my experience (vocal consultant expert in studio) working with music producers who were claiming and posing for the great wizards in vocals. I can assure you, being working in studio productions for over 35 years that in 99 and a half per cent of the time, it wasn’t the case. Moreover, in some cases, the vocal performance was completely destroyed and was already by that time, beyond repair. In more severe cases (needless to say, without my presence in the studio) the voice was almost completely destroyed as well, by numerous and hours long repetitions of the same high range notes, while the artist was trying desperately to hit them by fluke without any proper guidance. Nevertheless, the latter was suggested and enforced by the producers involved.

So, the benefit number one of the vocal coaching is to be able to assist a trained artist not just in your studio, but in the recording studio with both -  technically and stylistically.
The benefit number two is to be able to instill confidence into the artist to the degree when the artist can reciprocate at least 95% of the recorded performance live on stage. The knowledge which the artist is supposed to get during the voice trainingand recording should shine out during the live performance as well and stand on its own leg, using the background dancers and choirs supplementally and not instead of the main act.

And lastly, while doing all of that, do not forget about the main component – health and safety of the voice. It’s very easy in the heat of the moment to push harder – to sing louder – and then before you know, the vocal cord snaps. In my book, “Vocal Science – Flight to the Universe” it’s called “Vocal Impotence – In Need of Vocal Viagra?”. Indeed, the vocal cord may lose its elasticity and strength, thus ability to perform in its full capacity. Just like a guitar string which was strummed too hard and too many times and then, as a result, hung right off the deck. The difference is that you can put a new string on the aforementioned guitar, but can you put a new vocal cord in your vocal box? UNFORTUNATELY NOT!!!

So please save and protect the existing vocal cords and remember that your vocal anatomy can take only so much, as it’s evidently not made of steel.

If, unfortunately, it already happened, there may be help on its way:

Non-Surgical Voice Repair!

God forbid you need it, but if you do?

With the proper technique which does not require the excessive use of the vocal anatomy and with natural herbs and remedies, which will greatly aid your voice and your vocal cords, per say, it’s actually achievable in the majority of cases.
Please remember that any invasive laser surgery or scalpel surgery may not rectify the problem and moreover could leave a scar tissue. The perfect example would be Julie Andrews who never could regain her singing voicedue to unsuccessful surgery, which left her with the scar tissue.

So practice safe singing or you might be left voiceless! God forbid…

Yesterday, I happened to catch a kids show called “Next Star”. It is formatted the same way as the Canadian Idol used to be, or for that matter, American Idol is. There are judges and there are young kids voting for other supposedly vocally sound young kids who are taking the stage. Pretty innocent concept, but not only kids for the kids show and adults for the adult show cannot differentiate good notes from bad notes, in tune or off tune singing, but judges are definitely getting more deaf than ever.  Maybe that happened because for all of these years, they’ve been listening to bad singing and partially (hopefully not yet completely) lost their hearing. Or maybe they gave up on the idea that somebody actually can sing in tune and remotely resemble what once was called music and singing in particular.

This is a big riddle and still remains to be unsolved…

On that kid’s show yesterday, during the last 6 “BEST” finalists, they were praising out of their wits a couple of semi-tone deaf girls (to put it mildly) and been calling them Divas! I understand you have to have a nice and positive attitude towards children, but how did they end up in the finale? Does that mean that the rest of them were completely and utterly tone deaf and with no hope? It makes me wonder and it makes me sad. For a fact, I know that Canada possesses a lot of talent. There are a lot of wonderfully talented kids as well as adults who for whichever reason never get discovered. Why? I don’t know. This mystery remains to be unsolved. But I seriously believe that society conditions us to worse and worse singing and moreover, that hardly bearable singing is passed and accepted FOR THE STANDARD…?

One of my colleagues listening to Rhianna’s live performance of “Only Girl in The World” said “Why doesn’t she just lip sync? It would be less embarrassing.” I replied, “Don’t worry. They’re working on live show auto-tunes now, so soon, they will stop destroying our ears, but they, no doubts, will destroy our hearts and souls.”

How disheartening is that?