Non-Surgical Voice Repair

I’ve been teaching vocals forever and close to four decades now. But never have I experienced such difficulty to deliver my Vocal Science method to people who claim that, minimum to say, they want to learn how to sing properly. Simply speaking, in my opinion, they are hardly possessing any vital signs, at least during the first 5 – 6 hours of instruction. My guess is that the people who are in an actual medical coma have more vital signs than my so called up and coming artists. How sad is that?

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.

I’ve been teaching, consulting and recording vocalists for close to four decades. I’ve also been conducting group vocal interactive workshops and seminars for the longest time. It is extremely interesting to watch and experience the changes with each generation.

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)

What are the benefits you may ask? I will try to specify it for you and just will name a few.

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?

Nowadays, almost every artist and especially ‘so called’ artist in the recording studio using auto-tune and, or a more modern version of it,  Melodine. What’s that, the not so musically experienced reader may ask? That is the computer software which is designed to correct pitch for semi tone-deaf “artists”. Many years ago, I received a call from one of the recording studios pleading for help. The person who called me was almost screaming over and over “Please help, our bands are breaking auto-tune”!

How so, I exclaimed! Is it even possible? Apparently, IT WAS!

Next, When I went to a prominent recording studio with my client, I asked a well known engineer/producer if it is actually possible to “break” an auto-tune? He said “absolutely”! He explained that it meant that the singer of the band was so far off in pitch, that even auto-tune was unable to correct it. Those days, the melodine software was not available yet. (It probably would be able to tolerate more). Either way, wouldn’t it be easier if the singer would’ve had a talent in the first place and also would’ve been taught how to access his “internal auto-tune”?

Once the artist is able to access his voice more so by design and not just by “playing it by ear”, the pitch and improved and distinct tone in the vocal performance should not be a problem. When the alignment between subconscious and conscious mind is achieved, as well as connection  between the “picture” instilled in the mind and the physical body, which plays the role of “the so to speak instrument” is also achieved, the voice in its entirety and purity will be sent to it’s aimed destination in its perfect pitch and desired projection.

This is “in a nutshell” a description of how the “Vocal Science™” method works. In other words, “work smart, sing in tune and comply with standerds of professional singing”…

WHICH EVER THEY ARE!

“The voice” is a new television show which at a glance has a very commendable purpose. The Judges are trying to find the true vocal talent independently of age, looks, and even performance skills. WOW! I first exclaimed! “My prayers were answered” I thought. The whole thing is about the voice and the voice only!

What about their heart and soul? What about their passion?

As I mentioned in my previous blog, at the beginning of this season of American Idol, I thought it would be stronger then ever. At least the auditions did suggest that finally the judges chose the top American singers to compete amongst each other. As the show progressed to the top 12, not only their singing abilities started to subside, but more and more showmanship started to thrive. They did everything, but not to much singing. We’ve seen fireworks and have witnessed the African Dance, but singing…? What that had to do with it? Evidently, Not Too Much! The judges were extremely fascinated by the African Dance, but didn’t not pay much attention that the voice of the female contestant which was quite limited and definitely very pitchy. Then the rock and roll contestant came along and O’ Boy! We had the whole “Cirque Du Soleil” on stage. I’m trying to recall what he was singing, but for the life of me I cannot remember. One more time again the judges were fascinated and especially with the show, but SINGING…What was that about?

I honestly can say that only one female contestant presented her singing (less the circus) up to standards. However, judges through out her last several appearances were commenting that she’s been singing only ballads and so to speak, not jumping around enough…?

They could not clue in that in her case she actually didn’t have to jump around, as she ACTUALLY WAS SINGING, and looked and presented herself as a real Diva, where to my surprise, the very judges acknowledged her as one. They even compared her with Celine Dion and on that note I have to say that throughout all 80’s and 90’s I was absolutely flabbergasted by her Diva performances and for me it reached the absolute culmination in 1997 and 1998 when she performed at the ACC the songs like “My Heart Will Go On”, from the movie “Titanic” and other beautiful ballads like “Tell Him” in duet with Barbra Streisand.

No doubts, Ceine Dion acted, looked, and sung like an absolute Diva.

Then she took a break to deliver her first child and then, shortly after, she has gotten an engagement in Las Vegas. When I looked at the preview, I said right away “What happened to her? Did she change her profession and now she became a circus artist? She was jumping and tumbling around like a circus artist clearly taking away from her Diva image which I once loved very much.” In January 2006 I happened to be in Las Vegas and took upon a lot of shows, but Celine Dion’s show wasn’t one of them. I also referred to it as “Cirque Du Soleil” performance, not even knowing that the producer of that show was actually the producer of “Cirque Du Soleil” GO FIGURE!

Call me old fashioned, but when I’m going to see the concert (and the last one was Lady Gaga‘s) I’m hoping that I will have something valuable for my ears, rather than only for my eyes. If you’re interested about my opinion, with respect to that concert, please read my previous blog:

http://vocalscience.blogspot.com/2010/07/todays-entertainment-biz-lady-gaga.html

That performance by Lady Gaga was even beyond “Cirque Du Soleil” if it is at all possible!

On this note I just have learned that CTV will be airing a new show called “The Voice” where the celebrity judges will be picking out their contestants BLINDLY without seeing them or their performances.

“In the first two weeks, singers compete in the blind auditions where the coaches can only hear “the voice”, and not see the competitors. When they like someone, the coaches hit their “I Want You Button” to select singers for their team, turning around in their chairs to see them for the first time. After selecting competitors based solely on their vocals, the judges battle to keep their singers in the competition, enlisting the help of their personal songwriters, producers, and high-powered friends to help their teams evolve.”

Isn’t that a REVOLUTION!!!

Finally!!! Ordinary people and celebrates are in agreement with that when it is about a SINGER it first of all has to be about the VOICE and everything else is secondary.

However, don’t get me wrong; I don’t deny the performance, good looks and sex appeal. Needless to say though, all of the above should not be used INSTEAD OF SINGING, but rather moderately along with IT!

Thank God, IT SOUNDS LIKE…

MY PRAYERS HAVE BEEN ANSWERED!!!

I’ve been watching American Idol quite precisely for at least the last decade and this time watching the auditions, I said, “Finally, the singing quality is becoming quite strong and definitely more listenable than ever before.”

Little did I know. After that last 12 “best” were chosen, the quality of singing all of a sudden subsided substantially. How so, you may ask? I don’t know for sure, but judging by previous experience of watching my own client on the “Rockstar Supernova” television show of 2006 and my other client on “Canadian Idol” of 2007, I could certainly say that somebody was so called “helping” them to “achieve their dream”by trying to teach them in the last minute (whether it was a vocal coach or producer) some new “vocal tricks”. Both times watching my own clients on the above designated shows, I nearly fell off the chair while listening to their “new and improved” version of their chosen songs.

Going back to the day, the Canadian Idol management of 2007 introduced themselves to me and said if I had any questions or very talented students, to send them their way, to feel free to do so.

Brian Melo wasn’t one of them, however, I did address three others to them who did not make it through Canadian Idol, but became quite well known performers down the road. One of them made it quite big and her name is Trish Campbell, who is now signed with Capitol, EMI Records.

Nevertheless, using the name I was given for the reference, I called and asked to explain how come all of the participants, including my own client, all of sudden started to sing off key and in a very strange manner. After me inquiring to what happened to the participants and my client in particular (as I’ve never heard him singing so badly), they explained to me that they just hired a vocal coach to help the participants to address all of their vocal needs before the grand all performance. I’m not sure what services were performed in that regard, but I was almost sure that my own client would be voted out of the show with the speed of a bullet. However, all the rest of them were even worse and were becoming worse and completely unlistenable by the minute. To the credit of my client, he quite quickly picked up the pieces, as he had a very good foundation which I instilled in him during our vocal course, and needless to say, won the competition.

Prior to that, in 2006 my other client well known today, Lukas Rossi, was picked on every level and commented on his possessed “unknown vocal technique”. Almost every episode there was a scroll “Lukas owns some kind of unknown vocal technique. Let’s find out what it is.” He, like Brian Melo, almost succumbed to Jason Newstead’s of Metallica comments and instructions; “Lukas, drop your jaw down. Show me your gift.” Needless to say, Jason Newstead never sang a note in his life, however was a very well known bass player (frankly, given that fact, I could not relate to the relevance of his comments). Meanwhile, the same vocal coach, who was next year hired for American Idol, suggested the same thing. Lukas resisted at the beginning, but then he was advised that if he didn’t comply with the rules, he would lose the place in the competition. So he too started dropping his jaw down and screaming from the bottom of his throat. Luckily, not for long, and thus he was still able to preserve his real gift – the musical talent married with the Vocal Science technique.

And now, whoever is working with the American Idol’s best 12, definitely had some input into their vocal performances. Granted, the performance aspect (dancing, prancing and what have you) was done down pat. Whoever is responsible for choreography and stage presence is doing an amazing job. Whoever is responsible for their vocal performances is having an opposite effect on the quality and presence of vocals. All of a sudden, more than half of the best 12 are singing off key, off tone and off tune. Some of them picked up a strange vibrato on their voices and sound quite operatic while attempting the pop tunes. It is extremely sad, as they’re supposed to be the 12 best in all of North America and I thought that they would be…? But somebody definitely had something to do with it, that they started sounding rather funny and definitely not up to standards.

In other words, we’re witnessing a glorified karaoke in the worst understanding of that word. Very sad indeed. Is there a solution? I guess it remains to be seen and heard…

A long time ago Citytv launched “Speaker’s Corner”. Anybody could stop by and verbally express their opinion about anything. Some people were actually singing, while hoping to get noticed and make it big in the music business. And YES…BINGO! The band “Barenaked Ladies” were noticed, picked up by music industry professionals and then the band made a very significant mark, becoming icons in the music industry to date. Sounds like a fairy tale, huh? But that happened and it’s real. However, at that time it was quite sensational.

Today, we all own computers and we all can easily and quickly access YouTube. In a manner of speaking, it is a “Speaker’s Corner”, but in the convenience of our own home or at our desk at work. With that to be available, the well known manager, Scooter Braun was surfing the internet and YouTube in particular, when he discovered a young boy who is now the well known artist, Justin Bieber. The “Biebermania” took off and along this premise two young girls (Maria Lourdes Aragon of Winnepeg and Heather Russell of Toronto, Canada) were recently discovered. Maria was discovered by Lady Gaga, who was fascinated by the little girl performing her song “Born This Way” and Heather, outright got a record deal with none other than the former American Idol judge, Simon Cowell. This modern technology already helped a great deal to launch the now huge teenage artist, Justin Bieber, and those two girls are definitely along their way to stardom as well.

In my opinion, it’s absolutely amazing, as the music business for the last at least 20 years became nothing but a factory of artificially manufactured stars. Those so-called “stars” were mainly picked by their looks, ages, right connections, and the money put behind their careers. We all know that a lot of so-called “singing” could be fabricated in the high tech studios. And if the budget is adequate enough, the production will sound quite profound. Now we have the looks and good sounding studio recorded tracks and then what? Then, the majority of times we have an artist who cannot perform live or nevertheless resemble anything remotely close to what has been recorded. In their concerts, however, they have very knowledgeable sound engineers behind the stage, which are there on stand-by to pick up the sound which was originally recorded to substitute for the sound which is hardly coming out of the so-called manufactured “performer’s” mouth. Then no wonder well known sources such as the Toronto Sun, start publishing articles about those fabricated performers, in this instance Taylor Swift, calling them outright and outloud “tone deaf”:

“Thanks primarily to her stunningly tone-deaf Grammy performance, Swift ended up being the big story on Grammy night — but not in the way she had wished. Critical opinion of her three-song mini-set — which included a mercifully brief duet with Stevie Nicks on Fleetwood Mac’s Rhiannon — ranged from the somewhat diplomatic “painfully out of tune” to the slightly more pointed “off-key caterwauling.”-Darryl Sterdan

Justin Bieber, however, and the two new young female rising stars are truly and naturally talented. They were chosen for the right reasons and thus, hopefully down the road, they will not destroy our ears and turn us away from the concert arenas. However, being a vocal educator for over 3 decades, in my opinion the talent has to be supported with the proper knowledge, especially when it’s concerning the human voice.

Stay tuned for the Part 2 for a blog: “Vocally Yours: What’s Greater? Playing It By Ear Or Doing It By Design?”

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). Local and International Inquirers please call: 416-229-0976.

www.vocalscience.com
www.repairyourvoice.com
@vocalscience

Being a Non-Surgical Voice Repair Specialist for over 35 years now, I have seen a lot of cases where the full or partial loss of voice took place. There were different people, just the ordinary want-to-be singers or speakers and some were definitely active professionals. There were different causes and different diagnoses, but what was in common was the misuse and overuse of the vocal anatomy in general. Mainly, that was happening due to the wrongful application of one’s voice; speaking or singing. The conventional vocal coaching suggests to people who want to learn how to use their voices “correctly” to drop their jaws down, to bend their knees, and feel really grounded and use their vocal and other parts of their anatomy as much as possible. What do they accomplish by doing all of this? The limitation of the vocal range; used, abused and strained vocal cords; and the sound which is evidently crashing down and dying at the performer’s feet. Not very pretty, huh?!

Moreover, I have met some skinny people who looked like they were 5-7 months pregnant, by sticking their stomach out, supposedly for the right breathing, they were simultaneously making their abdominal muscles weaker than they normally should be and thus acquired disproportionately looking big stomachs which made them look, minimum to say, pregnant. My term of comparison is that they looked like “pregnant ballerinas” to say the least.

Meanwhile, not on a music note (no pun intended), the whole fitness world is reciting about stronger and better looking abdominal muscles and definitely nice and flat tummies, which are very much in fashion at all times. Where, then, do the vocal coaches get an idea that they have to work against human anatomy and against any logic, drowning the voices down deep in the anatomy instead of helping their performers to release the pressure of the sound off of the anatomy and make it fly above and on top of the body, just like spirit (which in a matter of speaking, the voice is) will always fly away from the physical body and not along with it. Moreover, the voice is a unique instrument which every individual possesses. Once that voice is trapped inside of their anatomy, the whole so-called “performance” becomes very anatomic and not spiritual at all, not to mention that all human beings have the same anatomy, especially if they’re the same gender, and the only difference then is the presence of gender specific organs. All the rest of the organs are absolutely the same for both genders. The voice flown off of the physical anatomy should be as unique as the finger prints of each and every individual. I know that any performers who I have produced over the years have had very unique tones and their voices could be recognized very easily, even if you don’t know the song they might be singing.

“How would you achieve that?”, you may ask. I have an answer for you, as I have found the mechanism which will allow your voice to work at its fullest capacity possible, yet with no pain or strain on your vocal anatomy. By utilizing this mechanism, you will be able to restructure your voice from the vocal box to the set of your facial muscles which will represent a natural resonator, or amplifier in this case, and then put those facial muscles to work in full conjunction and coordination with your abdominal muscles for the greater support of the sound and, thus, then minimize and practically eliminate the use of your throat, larynx and vocal cords.

However, if the voice was already damaged, to do just that might not be enough. Therefore, simultaneously with the proper instruction, I would administer natural herbs and remedies which will greatly aid to one’s voice. Needless to say, those remedies will be obsolete unless the voice is released from the vocal box and the singer operates through the different channels and in the new found way.

This is also applicable for singers like Justin Bieber who, evidently, are going through puberty now and whose voices are drastically changing to become lower and manlier. In this instance, I could with absolute certainty say that using my revolutionary approach to voice mechanics, the puberty would not matter and male singers like Justin would be able to continue to enjoy their performances and go through puberty rather smoothly and without dramatic changes. In my opinion, Justin needs to learn the above addressed application of his voice and since his anatomy seems to be somewhat strained, which is natural for any singer when they’re experiencing difficulties to push stronger, his vocal box has also to be carefully nurtured and thus simultaneously to be healed while he will be trying to reach the new heights.

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). Local and International Inquirers please call: 416-229-0976.