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  • Producers: Have an easier role with the well-trained artist who will not lose their voice during the production.

  • Managers: Save time, money and aggravation by your artists not cancelling their performances, tours and other appearances.

Let’s look at the recent related events:

Singer, Mariah Carey, who has recently been on tour in Japan, was embarrassing herself while literally losing her voice on stage singing off key and not reaching any of the high notes. Obviously, she needs some sort of voice repair before it will become irreparable.

Also, people who loved and cherished her before are now deeply disappointed and even some of them are quite annoyed, as she definitely has not lived up to their expectations.

So this is the question.

Why, neither her or more so, her manager, do nothing about it? Are they waiting for the time where a vocal operation will be inevitable? Why bring it to that drastic point? Who knows? I do not have an answer.

Let’s look at the situation of Chad Kroeger of Nickelback. He was recently diagnosed with an operable cyst on his vocal box.

I, personally being a voice specialist, knew for quite some time that there is something wrong with his voice, let alone his singing overall, which is definitely not up-to-par, (at least from where I sit). I knew that sooner rather than later, that he will not be able to push his voice around much longer.

As all musicians know, “no gig lasts forever”. Obviously, the refund for the purchased concert tickets has been already offered.

My question is still the same…

WHY have him and his manager had to bring it to this extent? Obviously, in this instance, everybody took a loss: The singer, the manager (management), concert promoters and the audience.

However, from the point of view of the audience, rather then to listen to the not-very-adequate singing, (to put it mildly), the audience should look forward to the new and recovered voice of Chad Kroeger, and hopefully attend some of his concerts in the not-very-distant future.

And lastly, Roger Daltrey: The lead singer of The Who.

He was ordered a vocal rest for his vocal cords, and thus rescheduled his Toronto tour and pushed it to December (to the great disappointment of my son-in-law, who happened to be a huge fan of the artist and the band).

The only problem I have with the doctors order to go on a vocal rest, in my opinion, will only help momentarily, but will never solve the actual vocal problem caused by wear and tear of the vocal cords and by not-quite-proper application of the voice which, in turn, drowned that voice in a much lower position which naturally prompts the artists to pull and push their voice out on the surface, while concurrently promoting the strain of the vocal cords.

So the problem has to be rectified by going to the source, addressing the cause and then by taking the appropriate measures to recover and heal that voice so it could last for, lets say, the next 50 years.

So the moral of it all is:

  • Artists: when you notice the change in your voice in the quality and range, don’t continue singing and performing, pretending that nothing has changed. It will only bring you to a deeper vocal trouble, which will be that much harder to repair and restore back to normal.
  •  Producers: When you notice that your artist is not performing as per standards, please stop the role and address it to the artist. Please make him aware that he has to look into his voice and make sure that it is healthy enough to continue the recording production.
  • Managers: If you want to have your artist perform and tour and not cancel his engagements, please start managing the artist’s very instrument (the voice), and if you spot a problem, please address it right away, as in the long run, the artist and you will lose more in the future then you would gain momentarily.

Lately, we are hearing more and more about people’s vocal tragedies.

Some of them have been suffering for years with the loss of their regular voice, speaking and/or singing. Majority of them went to all kinds of doctors and specialists and have been diagnosed with all kinds of health problems related or, most of the times, not related to their vocal performance. The loss of their original speaking and/or singing voice had been blamed on all kinds of the person’s internal health.

Yes, granted some of the internal health problems may be related to the quality of the voice.

For example: If the person practicing an unhealthy diet i.e. consumes a lot of dairy products, that person most likely will possess a lot of mucus everywhere in the body, vocal anatomy included. If the person eats a lot of acidic products like tomatoes, oranges, red meats and others, no doubts this person will suffer from acid reflux.

That said, if they do have a problem with their range and projection of their voice, naturally, their voice is drawn to the lower position, thus it is prone to meet the gastric acid which, in turn, will begin to burn the vocal cords. That said, the inner health and outer fitness would definitely help with whichever vocal problems and/or issues the person may experience.

The cleaner and more fit the physical body is, the stronger and more vibrant the persons’ mind will be also.

The Vocal Science ™ method requires the lift of the voice to the set of the facial muscles/cavities to release the pressure of the sound from the vocal box and vocal cords, per say. If you visualize a ballerina trying to jump taking off of a thick carpet, you can imagine that not only she, most likely, will injure her ankle or knee, but also would never acquire a needed height to accomplish the pas de deux.

That said, if the vocal cords are covered with mucus and the bottom of the throat is full of gastric acid, to lift the sound off of “that ground” could become quite difficult. For that, I am using natural herbs and remedies to clean up the surface of the vocal box to be able to achieve the lift of the voice with the support by the abdominal muscles. So the flora of the throat becomes clean and begins its healing.

The doctors usually “bombard” their clients with a whole bunch of scary sounding definitions and diagnosis. The clients usually tell me that they have no idea how to read, let alone understand their medical transcriptions/reports. It is usually extremely over-exaggerated and, for the longest time, I could not understand why.

One of my new clients reports suggesting that he has had preoperative and postoperative care. In reality, the person never had undergone any vocal surgery whatsoever.

In the not so very distant past, I had a person who worked as a medical assistant and she advised me that every move the doctor makes has a special code.

For example: If the doctor checks your blood pressure, he charges the insurance, (here in Canada), $200.00. I am, sure the ENT specialists are charging for all of their checkups, scopes, and etc..

So my assumption is that the more the doctor writes, the more he is able to charge either the insurance or the person individually.

This is just my general subjective opinion. Take it for what it is.

Sometimes, in fact, “they are right on the money” and they produce the right diagnosis, but they still do not offer, or even suggest, any meaningful help to the sufferer. In majority of cases, the problem is mechanical, but very often coupled with the physical and emotional state of the individual.

So my duty is to dissect the problem into pieces and work on each piece individually and collectively.

That’s what I call forensic analysis and expertise, and yes, it is very applicable to any voice issues.

We all know that whichever health problems we have, the best way to conquer them is, first of all, to prevent it. However, if it already happened, the second best way to deal with it is non-surgically, if possible.

The third apparent way is to embark on a surgical procedure. However, the latter is much more dangerous than the other two options.

Look at the case of Julie Andrews; after undergoing a botched vocal surgery in 1997, she lost her ability to sing forever and never regained her real singing voice ever since.

Joan Rivers, not too long ago, went to a prestigious New York hospital to the outpatient ward to remove a simple polyp and, as a result, she never came out of the operation room.

And lastly, there is Sam Smith, who luckily came out of the O.R, but with no ability to speak for quite a few weeks. The rest remains to be seen. 

I wish him all the best and a full recovery of his vocal injury. However, with the best scenario, what is going to change after the vocal surgery? Hopefully, the vocal cords will be repaired and the bleeding will stop, but for how long though?

In other words, the “instrument” is going to be fixed, but what about the “player”? Let’s suppose that the most famous pianist, Liberace, would try to extract the sound from his pink Grand Piano, hammering at it. What would happen to that famous Grand Piano he was transporting, along with him, everywhere he was touring? Let’s presume that it happened and the famous pianist found a famous piano repair specialist. Liberace paid him enough money to fix his favorite Grand Piano.

Now what?

Poor Liberace is still continually hammering the aforementioned Grand Piano.

So take a wild guess… What happens next? It is very easy to guess: His famous pink Grand Piano will be ruined one more time again.

If you are still wondering why, this is the answer…

Because NOTHING had changed! The instrument was fixed, but the player is still hammering… So, if any singer who has undergone a vocal surgery will still continue singing in the same manner (as he did before), no doubts, the problem will reoccur and might get even worse the second time around.

Look at John Mayer. He removed one polyp, than regained two. Then removed two and regained more.

And lastly, look at Adele’s case. After bleeding polyp surgery and five month of silence after the fact, she luckily regained most of her voice.

But when (right before embarking on the performance at the Grammy Awards in 2012) she was asked by the interviewer, who happened to be CNN’s newscaster Anderson Cooper, “Do you think that it could happen to you ever again? “ Without any hesitation, Adele replied, ABSOLUTELY!

Naturally, the interviewer asked, “why”?

Adele replied, with absolute certainty  “If I decide to go on a 200-date world tour, it would happen again.”

That said, being smart and aware that nothing had changed with respect of her vocal technique whatsoever, she then totally knew that the initial voice problem would occur over and over again.

We all know that she never went on any tour after her vocal surgery.

As a matter of fact, I know that she wanted to take a five-year break right after that occurrence. The whole ordeal scared her out of her wits, understandably so.

Since she had the understanding that her vocal application and technique of doing it before the vocal injury has not been altered in any shape or form, she clearly was aware that the new vocal injury most likely will still occur, and possibly multiple times.

The moral of it is: there is no change, without change.

If the vocal application and vocal technique are not modified in such a way that the vocal cords and the whole vocal anatomy becomes released from the pressure of the sound, the vocal injury will, no doubt, take place.

If you are interested to find out more details on Non-Surgical voice repair and post operative care, please give Diana Yampolsky a call for a free consultation on any of the voice issues or vocal problems you, or your loved one(s) might have.

416-857-8741

www.vocalscience.com

www.repairyourvoice.com

Indeed, should you give up, or rather do something, which will (at least) improve the quality of your life?

What are those untreatable, nasty voice disorders?

It definitely is vocal paralysis (paresis) or both vocal cords, the severe forms of spasmodic dysphonia, the severe forms of muscle tension dysphonia, scar tissue on the vocal cords, damaged vocal box and it’s anatomy due to/or during the surgical procedure and many more others .

Once, not too long ago, in my office/studio walked in a middle-aged, pretty handsome Asian man with his wife. It was very sad to try to speak with the man, as there was nothing else coming out of his mouth but mooing. I could not understand one word he was trying to say. Then his wife took over the “conversation”.

She told us a story that her husband had a cancer of thyroid. Then the doctors first were trying to get rid of the cancer, they conducted a surgical procedure, which had paralyzed one of his vocal cords (vocal paresis). Then he was suggested to undergo chemotherapy and radiation treatments, which, naturally, worsened his voice condition.

He became even more raspy and hoarse and then became hardly understood.Then doctors decided to proceed with the second operation to remove the remaining cancer from his thyroid. After he came out of the second surgery, his second vocal cord was also completely paralyzed. How horrible it might be for the man in his mid-40’s to have communication difficulties, to the point that he could not form any sensible words!

He came with the hope that I will offer him a magic pill and a magic cure…? On one hand, of course, you cannot blame him that he was looking for a miracle. On the other hand, how realistic is that?

I have explained to him that his condition cannot be cured, either by me or anybody else for that matter. But what I could have done for him is improve the quality of his speaking; to improve clarity, annunciation and pronunciation, if not for all words, but for the majority of the words.

How would I do this, you may ask?

With the great difficulty, a lot of patience, huge intensity on both of our parts, employing the tedious Vocal Science ™ method and all of my 40 years experience, dealing with the health related (and other kinds) of voice/vocal disorders. I would teach him how to speak, employing facial muscles, the use of which would make his voice at least 4 times more resonant and amplified.

Also, employing along with facial muscles, the abdominal muscles, would allow him to have a greater support of the sound, the proper lift of the sound off of the vocal box and thus he would become more understood, which means his confidence would be improved by far and the quality of life would be more enhanced and escalated. Unfortunately, my prospective client could not understand how he could use the different muscles (facial muscles working in full conjunction and coordination with the abdominal muscles) and not the vocal cords.

Too bad for him because, as far as I am concerned, this tedious and intense, syllable-on-syllable, word-on-word Vocal Science™ technique is the only hope he had.

Evidently, not all vocal severe damages are curable, but almost all of them are treatable to some degree. It requires the understanding, willingness and ‘lovingness’, an open heart & soul and true belief in the improvement of one’s condition.

Without the above, there is no point for any of the parties involved, to embark on such, not very easy at all, endeavor.

If you find this content informative and helpful, please refer to our websites for more detailed information, or give Diana Yampolsky a call for a free consultation on any of the vocal problems you, or your loved one(s) might have.

416-857-8741

www.vocalscience.com

www.repairyourvoice.com

Firstly, the answer for the question whether or not you can prevent a vocal surgery, in majority of cases would definitely be yes.

We have seen and heard a lot of artists with great talents and beautiful songs, but the majority of those artists, unfortunately, did not have much of an idea about proper vocal technique, which actually would prevent those beautiful natural voices from, in some cases, severe damage.

They’re usually picked up by the industry based on their talents, looks, and in some cases, well-written songs.

Also, I will never forget, “until the day I die”, when I had an appointment with Sony Music Canada, and before starting the conversation about my own artist, the two Sony executives, almost, right away, when I sat down on the chair in their office, exclaimed: “Where have you been when we needed you last night? We flew over an artist from Vancouver and could hardly pull out any vocals out of him! It was more like we were pulling out our own hair!”

I still, being somewhat naive (at the time), exclaimed: “If he couldn’t sing, so to speak, to save his life, why in the world you flew him over?”

“Yes Diana”, they said. “We understand your point, but he is such a good song writer!”

My question was, and still is, if the person is a good songwriter, does it automatically make him a good singer?

If, for example, I am a good driver, does it automatically make me a car mechanic or a driving instructor?

For some reason, it is presumed that if the artist is a good songwriter, good looking and got his/her charismatic performance down pat, it grants him a “license” to be a “professional” singer.

In my books, it’s called a “license to kill” and in this instance and reference, to kill their own voice no doubts!

VERY WRONG IDEA!

To be able to withhold the pressure on the human voice and vocal anatomy, you really need to know what you are doing with respect of the mechanics of the voice.

One more time again, if I am not a car mechanic, I will, for example, not mess with the car engine, carburetor or alternator for that matter.

I will hire an authorized, licensed car mechanic.

For some reason, neither the singers nor the music industry professionals ever think in this capacity or terms.

They overload their artists with huge tasks concerning their voices and then they get surprised that the artists’ voices seize and most likely, the singers (under their, so called, care) will be facing the vocal surgery.

To answer the second question whether or not the artist could avoid the vocal surgery is not always straightforward and not very easy.

If the voice is damaged severely, the non-surgical approach, at that time, may not already be feasible.

Since the artists are under the contract and have to record, perform and tour, when they feel that something unusual is happening with their voice, they have no choice as to continue pushing and pulling their vocal anatomy to the max until they severely strain their voices and could not anymore pull anything out of it.

At that time, usually in the doctor’s office, they discover that they have bleeding vocal cords, nodules or polyps on their vocal anatomy and/or amuscle tension dysphonia coupled with the acid reflux and fibromyalgia associated with their voice disorders diagnosis.

Majority of the above listed vocal issues are possibly solvable via a special technique, which addresses the lift of the voice off of the vocal anatomy and then the concurrent natural treatment to aid the wounded throat and larynx flora.

So if the artist is practicing a safe and sound vocal technique which allows him/her to save and protect the vocal anatomy and assure the duration of his/hers vocal health, the vocal surgery will never be necessary.

Calling all artists!

If you can AVOID a vocal surgery, please do.

I am sure everybody remembers the case of Joan Rivers.

She went to the outpatient auto laryngology department in one of the prominent New York’s hospitals, to remove a simple polyp…

We all know that she never got out of the operating table.

Safe voice revolution?

Yes, it is.

If you don’t practice “safe voice” your life might be at stake!

More and more people are inquiring about the difficulty of using their voice, as per normal. There are different factors taking place to prevent people from communicating efficiently and with no difficulty, using their speaking voice.

When the voice, sometimes due to a lot of very loud and excessive talking, drops down to its very low position, it begins to sound hoarse and raspy and very low in volume.

The person who experiences the above described symptoms is trying to push and pull that voice to the surface and, of course, the more they try, the less results they get.

Sometime ago, my voice repair client from Boston who used to play in the Blue Grass band, (before her vocal injury) told me:

“Diana, I pushed and pushed my voice, trying to bring it to a normal volume and get rid of the hoarseness, and last August, I knew that I have pushed it for the last time”.

By pushing and pulling her voice, not only did she lose her volume almost completely, she also acquired a nodule on one of her vocal cords.

Now we have had a double whammy.

We had to recover the voice from the “deep swamp” and we had to dissolve the nodule by releasing the vocal box from the pressure of the sound and nurturing her vocal anatomy with natural herbs and remedies.

When she finally arrived to my studio, her both (speaking and singing voice), were almost completely shattered.

By working on her speech, I was able to recover her voice from “the deep end”, so to speak, and once her speaking voice started to sound normal, as a side effect, I had finally taught her how to sing professionally and with no pain or strain on her vocal anatomy.

I have to say that it is still easier to work with the vocally injured singers than with the regular people with just speech problems.

Every singer intuitively knows and feels that their voice is a very sensitive commodity and could seize on them at any given time; where’s regular people with acquired speech problems are, quite often, taken by surprise.

They are talking a lot, they are talking loud, they are screaming at their children’s’ baseball games, the talk on the phone all day, either at work and/or with friends at home, and then “suddenly”, their voice however, gradually, begins to go. Since it has never happened to them before, they do not agree with it, as their whole being is protesting and still desires to be loud and flamboyant. So they force and force their voices out and the more they force, the worse it gets.

Now, finally, they were forced to stop, and that’s where their trauma begun.

So, psychologically speaking, it is much harder to deal with these people rather than with the amateur or professional singers. Not only speech troubled people, physically, have trouble to communicate, but emotionally, usually, they are also very distraught and quite disturbed.

Restoring the voice, in general, could be quite a long, intense and tedious procedure. Therefore, at my work, all of my degrees of education, my extensive experience in teaching and fixing voices, are utilized to the max.

First of all, I have to be a total communicator, as well as psychologist and sometimes even a psychiatrist, as without those skills, I cannot even begin the voice repair of any kind.

The world had just heard about the well-known artist, Sam Smith who, unfortunately, had to interrupt his Australian tour and reschedule his Japan and UK tours. It must be very disheartening when the singer, especially at his heights, has to interrupt his performances and publicly admit that there is something wrong with his vocal anatomy.

The question is: Could the singer prevent such an occurrence?

From where I sit, the answer is yes, he could.

The Vocal Science ™ technique, which I developed, suggests to use less of the vocal anatomy and more of the subsidiary anatomy which actually produces more efficiency in the human voice with less, (or not at all), strain on the vocal cords and vocal box in general. The vocal cords could handle only so much pressure of the sound.

Therefore, the main objective is to remove the pressure, and thus the pain and strain from the vocal cords, larynx and throat, and then to appoint the facial set of muscles to play the role of the natural amplifier/resonator.

To achieve the above, the facial muscles must begin to work in full conjunction and coordination with the abdominal muscles. The abdominal muscles will provide the support for the sound to be lifted off of the vocal cords and off of the vocal box. And also, the circumference, (the body of the sound), will then be established. After the very first syllable of the word, the vocal cords will be relieved to the rest of the phrase, thus a lot of strums by the voice on the vocal cords will be saved.

Like for the heart, we only have so many beats per lifetime. Similarly, the vocal cords could only handle so many strums per lifetime.

The moral of this is: save and protect your voice, trying to avoid the wear and tear on the vocal anatomy. When the vocal anatomy is used excessively, it becomes dry and very vulnerable. In this instance, the singer who has a very heavy schedule, like Sam Smith, could acquire all kinds of vocal disorders, and yes, one of them could be bleeding vocal cords.

For example: If the person wears an uncomfortable shoe, he could easily get a callus on their baby toe. If the shoe, or the callus for that matter, is not removed, it starts bleeding and gets infected. The bandage with medication, which separates the shoe from the callus, could eliminate the pain and prevent the infection.

So, in my opinion, for the singer whose livelihood depends on his/her voice, it is a must to learn how to separate the vocal anatomy from the pressure of the sound adapting the wholesome mechanism which includes proper breathing and, so to speak, “fuel” for the sound to fly to its aimed destination and arrive to that destination safely.

However, if the damage has occurred, (along with the proper technique), the use of the certain natural herbs and remedies will also enhance not only the vocal anatomy, but also the overall healing.

To get more information on voice damage and voice disorders, you are welcome to refer to one of our sites:

www.vocalscience.com

www.repairyourvoice.com

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