TAXI.com

Hello forum members,

I just joined TAXI a few weeks ago, and like all of you, I'm cautiously hopeful for good things. I think one thing that we all face is trying to be good in everything: songwriting, musicianship, production, etc. As you know, a lot of artists that have made it in the biz, have their weaknesses supplemented by lots of talent in the industry. For example, Elvis Presley never wrote his own music (at least according to an old Trivia pursuit game).
I see my voice as both my weakest and greatest component. It's weak in that I'm working hard to make it passable with voice lessons (which are the most pricey investment for me in this field). Yet, it's the most critical for me, in that nearly all of my song ideas come from this instrument.
What's your strongest and weakest elements, and how are you working to improve the weaker elements?

-michael
www.drleemusic.com

I'm good at lots and lots of things, and pretty great at a couple. (no point in false modesty, right?) I learned to do a lot on my own, cuz in my locale, there just aren't that many people in the arts with the talents, the interest and the time to pursue them, but the more I learn, the more I value collaboration and networking, because nobody is the best at everything.

msltoe wrote:Hello forum members,

I just joined TAXI a few weeks ago, and like all of you, I'm cautiously hopeful for good things. I think one thing that we all face is trying to be good in everything: songwriting, musicianship, production, etc. As you know, a lot of artists that have made it in the biz, have their weaknesses supplemented by lots of talent in the industry. For example, Elvis Presley never wrote his own music (at least according to an old Trivia pursuit game).
I see my voice as both my weakest and greatest component. It's weak in that I'm working hard to make it passable with voice lessons (which are the most pricey investment for me in this field). Yet, it's the most critical for me, in that nearly all of my song ideas come from this instrument.
What's your strongest and weakest elements, and how are you working to improve the weaker elements?

-michael
http://www.drleemusic.com

Truthfully, you should stop the voice lessons and just focus on making instrumental music. This business doesn't really allow one to improve weaknesses, especially weaknesses that cost a lot of money. Focus on doing what you are good at. Weaknesses do not exist when they go unseen and unheard.

DesireInspires wrote:This business doesn't really allow one to improve weaknesses, especially weaknesses that cost a lot of money.

I'm just about convinced you're not for real and that this is Sacha Baron Cohen doing character research for his next movie. Another viable alternative is that you're an avatar of Yadgyu.

Welcome Michael.

I listened to Sing to Me on your site. I feel that you could get your vocals to a point where you could get forwards with Indie music. Your phrasing (on that song at least) is quite uptight, kinda staccato.

If you loosen up a little, your vocals will dramatically improve and convey much more feeling. Then, a little vocal tunning, tube saturation & some delay and you're good to go.

Stuart

welcome to Taxi. i listened to a few of your tracks and i like the electronica feel of them. I say if you really want to sing then YES get the lessons..... For me It was best investment ever....... The dividends of understanding your voice and being able to sing what you want or at least knowing what you need to do in order to get there is priceless
When it comes to the voice IMO everyone has a sweet spot. find it and hang out there till you feel comfortable venturing higher or lower.

Steve

Michael, I'm with Stuart about the staccato. I think it comes from what you said about your voice being the instrument to write your songs.
There is a word for almost every note in your songs sans intro and bridge. I don't think that is a vocal weakness, I think it is a prosody issue. The "staccato", word for every note, gives the effect of a run-on talker, the wife that sounds like na-na-na-na-na to the husband,lol! Your style reminds me of Franco Battiato, a favorite of mine.

Cruciform wrote:

DesireInspires wrote:This business doesn't really allow one to improve weaknesses, especially weaknesses that cost a lot of money.

I'm just about convinced you're not for real and that this is Sacha Baron Cohen doing character research for his next movie. Another viable alternative is that you're an avatar of Yadgyu.

HUH?!?

Sorry if I went over your head, but my point is that taking vocal lessons just to license songs is not the best investment. The original poster probably will not listen to me. But I am not here to put him/her down. I think that the original poster can work on vocals on the side and create music that is ready to license in the here and now. Most cues that are licensed are instrumentals anyway. Maybe you did not realize that.

Gosh, some people...

Michael,

Welcome to the forum. You know where your best ideas come from and you're taking steps to improve that resource. Keep at it.

Thanks for your critiques and advice. My membership is already paying dividends.

The prosody advice is very wise. It makes perfect sense that I need a little bit of air, as some of my verses sound a bit crowded.
It's the way I talk, too, which drives some people crazy.

The staccato problem I've noticed seems to be due to my desire to get the best timing. As timing becomes more natural, I should be able to relax more.

The vocal range idea is important. I have seen that a certain note ranges sound really nice (in comparison). Now if only my average song didn't have me singing all over the map.

Even the "don't sing at all" approach has its wisdom. Besides instrumental listings, there are some opportunities for selling songs for other people to sing my works. A few weeks ago, I dreamt that my song "Love..." was being sung by someone else. That inspired me to sign up for TAXI, knowing that this venue could make that happen.

-michael