Your band is ready to record that long-awaited album and finally step into the recording studio. Whether you’re recording at home or in a professional studio, the question is: what can you expect and what should you look out for? If you’re the lead vocalist, how can you ensure that you and your band deliver the best possible performance and come away with great recordings?

Instrumentalists aren’t the only ones who get to improvise. Vocalists can do it too, ranging from adding subtle vocal embellishments to scatting or even all-out improv. In this article, we’ll be taking a closer look at the various ways you can improvise and inject ad-libs.

For singers, rehearsing with the band can be a real struggle when they can’t get their vocals to punch through the mix. Fortunately, there are a few things that you and the rest of the band can do to solve the issue.

If you’re about to audition for a band, a vocal course or even a TV show, then it’s worth knowing that every audition needs different preparation. In this blog, we offer some tips to help you get ready for every audition, and also give you some things to think about before you dive into your performance.

In an earlier blog about vocal damage, we talked about how you can prevent damaging your voice by using the right vocal technique. But, besides using the wrong technique, vocal damage can also be caused by external factors. In this blog edition, we look at what those factors might be and how you can avoid vocal issues. In short, this blog is all about how to keep your voice healthy.

Extreme vocals seek out the limits of your voice. Whistle tone refers to singing in the highest registers that the human voice can achieve while overtone singing is something completely different – it’s also a little bit easier to learn. Then there’s diplophonic singing which is something different again. Here, we take a look into the more mysterious side of vocal techniques.

In our series on vocal technique, we’ve looked at singing with and without compression quite a few times, but we haven’t touched on one part of it yet: the transition from singing with compression to singing without compression and the voice break that comes with it. Read on and learn how to deal with it.

In this part of the series on vocal technique, we’ll be looking at effects like growling, grunting, vocal fry, distortion, screaming and more, which serve as the seasoning for your vocals. With the right technique and some professional help, you can pull off these effects without the risk of straining your vocal cords.

This part of the series on vocal technique zooms in on vowels, or more specifically, the pronunciation of vowels. Keep bumping into the same issues, especially when you sing high notes? Then working on your vowels might just be the solution.

In this edition of our blog series on singing technique, we look at singing with vibrato. Pop singers tend to use vibrato much less than classical singers, but by using a little vibrato, you can add some real flavour to your vocals – just as long as you do it the right way and at the right moment.

In our series on vocal technique, the term compression has already popped up quite a few times. In this fourth instalment, we’re going to take a closer look at compression so you can learn to sing with and without it and enhance your sound.

Welcome to part two of our blog series on vocal technique. Today, we’re focusing on the breathing cycle. Controlling your breathing while you sing is absolutely essential, and proper breath support is a huge part of it. Read on and learn more!