Love it, Dan! I think you're a wonderful vocal coach and person! A true lover a voice will never stop learning, which is why I enjoyed this video! I learn something new every time I watch a videos, teach a lesson, talk with a singer. Even watching this lesson on something I've used for decades, I find that with an open and humble mind, one can learn even more. Thanks for sharing! You, Eli Prinsen, and Mark Baxter are definitely my favorite vocal coaches to watch on YT:)

Dan I'm so glad you posted another video. I love them! I totally understand what you mean about the big chesty 'AH' sound being not the way to go. And I know which vocal coach you're referring to! You're spot on when you say it's a quick fix. It is. Yeah, you can sing that way. But it's not the kind of voice I want. It seems like there's too much effort involved when it comes to actual singing when you go down that big, splatty, 'AH' road.

While I think lip bubbles are a great warm up and are helpful to relieve tension on the larynx by lessening muscular involvement - I haven't found much use for them as a vocal exercise. They simply don't invoke enough compression for decent live singing. Lip bubbles do help balance out the voice and relieve stress, unfortunately underneath a lip bubble is a low volume tone. OK for studio work, but in a live situation that volume would be eaten by the instruments. Its a nice exercise for beginners but at a certain point you have to move on to exercises that evoke a better sense of what it takes to sing for the stage. But you are right - the whole "La Ah" pull chest up really high is NOT the way to go.

Wow I am extremely psyched for this video series, thanks Dan!

I don't understand why some singing teachers say that "lip bubbles are not a singing exercise". They are an example of semi-occluded phonations and encourage vocal adduction. Why would anyone be against that? My guess, is that they aren't doing them correctly. There are three ways to do a lip bubble, and only three. Believe it or not, each has benefits the other two don't. So try all three! Option 1: With a high larynx. This exercises the whistle register (M3) in isolation from head and chest voice (M2 and M1) by rocking the larynx backwards while bringing the vocal folds together. This coordination is similar to the Cupo opera exercise. Option 2: With a lowered larynx and no vocal adduction. This exercises the falsetto (M2) in isolation from head and chest voice. Option 3: With a neutral larynx, twang, and vocal adduction. This exercises all three: M1, M2, and M3, giving the whole voice a workout...Not just one part of it. The whole point of semi-occluded vocalizations is to get the same tone you get with the NG, but with the added benefit of back-pressure (Bernoulli effect) below the vocal folds without the risk of overcompression or slamming the vocal folds together. Overuse of the NG, M, and N exercises can cause hyperadduction resulting in unwanted distortion which is another way of saying "pressed voice". What I have noticed is that everyone who has spoken out against the use of lip bubbles in singing warmups has vocal problems as a result, whether they are too airy or too gritty when they sing. If they understood that lip bubbles were not invented by SLS but were actually borrowed from 18th century Bel Canto teachings and traditions, it would be suddenly clear that they're overlooking an important aspect of preparing the voice for singing. Possibly even the MOST important aspect. If lip bubbles did not work as well as they do when done correctly, they would not be prescribed by speech pathologists, and we would not have so many KZfaq videos of 80's rockers doing them while rolling their eyes (and saying it makes them look silly). I think it's important to mention that the level of compression in your lip bubbles is directly proportional to how much support you are using from below. I can buzz my lips and then go straight into a rock belt with just as much volume as I can from a hum. In fact, lip bubbles really helped me unconstrict my voice and improve my Overdrive (rock belt with an open throat). If anyone wants an example, I'll be happy to provide an audio clip. For me, humming has not worked as well because I have acid reflux and if any part of the vocal tract has been irritated with acid, if I hum too hard, my voice will tire faster as rasp creeps into it. All that said, lip bubbles are not the fix-all panacea for every vocal problem. Each one has specific exercises targetted toward correcting it. Also, if you don't understand the concept of breath support and actively use it, all the lip bubbles in the world are not going to help you sing with a stronger tone.

Just a quick comment about lip bubbles- their effectiveness seems to very much depend on the temperature of any liquids you've been drinking. For example, hot cocoa makes my voice too slack and relaxed for lip bubbles to warm it up, and then when I try to sing, I can't get enough compression- instead, it flips to falsetto, and trying to twang it more introduces distortion. By the same token, warming up on lip bubbles after drinking something cold causes too much vocal compression, which makes singing feel more labored and less resonant. So, I think it's important to state that lip bubbles can help, but drinking something hot or cold will not be improved by them because it causes a temporary pathology that interferes with the efficiency of the voice mechanism.

Really helpful for me!!!! I purchased 14days rock mastery!! Thanks

Awesome video Dan. I am psyched about the series. Bring it on.

Here you go... Happy New Year, Daniel!

Great little nugget here Dan. I'm looking forward to more. Hopefully you and Felipe will keep posting. I have read some of the comments. :) To me, most of these things are tools. There are many ways to utilize them based on "personal" preference. There are so many techniques and exercises that I learned from Felipe that I mix and match and use however it may fit whatever I am doing at the time. You find some surprising things in unexpected places sometimes.

Awesome Dan! AWESOME! Hey I'd love to see a vid on that hhhuuuuuhh floaty sound to free up tension that you've talked about!

Awesome work Daniel! Thank you for always sharing your knowledge, especially from a badass vocalist like you!

Love the INTRO song!!! Nice work., always get a lot from all your vids keep it up!!...and have you ever notice many of your vids , have NO thumbs down!!! thats a pretty big feat!

Great lesson!, that Jesus Christ Pose was amazing, would you be able to make a video on singing like Phil Anselmo from the early Pantera days?

Thank you for using your time to make this Dan :)

Man discovered your channel yesterday, fucking great! your a great singer, I can really relate to your hobbies too as I have almost the same ones lol. do you write music as well is there anything to listen to, or are you too busy gigging/teaching?

4:30

a song you should do is "ballad of mona lisa" by panic at the disco :D

What scale was that? Rezini? Can you spell it so that I can get some piano video to practice the lip bubble? I was not able to find that keyword on Google. In terms of Do, Re, Mi, Fa, ... how does the scale look? Thanks

Great stuff! Can you do more depth about the one like singing to a baby? Thanks

It's funny this conversation between you and Kevin as your video states, this is a part of your daily warmup routine, and while it is a low tension and low volume exercise, your clips intermingled show you wailing at a comfortable volume, so maybe there is a reason you are starting this video series, video 1 as a precursor of things to come and how you build upon it. So hang with Dan. As far as Kevin, it's true as I check out all the vocal teacher videos and you always have something condescending to say, as a way to promote yourself... It's pretty lame, I know trolling other people's stuff is a way to get clients but dude really????

Hey Dan it's Jeremy, great video. :)

Hey Daniel, how high would you say it is safe to pull the chest voice up? I'm studying the CVT metod, and it is not really clear on whether the modes are predominantly head or chest voice (M2 and M1). It seems to make sense to bring chest up to the middle range, at the very least, because that will make the high range stronger. But for lower voice types, it seems like it wouldn't be as healthy to do that as high as higher voice types, and it doesn't make sense to because the stronger the low register is, the early it can be thinned out without losing too much power. A high voice with less vocal weight is going to need to bring their chest voice up higher, because if they start to thin it out on too low of a note, they're going to lose their adduction well before C5. This is all experiential, of course... But it's experience that informs how we practice, so knowing how our voice responds to different approaches is important. My chest voice seems to end at D4, and for now I'm respecting that. It doesn't mean letting go to falsetto right at D#4, but I have to slowly let go, or the transition to a lighter, headier coordination becomes impossible. I say, only take the chest voice up to where it can be handed off to reinforced falsetto without a crack :-) Not really sure what note that is, because with time, my pharyngeal tone is getting stronger lower than I ever thought it could exist. It really seems to come in at F4 for me. Might be different for other people.

just want to ask if you can identify vocal range of a person by just watching his videos in youtube...

i couldnt do lip bubbles to save a life