Chest Voice & Head Voice | Robert Lunte | The Vocalist Studio | Vocal Training

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Robert Lunte is an internationally recognized voice coach, CEO, and founder of The Vocalist Studio (TVS). He also created the acclaimed online vocal instruction training course and book, "The Four Pillars of Singing." Additionally, he provides coaching in vocal singing techniques, public speaking, corporate voice coaching, and sponsored events.

Mr. Lunte's impact on the vocal training industry is widespread, with the TVS Method being practiced in 197 countries worldwide. His book has also been a success, selling over 10,000 copies. Moreover, his numerous online courses are regarded as the most comprehensive home study courses available for singers, enjoyed by an estimated 100,000 students globally.

To share his expertise, Robert Lunte and his sponsors have conducted over 65 vocal masterclasses in over 12 countries. Despite his success in coaching, Robert remains active as a vocalist and session singer. He also produces original singing projects and product demonstrations for sponsors.

Robert Lunte is an active member of several associations, including The National Association of Teachers of Singing, The Pan American Vocology Association, The Voice Foundation, and The Grammys.

As a singer, Robert Lunte utilizes his talents in the studio to inspire his students and provide product demonstrations for microphone sponsors.

Robert Lunte has secured sponsorships from notable companies such as CISCO, InsSync, Microsoft, T-Mobile, SHURE, RØDE, Electro-Voice, TC-Helicon, Mojave Microphones, VocoPro, Audix, Audio Technica, Music Group, Lewitt-Audio, DPA Microphones, Lampifier Microphones, Loud Technologies (Mackie), JZ Microphones, ADK Microphones, Mojave Audio, and Antelope Audio.

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[marciericheson]

I love this video and I really enjoy being an apprentice coach with your program. I like be able to listen to these YouTube videos while I am taking road trips and re-educating myself while I’m teaching students you’re awesome Robert

[Lewis_Emblack]

Yet again you put yourself out there to clarify for those that do not know, what is actually happening biologically as opposed to the jargon. You already had a lot of my respect for the lecture on mixed voice not actually existing, but now after this video (I have had so many arguments with trained vocalists and tutors that "registers" are actually scientific terminology for the vibratory mechanism, which they always refute) I am going to purchase your book as you are the only tutor I know to not only acknowledge, but present and demonstrate it as the foundations to your training. I am a promoter of Jaime's RYV, and although I know you both agree on techniques thus not sure what I would gain in terms of personal performance, I am wanting to pursue a career in tuition and your ability to convey all aspects of phonation including the scientific approach is something I think would really help me as is the thing I have always faltered on and ended up sounding confused and uninformed, although the truth is to the contrary. Also, if possible, I would like to discuss with yourself any advice on getting into tuition and such, but it would obviously be more of a private discussion.
All the best, LSP

[ParnianS]

Hi Robert. Thank you for the video. I'm currently studying linguistics, and I find that my phonetics course really has helped me for singing. Even sometimes when I hear other people sing, I can guess how their producing the sound, because we learned everything about the articulatory system, how the vocal folds work and the formants for vowels, etc.

[khoojwn]

Guy, you are THE BEST. Most concise and clear explanations ever. I never understood this head voice mix voice chest voice shit.

[chrisw]

YES exactly. I had my throat sliced oped a few times. One for thyroid cancer and a month after I had my neck fused from c3-c7. Then got the plate removed a year later. It has been like 3 years since the cancer. Now I lost much of my high range but slowly it is coming back. I can do highs with low by doing a "country" kinda accent like Hank III without using "head voice" but I can also do Oktavist range vocals with ease now.

[dgz]

Gracias por todo lo que compartes, te mando saludos desde Argentina.

[Christianm]

Thank you sir. I learnt a lot from your explanation

[StratMatt]

Excellent content! Thanks! I learned a lot too.

[StratMatt]

I am subscribed. I'll have to save up money for about a month or so since I just dropped $300 on a guitar.
No, I've never had a lesson.
I've been singing since I was a kid (1990) and sing all the time- anytime I'm in the car I'm singing. In 2001 I read Roger Love's "Set Your Voice Free" which taught me middle voice and basically how to sing lighter to go higher. Then I started singing Journey and Queensryche (however, I can usually tell that my voice is slightly fatigued after singing that).

[Campuscoll]

The vibratory mechanism is only a miniscule portion of vocal training.  It certainly isn't the only thing and must be combined with a myriad of technical and interpretational actions.  Yes, vocal folds vibrate together to make sound, but it stops there.  As nothing but muscles, the vocal chords have to be controlled by something other than just vibration - air, for one, the brain for another.  Vibration alone controls pitch and not resonance.  I can sing a Bb3, which is a secondary passaggio point for baritones,  out of thin air and can sing it with 3 different resonances.  Head, head/chest mix and chest voice.  My brain controls where I want the pitch to reside concerning resonance.  As an operatic baritone, I have a head/chest mix on G4 and Ab4 that can be heard over a very large orchestra, of course, no mic.  If I sang it with pure head voice, it would sound like a woman and would be heard over a strong piano, maybe.  Your statement that notes only exist in a particular registers is not the case.  Try to sing C3 with pure head voice.  It can be done but it is almost inaudible.  Or a G4 in pure chest voice.  You will be bleeding from so much pressure or you'll be picking up your chords off the floor.  Talk about a shout.

Vocal fry has no sense of pitch?  J. D. Sumner made a career of pitching the vocal fry as did the bass singers in Oak Ridge Boys and many gospel quartets. 

"M1 is the chest voice where I belt, where I shout."  Very simplistic but I guess I'll let that pass.  Except that the M1 "register, " I prefer to say resonance and not register,  can be felt as a buzzing or vibration on the outside of your chest.  Once more of the M2 is added (head voice or resonance), usually at the raising of pitch,  that vibration subsides and finally leaves the chest depending on how the singer wants to place the resonance.  Some men can sing a head/chest mix resonance all the way to F5, also very rare.  Usually it is a very developed head voice that resonates very loud and usually not very pretty.  Yes, to a great degree, the singer can and does control the resonance.  Some sung notes cannot possibly contain some chest voice but the higher you go, less chest voice is recommended for healthy singing.  The female belter should not carry chest resonance past C5.  She can certainly do it, especially when young, but not for an extended period and it's usually pitched shouting.   

The demonstration you made of the M2 was a mix of head and chest and not pure head resonance.  The flageolet or whistle voice or register is usually considered for the female voice and is only rare in a male voice.  For women, it can be taught but not for men; for very, very few men have a whistle register at all.  I have been a teacher, listener and judge for almost 35 years and I have never heard a man with a true whistle voice.  The misnomer falsetto, for men, is nothing more than a over extended M2 or head voice.  A true falsetto is only produced by the mucosa and ligaments which cover the vocal chords; it produces sound but it isn't very loud.  For an extended head voice, it is very evident in David Daniels and Philippe Jaroussky.  Both men attribute the extended head voice as the source of their vocal abilities.  I sang on stage with a male soprano, Randy Wong, who sang a D6 as good as any soprano, but it was not a whistle tone or resonance.  Whistle tones usually defy common resonance concepts.  I have heard it called a second head voice.  A very developed whistle register will have a resonating quality that seems to come from everywhere and even behind you, the listener.  Of course I speak of the unamplified voice.  Listen on Youtube to Mado Robin and hear what a very controlled whistle tone sounds.  A very large and almost other worldly Bb6 and B6.

[memedemon]

hello robert I asked u about flageolet...and u said that is a register start in C5 that help u scream higher.
i have two questions:
_do u cover the flageolet technique in ur course?
_I've been doing some research and I found that's flageolet is a higher extension above head voice, but u said It's a" high scream" my question is:
_ do I have a different definition than urs, or u just was playing with words to make it easy for us to understand ?

[absdyna]

I wonder why this reminds me of "The Room"?

[robertrussell]

hi robert, how do you stop breaking in your voice when you go into your head voice?

[donAtortugo]

About 6 months ago, i read something about this method was going to be released in spanish, is that going to happen?

[joejayno]

chest vioce for guys is better... hw do you get a full chest vioce. Without yelling