Tehnik awal bernyanyi

banyak dari pen

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yanyi baik di luar maupun indonesia yang saat ini masih belum bernyanyi dengan baik. karakter vokal menjadi alasannya. misalnya ariel peterpan dengan suara sengaunya, charlie dengan suara seraknya. ataupun vokalis hijau daun yang suaranya menurut saya aneh. 

baik penyanyi band maupun solo harus memiliki tehnik vokal yang baik. karena dengan tehnik, kita akan memiliki range vokal yang lebih luas, power yang lebih kuat, dan yang pasti karakter akan terbentuk dengan sendirinya. 

sebagai penyanyi yang baru belajar, anda harus tahu, untuk apa anda bernyanyi. just for fun? kompetisi? mata pencaharian? maupun untuk rekaman? semua itu harus dibiasakan dengan tehnik yang baik dan benar karena tehnik yang benar akan membuat anda lebih nyaman dalam bernyanyi. setiap orang dianugerahi dengan suara yang berkarakter. akan tetapi tidak semua orang dapat bernyanyi dengan indah, baik, dan benar. semuanya perlu latihan dan praktek langsung bernyanyi diatas panggung maupun di depan penonton.

tehnik vokal tersebut antara lain tehnik pernafasan, tehnik membuka mulut, artikulasi dan lain-lain. karena tidak dibutuhkan waktu yang sebentar untuk dapat bernyanyi dengan baik dan benar. 

tehnik pernafasan

tehnik pernafasan yang digunakan dalam bernyanyi adalah nafas diafragma atau pembatas antara perut dan dada. cara berlatihnya antara lain dengan anda tidur terlentang lalu letakan benda diatas diafragma anda lalu perhatikan apakah benda tsb bergerak atau tida

Sikap Tubuh

adalah mengenai sikap tubuh secara keseluruhan ketika bernyanyi, walau bukan bagian yg terpenting, namun mau-tidak-mau hal ini turut berpengaruh terhadap performa vokal kita..

badan kita mesti tegap, rileks, dan fleksibel.. Bahu jangan di angkat selama bernafas mungkin selama bernyanyi, terutama saat menarik nafas.. dada diperlebar cenderung di majukan ke depan.. kaki agak di jarangkan, agar bisa berdiri seimbang..

Bentuk Mulut

Mulut usahakan agar terbuka lebar bagi pemula, agar resonansi udara dalam berjalan dengan baik.. resonansi dada berguna dalam mengambil nada2 rendah, hidung untuk nada2 tinggi, tenggorokan untuk suara yg jernih (namun jangan menumpukan suara pada tenggorokan, karena akan mengakibatkan kita kelelahan tenggorokannya), dan terakhir kepala bila hendak mengambil nada2 amat tinggi..

Lidah di datar kan selama bernyanyi, dan ujungnya menyentuh bagian belakang gigi seri bawah kita.. Lidah harus se rileks mungkin, karena buat gw pribadi, ini yg sering gw perhatikan dan menjadi yg sulit bagi pemula termasuk gw dulu Rongga mulut seperti kita menguap, jadi prinsipnya agar ruang keluar udara dapat menjadi lebar..

Lebarkan mulut saat bernyanyi dengan nada rendah, karena hal itu dapat membantu..Perhatikan juga bagian atas rongga mulut, usahakan agar selebar dan seluas mungkin, sekali lagi seperti kita menguap..

Ukuran lebar bibir adalah 3 jari (coba masukkan 3 jari ke mulut lo, itulah ukuran minimalnya) Lebarkan mulut ke samping bila hendak mengambil nada2 rendah, gw rasa itu membantu.

Yamaha 112V

Originally the most affordable of the Yamaha Pacifica range (which debuted in 1990, and was designed by Yamaha’s USA team, primarily ex-Ibanez designer Rich Lasner), the 112 first appeared in 1993 and not only overtook all previous (and subsequent) Pacifica models in terms of sales, it actually proved a benchmark for quality and specification.
Back in the early nineties it was not uncommon to see plywood-bodied guitars in the low-end market. Not so the 112, which was made of solid wood. And not any old lump of tree, but solid alder. To advertise this Yamaha offered the 112 in a natural finish. But it wasn’t just the body wood, the Pacifica 112 – from the outset – employed good hardware and pickups and classy design.
Early in 2007 Yamaha introduced an upgraded model in all but price. The Pacifica 112 defies inflation and remains at £199 – the same price as it was back in 1993. Let’s take a closer look at the current model.
While no one has ever disputed the origin of the Pacifica design, its outline is very noticeably different to the Stratocaster. The horns are longer, sleeker and the lower bout appears a little more angular compared to a Strat. Up to this point in its history the 112 has featured a large scratchplate on to which all the pickups and electrics were mounted – like the Strat, but unlike the majority of other Pacifica models that use a more distinct design with the bridge pickup and rotary controls body-mounted, the other two pickups and five-way selector on the scratchplate.

The 112 now follows that style (including a three-ply, as opposed to single-ply, scratchplate material) and immediately the guitar looks less generic with more of the hot-rod vibe that’s so much a part of the original Pacifica design and concept.
The 112 is far from fancy and simply concentrates on the bare necessities. Yet the construction is of excellent quality. We received a two-tone sunburst guitar to evaluate and the matching of the body pieces – two or three, we’re honestly not sure – is extremely good, as is the finishing. Only the very noticeable forearm contour to the body looks a little out of place – a more curved transition wouldn’t distract from the clean, modern design.
The maple neck has a very thin satin finish – it almost feels like it’s been oiled – and is tidily mounted to the body with the standard four screws and neck plate. The neck is well shaped, a full-ish ‘C’ that feels thinner in depth than it actually is. Fretting is excellent from a medium size wire (approx 2.37mm wide x 1.36 high); the ends of the slots are filled, the side edge of the fingerboard is slightly curved, just like an old Fender, not straight like so many low-end guitars. There’s even a little rounding to the top edge of the fingerboard.

It’s not quite James Tyler, of course, but it’s very clear that someone cares and, importantly, understands what a good electric guitar should feel like in the hand. But perhaps most importantly the neck is really solid and stable, there’s minimal whip. Trust us, if looked after this will be a guitar for life.
The original Pacifica six-in-a-line headstock has lasted well and still looks good some 14 years on. A simple silk-screened script logo dominates the functional, square Yamaha logo and the company’s ‘tuning fork’ emblem is thrown in – just in case you don’t already know you’re playing a Yamaha!
A subtle change to the pretty standard vintage vibrato design is the addition of block saddles intended to add a little firmness to the tone. They also give a precise break-point for the string. The saddle height adjustment screws are all the same height and those on the outer saddles protrude – using shorter screws would be dead easy and solve the problem. It remains a basic unit, however, with screw-in arm and no tension adjustment; the block is deep-drilled to lose dead string length and, in theory, help with tuning stability; it’s also heavily contoured – typical of the modern rock guitars of the late eighties/early nineties.

We can’t help thinking that more mass from a standard vintage-style steel block and maybe a push-in arm would be more suitable. Also, the vibrato coverplate has six individual holes for string access whereas one large hole is faster for string changes.
According to Yamaha the pickups have been upgraded, in line with other Pacifica models, with Alnico V-loaded pickups.
“They used to be ceramic-loaded pickups,” confirms Yamaha’s Julian Ward. “We wanted to get that Alnico tone specifically for this guitar but still create a vintage/modern sound. The Pacifica does have its own character – it’s not the most unique – but where it fits is that it’s hugely versatile. It’s not overly vintage but it’s not a super slim-neck rock axe with active pickups either – by design it sits in that middle ground.”
Also new is a coil-split facility for the bridge humbucker – activated by a pull/push switch on the tone control – and even the knobs have received a makeover; they’re now chromed and knurled metal: classy.
Sound

The icing on the cake, of course, is that this £199 Pacifica blows the socks off a vintage Fender, right? Wrong. By design it’s an altogether more modern, brighter and lighter take on a hot-rod Strat. But when we say brighter that doesn’t mean overly shrill. In fact the bridge humbucker will surprise some, it’s beefy without being too mid-range heavy and although the coil-split, which voices the screw-coil, proves a little bland played clean, with a distortion boost it’s a pretty useful gnarly and wiry rhythm voice.
It’s good to have the choice too when mixed with the middle pickup – switching between the full and split coil here is subtle but, especially with cleaner ‘class A’ amp voicings, there’s enough character difference to be useable.
The solo single-coils impress – plenty of percussion and with a little mid-range beef added from the amp these get you to the correct Texas toneland. Neck and middle combined produces a fine modern Strat-like mix – the added brightness will cut through a multi-FX patch nicely.
Hum– cancellation is good too – only the lone single-coils will pick up hum, while any mixes and obviously the full bridge humbucker are nice and quiet. On the down side the tone control gets too muddy fully off; perhaps a different value capacitor could nail a more Clapton-esque ‘woman’ tone. The volume taper, however, is excellent and ideal for subtle changes and smooth violin effects.
The vibrato can lead you into tuning stability problems but that’s the nature of the beast; used for more old-school shimmer it adds a lot (and stays in tune) but don’t expect, without some additional tweaking, for things to come back spot-on in-tune after a bout of heavy down-bending.
 

simple stompbox

	DISTORTION Pretty much self explanatory, distortion pedals make your guitar sound, well, distorted. Generally, this has come to mean everything from smooth tube overdrive to all manner of nasty, dirty, "my amp is exploding" tones and "scooped mids" pedals for death metal madness. The earliest example of distortion used in popular music was the three-note riff that was heard all over the airwaves when the Rolling Stones recorded "Satisfaction" (which, incidentally, was voted the number one rock song of all time by MTV). Jimi Hendrix loved running several pedals in sequence, like a fuzz, a wah and a "Uni-Vibe" (which we'll discuss in a bit). In fact, over 30 years after his tragic death, Jimi was still voted the world's greatest guitar player! Can you imagine having that kind of impact after a brief four-year career?
	WAH PEDALS Originally described by critics as a "war toy," the wah-wah seems to go in and out of fashion. Eric Clapton used it to great effect on Cream's classic "White Room" and "Tales of Brave Ulysses" while Jimi Hendrix used it on many of his most memorable songs, which include the classic "Voodoo Chile (Slight Return)." Vox has reissued its classic wah pedal, while newer models are available from Tech 21 (the "Killer Wail") and Dunlop.
	DELAY Early rock music used tape-based delays to produce everything from fast "slapback" echoes to the wild, multiple delays produced by units such as Roland's Space Echo. Later, in the 1970s, analog delays were introduced that could produce delays as long as two seconds or more, though the delays quickly lost a lot of high frequency information. The 1980s saw the introduction of the modern digital delay which could produce a wide range of full-frequency time-based effects, like chorus and flange, as well as traditional echo..echo...echo...
	CHORUS This is the first of our time-based effects. When a slightly detuned and delayed "clone" of a guitar signal is played back with the original, it produces a subtle (or sometimes not-so-subtle) doubling effect, which produces a thicker, lusher tone. The original effect was produced by the Boss CE-1 Chorus Ensemble, though later effects would add multiple detunings and delays to produce a rich, glossy animation. Andy Summers of The Police was quick to use the chorus effect, and it has only gotten more popular over the years.
	FLANGER The earliest "flanger" effects were produced by playing back the same sound on multiple tape decks, while the engineer used a finger on the tape reel's edge (or flange) to speed up or slow down the duplicate signal. This produced a wild jet-like sweep of the material's harmonic structure. Eventually, the effect was duplicated using advanced digital delays set to extremely short delay times and inverting the signal's phase. Which brings us to...
	PHASER Another time based effect that's somewhere between the extremes of the flanger and the glossiness of the chorus pedal. The groovy swirling effect is all over the first two Van Halen albums. Early Phasers were supposed to recreate the complex sound of a B-3 Leslie cabinet, which had a rotating horn and a spinning drum under a 15-inch woofer. Though the sound wasn't really close, it was better than hauling around a 250-pound Leslie cabinet. It's now become a stage and studio staple.
	UNI-VIBE Jimi Hendrix loved the original Uni-Vibe, which was sort of a rudimentary chorus effect with some detuning effect similar to vibrato. The original pedals (when you can find one) fetch astronomical prices, but the watery textures have now been duplicated via digital modeling and in some "botique" stomp boxes. The late Stevie Ray vaughn and Eric Johnson have both been known to use this signature sound on their albums.
	COMPRESSOR This is a classic studio effect that found its way into various stomp boxes in an effort to increase sustain. The earliest units were fairly noisy, but modern compressors have added noise gates that cut off the signal once it reaches a particular level.
	AUTO-WAH Best known in its earliest incarnation in the Mu-Tron III Envelope Follower, which was actually part auto-wah and part triggered filter. Almost every manufacturer has some sort of version of this classic effect. In fact, you can't walk through Sweetwater's guitar demo room without tripping over a dozen or so . . . just kidding.
	MULTI-EFFECTS The king of effects boxes is the multi-effect pedal, which can include everything above and a bunch of stuff that hasn't even been categorized yet. These are available in all flavors from basic to complex. And by complex, we mean chaining so many effects that it doesn't even sound like a guitar any more. These monsters can replace a whole truckload of stomp boxes that tend to end up in your gig bag all tangled together (when they're not busy chowing down on 9-volt batteries).

Most of these effects (and a wild selection of guitar tones) will be heard in a forthcoming "Tech Notes Online" column called "POD People" from our very own guitar genius (hey, he made us say that) Jim Miller.


source http://www.sweetwater.com/shop/guitars/guitar-pedals/buying-guide.php