Do you have a question about singing? Are you interested in learning more about your voice?

Welcome to Dreamquest's FREE online singing lessons and FAQs with Melissiah, international singing teacher, and founder of the VoicePower method of instruction. Pages are updated monthly - most recent question was added on the 7th December 2005.

If you have any further questions about singing after reading these pages feel free to send me an email. Please remember that due to the extensive emails received monthly not all questions may be answered.


Q74. My name is Blair Stubbs and I would like to find out the right ways of exercising my vocal cords. I have a very strong passion to become an Opera singer, I know i have the ablility but it's better to get advice from people that know it best, so that I will be able to strengthen my vocal cords Better and Faster!!

B.S. Munchen, Germany

Hi Blair, learning to sing involves the training of many muscles in the body as well as the vocal cords. As our body is our singing instrument, realistically, learning to sing involves coordination of some 630 muscles! Focusing on one particular area of the body, such as the vocal cords, means you are ignoring other essential elements of the body that are critical to a good balanced sound, health and longevity of the vocal apparatus. Perseverance and attention to detail, such as airflow, vocal timbre, resonance, diction and dynamic control is of ultimate importance. In addition to this, opera singing also involves a great deal of acting through interpretation of a character or 'role'.

Study the lives of famous opera singers. Most of them attribute their success to unwavering personal dedication combined with the expert training they received from a master vocal coach.

Q73. I have been listening to a lot of arists who belt, namely Amy Lee of Evanescence and Avril Lavigne. They seem to be hitting very high notes in pure chest voice, higher than even the second D above middle C.

Now, I have read and been told many times that it is very bad to sing this high in pure chest, so I am wondering if this is actually what they are doing. I'd like very much to be able to sing as high as Amy Lee, with the level of ease and vocal strength she seems to have doing so, but I don't want to be distroying my voice in the process!

So, my questions are: when Amy is belting (not using an obvious head voice like she does in some songs) those high notes, is she really using chest or is it actually a mixed register? How can I get that strong vocal sound without destroying my voice?

K.A. Edison, United States

Vocal registers are a fascinating and often controversial subject in both teaching and scientific terms. The term 'belting' is also rather ambiguous. Scientifically speaking there is actually no such thing as a 'mixed' register, although a lot of singing teachers use the term. Some misguided teachers also believe that using 'head voice' leads to an operatic sound. Vocal researchers have identified 2 major types of vocal fold vibration - the heavy mechanism ('chest voice') and light mechanism ('head voice'). By understanding the bodily sensations produced by the different registers we can achieve is a voice that seamlessly blends the heavy and light mechnism together to create a powerful voice throughout the vocal range.

Most beginners display a much weaker and breathier sound when first singing with the lighter mechanism. This is due to lack of strength in both the vocal mechanism and the body. As we sing higher the vocal folds stretch and thin due to the action of the cricothyroid muscles. Differences in the air pressure also need to be addressed. The higher the note, the higher the frequency of vocal fold vibration which therefore requires a greater VOLUME and PRESSURE of
air. Thus strength is required of the vocal mechanism AND the support mechanism of the abdominal /lower back muscles. Work on two ascending notes SLOWLY at a time, whilst keeping your larynx or voice box in the same position for each note. The acoustic space in the back of the throat needs to INCREASE with each ascending note. Record yourself and eventually you'll hear that your registers will 'smooth together.'

It's important to understand that this process takes time. The great tenor Luciano Pavarotti claims it took six years to perfect his register transitions!

hi im a great singer but i cant sing in front of people i get butterflies and i want singing to become a career for me so what do i do to kill the nerves?

Anonymous, Dunedin USA

Performance anxiety, also known as stage fright can be caused by a variety of things. The fact that it is usually absent from early childhood - remember how easy 'show and tell' at prep school was - prompts many questions regarding our upbringing.

There is compelling evidence that links performance nerves to society's obsession with competition. We only have to look at the school system to see that constant emphasis on getting good grades causes a great deal of frustration and anxiety for most children. With traditional schooling we are generally not encouraged to make a team effort, or do our personal best - rather we must become suspicious, jealous and judgemental of others if we are to concentrate on being 'top of the class', 'winning the prize' or being the 'best in the world'. This pervasive attitude has now infiltrated the arts - witness the many singing competitions on TV. We might get one 'winner' from Australian Idol but we will also get thousands of 'losers'.

Stage fright can also originate from a person experiencing a traumatic or violent experience in early life, which leads to chronic low self esteem. These people can feel a great deal of insecurity about themselves and their singing ability and may view others with suspicion. (I notice that you did not include your name on your email and you talk about 'killing' the nerves.)

Whatever the reason for your stage fright, it can be successfully treated. After many years of research Dreamquest has developed a product proven to increase levels of confidence and relaxation - 'VoicePower Relaxation for Singers'. This CD comes with a no-risk 30 day money back guarantee. Please visit this link to download sneak preview MP3's, view product testimonials and order your CD online.

VoicePower Relaxation for Singers

Q71. I have been singing for a couple of years now, performing in musical theatre shows, as well as I am the front vocalist in a band. My current voice craft teacher teaches me techniques in how to control my voice. Almost everytime I leave my 30 mins classes with her my voice feels sore and tired. It feels like I am pushed to use muscle power, rather than concentrate on the closure of my larynx when i sing.

I regularly loose my voice when i find myself in loud surroundings like pubs, bars, clubs etc. I think i tend to use my throat, and the sound of my voice is sweet and light-lacks of depth. I feel this is reflected in my singing as my teacher tells me i lack conviction and energy in my voice when i sing. When i try my best to take this into account in her lessons, I increase the volume level and "push" my voice- and this is when my voice gets tired. it gets a bit crackely when i speak, as if i have a cough. But my teacher think when i do this is sounds great. i dont seem to understand her excersises- they tend to tire my throat as well...i've tried explaining to her, but she hasent got so many helpful answers. She herself is a natural singer, as she has told me, and other students who are- so I take it im not. What does that actually mean, does sls say anything about the matter?

I did train sls for a year prior to my voice craft lessons. So therefore I am confused about the different ithos' in the techniques. Do you think not all techniques suits a voice, is it individual for one's voice which works? I am just wondering if you have any opinions on my subject? Any tips or advice will mean a lot to me.

Miss I.A Oslo Norway

You ask some interesting questions. This singing advice page was not set up with the intent to pass judgement on other teachers. Some singing methods certainly produce much better coordinated use of the body than others. However it's an unfortunate fact that many emails I receive every month are from singers who complain of sore throats during performance and unbelievably, even during their singing lessons.

There can be no doubt that the singing instrument starts at the top of the head and ends at the soles of the feet. Singing therefore involves the WHOLE body and good healthy singing involves precise and efficient coordination of the complete neuro-muscular system.You mention concentrating on the closure of the larynx during singing. Our vocal cords do need to 'close together' to sing, but this is only one small part of the big picture. Our vocal cords close perfectly when we hold our breath, experience surprise, lift a heavy weight or go to the toilet. Why then when we try to close them during singing should we experience so much trouble? For the vocal cords to work efficiently, it is crucial, amongst other things, that the suspensory mechanism, balance and direction of the BREATHING ORGAN is addressed.The many varied ways that one can breathe can exhibit a positive or negative influence not only upon our voice but also upon the entire body and mind. In a nutshell, a person's relationship with air represents their relationship with themselves.

To address your thoughts of different teaching techniques suiting different voices, I believe that a thorough understanding of the scientific concepts of voice production is essential for the teacher. Good singing however is an art and what is more useful for the student in many instances is the teacher's use of imagery or metaphors to convey technique to the students. Unbelievably, this practice continues to be criticized by ignorant teachers. Metaphors permeate our lives - they are found in dreams, fairy tales, parables from the Bible, Shakespearean drama, pop songs and in everyday speech. Metaphors are also an integral part of Tai Chi and martial arts training. Mountains
of research (beginning with the great hypnotherapist Erickson) have demonstrated beyond reasonable doubt, that the use of metaphors is a powerful key to unlocking the potential of the unconscious mind thus accelerating the learning process.

As far as teaching methods go, VoicePower™ is unique. It is a method of instruction based on compelling scientific evidence which takes the ENTIRE singing instrument into account, whilst addressing INDIVIDUAL learning preferences through Balanced Integrated Learning™. Most importantly, VoicePower is also system of personal coaching where students learn to replace limiting beliefs with strategies to achieve their dreams!

I hope I've shed some light on your questions. I'd now like you to ask yourself why you are paying someone to give you a sore throat. Would you like your singing to be easy and pain free? Please call the Singer's Help Line and I'll show you how.

PS. For further reading, Maestro David Jones presents some thought provoking opinions and actual case studies in his article on Speech Level Singing Training

Q70. I'm seventeen and i have been singing to Mariah Carey for about four years now and i was wondering if you could give me any advice or technique on how to get her range and i dont mean range as in high and low i mean the range that she is so famous for that seems to blow people away. Thanks

San Antonio, America

The very high range you are talking about is called the whistle register. One of the first popular singers to employ the use of whistle register was Yma Sumac. (If you really want to be blown away have a listen to her 'Voice of the Xtabay' CD.) An Aztec princess,Yma Sumac claimed the birds of the Amazon rainforest taught her how to sing!

I've found that the whistle register can be produced firstly by imitating a cat or kitten's meow. However there are some considerations to be taken if you wish to start using this register. The first is that continued use of the whistle register can lead to voice problems due to the extreme tensions it places on the laryngeal muscles. Some singers who learn to access the whistle register also find that it can abruptly appear in the upper vocal range without warning.

Q69. My Voice Teacher is telling me I'm a Dramatic Soprano because I'm loud, but my Choir Teacher is saying I'm a cross between Lyric and Coloratura, what am I at 14? And do Coloraturas naturally do the rapid stuff or do they have to be taught?

B.T Dorset USA

Just because you are loud doesn't necessarily mean you are a dramatic soprano. There are also loud lyric sopranos. The dramatic soprano voice is rare and is characterised by a 'metallic' or more strident tone. Usually there is more vibrato than with the lyric or spinto voices. Dramatic voices generally develop later in life - it is exceptionally rare to find a teenager with a dramatic voice. If you are a coloratura, your voice will generally be a lot lighter in tone. You will probably find that your voice is fairly flexible, but you will have to work at the 'rapid stuff' if you wish to master the coloratura repertoire. The dramatic coloratura voice (eg Joan Sutherland) combines both qualities of strident tone with flexibility.

Remember that your voice is still very much in the developmental stage due to your age. Also there are voices that are difficult to categorize - Maria Callas could alter her sound at will and could sing pretty much everything!

Q68. Hello. I came across your email address on the internet. I am a 24 year old male. I sing in a band and have recently been getting headaches from singing. This has been happening the past few months but never happened before. why might this be happening? is this common? they tend to last for about 10 to 15 minutes once i stop singing.

Mr J.M. Milwaukee, United States

Headaches from singing can sometimes result from a slight raise in blood pressure. More specifically however, headaches usually result from excessive tension in the muscles of the back of the neck. The head/neck relationship is critical to singing as it is to many other activities. Many people believe they have perfect posture or muscle coordination, but sensory appreciation - the sixth sense - is usually underdeveloped due to preoccupation with the five external senses. It is only after a course in Alexander technique, that most individuals experience the freedom that results in the correct use of the body. Alexander technique is used by the world's top athletes, actors and musicians to gain optimal use of the body.

If you are unable to find a VoicePower teacher or Alexander Technique teacher in your local area, try practising your vocal exercises and songs with two full length mirrors. Adjust the mirrors so you can see yourself side on while you are singing. You'll be able to see if you're compressing your head backwards - even when you breath in - or creating tension in your neck, shoulders and jaw while you sing. Usually tension in these areas means you need to develop more breath support voice with your abdominal muscles.

Q67. hi i was wondering if i could still sing as well as other people even if i had my tonsils taken out. in other words if i had my tonsils taken out, would that affect my singing ability so that i wouldnt be able to sing high anymore or anything like that? thanks.

Mr. H.T. Bergenfield, USA

The Palatine tonsils at the back of the throat are located a fair distance from the larynx or voicebox. In my opinion I've never found tonsil removal to affect singing ability in either myself or my students. Theoretically, removing the tonsils actually makes more space in the back of the throat which could result in more resonance of the singing voice. I don't know of any studies that have compared the singing voice before and after tonsillectomy. However I do recall reading a news article where Josh Groban reported he sung better after tonsil removal.

If you are at all worried about your voice in any way please seek advice from an ear, nose and throat (ENT) doctor.

I am a 16 year old female and have been singing my entire life. I have sang in bands, and at restaurants and hotels, and many black tie functions. However, over the last three years I was terribly bullied at school for my singing, and I grew very depressed. I was referred to a psychiatrist and given medication, and in the end I had to move schools to stop the panic attacks.

My new school is very musical, and I have begun singing lessons, although I am learning to sing classical - which I find quite hard. The thing that I'm worried about is that I have not sang for a while and so am out of practise. Singing is my whole life and I dream of being successful. I also got a 50% scholarship at my new school through my singing to stay for sixth form, so they obviously think I'm good.

However, I have no confidence anymore and suffer from stage fright. I feel that I've lost my voice forever. It feels quite tight and dry, and constantly needs clearing. I'm terribly worried that inavertably the bullies have destroyed any chance of achieveing my dream of becoming a singer. I understand that you're very busy, but please take the time to reply to this email - I would be forever greatful.

T.R. Liphook, England

It's an unfortunate fact of life that bullies exist everywhere, not just at school. There are corporate bullies who attempt to destroy smaller competitors, bullies in the workplace, and even bullies in the music industry. Bullies usually suffer from feelings of inadequacy, insecurity and greed which lead them to take out their frustrations on more talented individuals. Many schoolyard bullies progress to become big game hunters, criminals and general no-hopers.

The best advice I can give comes from Anthony Robbins - "STEP UP!"
Bullies pretend that they're big and scary but in most cases they're as insignificant as the dirt beneath your shoes. There's no way bullies can destroy your life unless you want to be the victim.

As for your confidence, I suggest taking a course of lessons in the Alexander technique, and perhaps even some lessons in a martial art such as Wing Chun Kung Fu. I realise you're on a music scholarship, but you're also very young.
Teenage years are for having fun, developing social skills and expanding your friendship with supportive individuals. You don't need to dream of becoming a singer as you already are a singer and you already are successful!

Q65. Since i was very little i have wanted to sing! i go to singing lessons and i practise regually. my question for you is how can i hit the high notes with out going into my head voice? your help will be much appreciated!!! thanks.

E.B Victoria, Australia

Imagine driving around in a beautiful Rolls Royce car. Now imagine that you could only use first gear to drive anywhere. It would be pretty bad wouldn't it? But this is equivalent to a singer who only wants to use chest voice. The larynx or voice box is designed perfectly - like the gear box on a car - to allow us to sing within a range of two, three or even four octaves. And just as you could never reach 100km per hour in first gear in the Rolls Royce, you could also never reach top C using chest voice.

With the huge number of 'singing competitions' now on TV, it's easy to recognize singers that have learned incorrect vocal technique. As they sing higher their voices sound more and more strained. Then when they finally flip registers, their high notes are weak and breathy. In many cases their high notes are non existant. In one instance I even recall a contestant developing singers' nodules.

When the voice is trained with the larynx in a low or yawning position, and the breath is not forced, then the vocal registers will take care of themselves. This is healthy singing. The two opposing sets of muscles that control pitch are the Arytenoids and the Cricothyroids. On low notes 'chest voice' the arytenoids are more active, while higher notes 'head voice' rely more on cricothyroid activity. When you reach the 'register break' or passagio these muscles engage in a 'tug of war'.

To smooth out the passaggio try vocalising on the 'u' vowel as in the word 'put'. You'll find it very difficult to know when the register change has occurred. It will usually take some time to smooth out the register change completely. Which brings me to my next point. There are no registers in the singing voice when it is correctly produced. Listen to a really good singer. Their 'gear' or register changes will be impossible to notice, just as the gear changes in that Rolls Royce.

Q64. have a really really important audition for Eponine in Les Miserables. I have to sing On My Own and it is really hard to 'make the song my own.' By this I mean, sing the song in my own style. I know that this is a really hard thing to do, and i would really appreciate it if you could help me. What else is there I can do to the song besides rhythmic changes and contrasts in emotions? I have to make all the words interesting filled with emotions and attitude. Secondly, I am also having difficulty with presenting the song. I do not know what to do with my hands and my face. Please help me asap. Many Thanks.

I'm overwhelmed by the number of singers who come to me, who've been told to stand still by their previous singing teachers. Some have even been told to stand as if their arms are glued to their side. Of course when these singers start performing on stage they look like they want to join the armed forces rather than be an entertainer!

VoicePower lessons integrate movement, emotions and characterisation as these elements of stage craft usually take as long to develop as vocal ability. Firstly start moving around when you sing, even when you sing your exercises. Try finding what movement helps to make the sound flow. Eventually you'll start to feel that the movement is actually helping create the sound in your body. You can also imagine that the sound is coming from your hands. Experiment with singing your exercises and songs using different emotions and notice what body language and facial expression is needed to convey the emotion. In regards to the song, what is your character trying to portray? What is the purpose of her communication? How young/old/poor/rich/beautiful/talented/fortunate is she?

Practise in front of a mirror and you'll begin to discover your destiny as a natural and exciting performer.

Q63. Dear Melissiah (I think I would even call you Messiah after finding your site and this great FAQ). I'm 19, male. I know nothing about singing (tones, range, keys, etc.) never sung before until this summer with friends for fun, but somehow, we started taking it seriously (we are separated by thousands of miles but we're managing: thank God for the Internet). I, as you might suppose am going to be the singer in... Progressive Death/Black Metal. Yes I am perfectly aware of all the damages that might occur. But during the songs I am not always going to sing raspy and harsh voices, so I hope I'll keep damages to a minimum. Which brings me to this: what should I do if I want (I have to anyway) to start from scratch. I mean, how do I know what kind of voice I have, what type of training should I follow, etc. When I sing clear voices (as opposite to growling which I'm good at and improving), I really can't go high. I don't know if it has any relevance, but I can make myself heard at a great distance (is that what you call projection?) when shouting (clearly). And one last thing, I've found a book on the Internet that claims that it covers the voice in its entirety for singing purposes and can help anyone wanting to learn or improve his voice whatever the singing style (including growels). And if you don't answer this mail, I still thank you very much for all the support you're giving to the singing community.

Mr M.L Lancaster University UK

If you really want to learn singing, it's best to learn one-on-one with a teacher. If you really can't afford a teacher, have you thought about trying a set of instructional CDs? I've come across what I consider some good teaching products on the internet - the "Singing Success Program" by Bret Manning and for opera singers there's "An Introductory Lesson with David Jones". Dreamquest will also be releasing a set of training CDs later in the year so stay tuned.

Learning what kind of voice you have is a bit like exploring a thousand roomed palace full of treasures and monsters. The quest takes time, patience and courage. Eventually you'll discover that you can sing higher and you won't need to shout to project your voice. (I like to think of projecting as directing your voice inwards and finding all the resonators in your body.) Good luck on your journey.

Q62. I'm a 19 year old girl and I sing country music. I have done for most of my life and I find that I have extensive trouble with continuous singing. It doesn't create vocal strain or a hoarse voice but I cough mid song. I do not smoke or drink or do anything that I can attribute such a cough to. It is basically a clearing of the throat as opposed to a hacking cough that usually smokers get. I also have a lump in my throat which my doctor reassures me is just my tonsils but I'm concerned that perhaps this could be part of my problem. I know you aren't a doctor but you've probably encountered situations such as mine before and I'm curious to know what your opinion is concerning my problem. Thankyou.

K.S. Perth, Australia

I've taught several singers in the past with enlarged tonsils and I've noticed that they also have a throat clearing problem. It may have something to do with the immune system working overtime and producing more mucus. Your problem may also be related to airborne particles and allergens such as pet hair, pet saliva (on the hair shed by pets), pollen, car fumes, dust mites and even wool or angora sweaters. Sometimes simple things like replacing feather pillows with latex or foam can make an enormous difference to the quality of breathing. As you come from Perth, which has a relatively dry climate, it might also help to leave a few bowls of water around the house to increase humidity.

An interesting and thought provoking concept of health and immune function can be found in the book "Eat Right For Your Type."

Q61. Just a question 4 melissah. ive just started singing lessons a couple months ago and so am not too sure as to wat to expect. the tutors method involves getting us to bring in music 4 to a song and getting us to sing along to it 4 the half hour duration of the lesson. is this method adequate or should i perhaps look 4 a new teacher.

M.O Sydney, Australia.

Working only on a song is fine if you're already a good singer, but a good teacher or coach will train you with specific exercises designed to improve certain areas of your voice eg range, vocal tone, evenness, breath control, vibrato, etc.
If you'd like to look for a new teacher then you may want to leave your details on this site

Q60. Hi, I'm a 13 year-old girl who has never had singing lessons. I sang in a local choir for two months (I had to quit because of expense), and have been in my school's choir for two years. I am about to start taking lessons from my choir teacher, who was previously an opera singer and has been in a few broadway plays. Recently, she told me that I sing "nasally". From my research on the internet, everyone uses their nasal cavaties to sing, right? I am under the impression that singing "nasally" is always bad. I don't consider myself a great singer, but I know I'm not bad, either. How can I tell if I'm singing too nasally? Thanx.

Charlene, Sierra Vista USA

Everyone does use their nasal cavities to sing, but a nasally voice results when the tongue is too high in the mouth or the soft palate too low. A good singing teacher shouldn't just tell you that you sing nasally - she or he should also give you guidance to fix it!

To remove the nasal tone practice singing open vowels like 'Ah' or 'Oh' like you are yawning or pretending that your mouth is a big vacuum cleaner! Shine a torch into the back of your mouth when you're practising these vowels and you'll see the difference between a beautiful tone and a nasal one. If you can't see into the back of your mouth it also means your jaw needs to be relaxed and dropped a bit more. On the other hand singing nasally isn't always bad. Many RnB singers use a more nasal tone than pop or rock singers, as do native singers from France, India, Asia and the Middle East.

Q59. On your site, you have a question asking at what age it is advisable to begin singing. You say "as young as six". Just so you know, singing lessons before the age of 14 are practically useless-- your voice is still changing. Plus, your vocal chords are too immature and easily damaged before the age of 14. It may be sooner for some, but the average age is 13-15. I have verified this fact with several vocal teachers, and did not begin my own training until I was 15.

Miss Alexis R. Wyckoff, USA

Singing lessons before the age of fourteen are certainly not "practically useless"! Just ask Michael Jackson, Aled Jones (boy soprano now operatic baritone), Tina Arena and Mariah Carey. I am well aware that the vocal cords are immature and still developing, along with the rest of the body. However should we also stop children from playing, dancing and doing sport because the body is still developing and easily damaged? Of course not!

he great majority of young children love to sing, and VoicePower lessons for young children are far less serious and formatted than singing lessons designed for adults. Children's VoicePower lessons involve fun and educational voice/speech exercises, nursery rhymes, acting, movement, percussion and improvisation. And it's the children who love performing the most at the Dreamquest Talent Shows!

Based on a growing body of research,
music education at an early age conveys four great benefits - success in society, success in school, success in developing intelligence and success in life. Further info is available at the Music Education Facts and Figures site

Q58. I've been a professional singer for 12 years performing solo on average 4 nights a week for 3 1/2 hrs per night. I've always had a strong falsetto when doing Bee Gees, or female vocal songs in a parody. It has been deteriorating over the past few months and now can hardly get any falsetto at all. I saw a specialist and he said there were no problems with my vocal strings. My falsetto is a big part of my show and I'm wondering what to do? I thought it was from overwork and just got back from 3 weeks holiday. During that time I was trying to do easy practice to get it back. It hasn't. I'm having to push more air through to get the notes and can't perform a whole song like that. The only other thing I could think of is that a smaller PA I bought is making me push harder cos' I can't hear certain frequencies as well. Is falsetto the 1st part of your range to go? Do singing teachers know enough about falsetto for men? I'm 37. Do your vocal strings thicken as you get older? My range is Bass Baritone or lyrical baritone. Having to sing rock and pop with this vocal range has always been difficult. I've also lost about 3 tones from my chest voice. Can you give me some advice? Thanks

Mr B.G. Leichhardt, Australia

I believe the answer to your problem could be either one or a combination of three things. Firstly, even though you have been singing for many years, you don't mention voice lessons. It is very easy for faults to creep into vocal technique, even with accomplished singers. These little faults then multiply to such an extent that they may cause major vocal problems or even disorders such as vocal nodes or oedema. Just as top sports people work with coaches, it is important that working vocalists receive some sort of coaching - even if it's only once a month. I say this because many of my voice rehabilitation clients were working vocalists with heavy schedules before their voices deteriorated. All of them were either untrained or hadn't had lessons in years. In this instance their vocal problems were troublesome to eliminate due to ingrained habit.

The second reason your voice could have deteriorated may relate to your new PA. The eminent French ear, nose and throat specialist Dr Alfred Tomatis, proved that "The voice contains only what the ear hears." Therefore if certain frequencies are missing from what you hear when you perform, especially the higher overtones, your voice will immediately deteriorate. Tomatis also discovered that "If the lost frequencies are restored to the hearing they will automatically be restored to the voice." If singing through a better PA doesn't restore your voice, then your problem may relate to a deterioration of hearing. (Ringing in the ears after a gig is a sign that hearing is being damaged.) Faulty hearing and tinnitus may be remedied with sound therapy.

Hormones could also be the third reason behind your voice deterioration. As men age, production of testosterone decreases, which usually results in the voice losing both power and depth. (Vocal cords are receptor sites for sex hormones in both men and women.) Androgen deficiency in men and andropause (male menopause) may be determined by a series of blood tests. Your doctor could then advise on appropriate HRT if needed. Further information is available from this link

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