A Voice in the Box: My Life in Radio

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  1. Talk box - Wikipedia
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It used a watt driver and was released to the mass music market in early , two years before Bob Heil's Talk Box became widely available. The Bag is claimed to have been designed by Doug Forbes, [12] [13] who states that exactly the same concept speaker attached to a plastic tube and inserted into the mouth had previously been patented as an artificial larynx.

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Two other early examples of a Kustom Electronics talk box being used on studio recordings are Sly and the Family Stone 's "Sex Machine" from their album Stand! The band Iron Butterfly used a talk box in the song "Butterfly Bleu" from the album Metamorphosis in Stevie Wonder first used a talk box on his album Music of My Mind in early The Osmonds used a talk box on their track "Hold Her Tight".

The Crusaders featured a talk box on the album "Southern Comfort" in — notably on the song "Greasy Spoon".

Jeff Beck used the Kustom Bag talk box on " She's A Woman " from his release Blow by Blow , and was seen using it for the song on BBC television program "Five Faces of the Guitar" in in which he also explains its use to the host of the show. The first high-powered Talk Box was developed by Bob Heil. Walsh gives credit to Bill West, an electrical engineer, Nashville steel guitarist and first husband of country music legend Dottie West , for inventing the talk box for him in the May issue of Guitar World magazine.

In , Heil sold the manufacturing rights to Dunlop Manufacturing, Inc. The hit single " Tell Me Something Good ", performed by Rufus and Chaka Khan and written by Stevie Wonder , which peaked at number three on the Billboard Hot , was among the earliest hits to use the guitar talk box.

While he sat next to Pete Drake in the album sessions at Abbey Road studio, he heard Pete using it with a pedal steel guitar.

Talk box - Wikipedia

Frampton said in the same interview that the sound it produced reminded him of an audio effect he loved listening to on Radio Luxembourg in the later s. Frampton acquired one as a Christmas present from Bob Heil in It was a hand-built Talk Box in a fiberglass box using a watt high-powered driver. Due to the success of the albums Frampton and Frampton Comes Alive!

Peter Frampton also now sells his own line of custom-designed "Framptone" products, including a talk box.

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Over a synthesized background his VCS3 synthesizer repeatedly "sings" the words "I am so breathless", which can be taken as a reference to the Talk Box. Aerosmith guitarist Joe Perry used a talk box in the band's highly popular songs " Sweet Emotion " from the album Toys in the Attic and the live version of " Walk This Way " from the album Live! He also used it in the theme song from the Spider-Man 90's cartoon.

Ronnie Montrose used a talk box on the title track from his album Jump On It. The band Stillwater used a talkbox on their song "Mind Bender" in Also from , the Meters used one on their track "Funkify Your Life". Matthias Jabs , lead guitarist for Scorpions , has used the talk box in many of their songs, most notably the song " The Zoo ". Brian May was asked in an interview whether the song "Delilah" was recorded using a talk box on Queen 's Innuendo record. May answered: "Yes, I finally succumbed and used one Dream Theater guitarist John Petrucci used the talk box for live performances of the song "Home", from the band's album Metropolis Pt.

Avenged Sevenfold vocalist M. Shadows used a talk box in their song "Lost" off their self-titled album, Avenged Sevenfold. From Wikipedia, the free encyclopedia. This section does not cite any sources. Please help improve this section by adding citations to reliable sources. Unsourced material may be challenged and removed.

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    December Cole " The Zoo " — Scorpions. Archived from the original on Retrieved Message: More than the physical risk, though, singers feared the damage to their careers that could follow if word got out. In the world of showbusiness, it was safer to be seen as a singer with a healthy young voice than as a one-time great with surgically repaired cords. Now, Adele had suddenly swept away the stigma. They have no shortage of patients: there is an epidemic of serious vocal cord injuries in the performing arts.

    There is no precise data on the number of performers who have gone under the knife over the years. But several surgeons told me they estimate that vocal cord surgery has been performed on thousands of pop, rock and classical singers, as well as on theatre and stage musical stars. Cancelled shows reverberate across social media and hit a struggling music industry hard. When Adele pulled out of her remaining two Wembley shows this summer, nearly , tickets had to be refunded.

    Occasionally, a reporter asked him if Adele was cured for good. While the media was celebrating this miracle surgery, one woman in the music industry raised a dissenting voice. According to Lisa Paglin, a former opera singer turned voice coach, Zeitels had simply found a temporary fix; in the not too distant future, Adele would once again be forced off the stage and back into the operating theatre. It was a prediction that Paglin and Marianna Brilla, her coaching partner, were willing to stake their reputations on. The rash of vocal injuries silencing our most promising young talents, they argued, is too big a problem to be solved by microsurgery.

    Or on anyone? Is this the life of a professional singer? When Adele cancelled the final nights of her recent tour, Brilla and Paglin felt saddened but vindicated. For more than a decade, they have been pushing for a revolution in the way that almost every modern performer has been taught to use their voice. After years of painstaking research in musical archives, early scientific journals and the classroom, Brilla and Paglin say they can deliver what medical science has failed to: a permanent fix for vocal burnout.

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    Their solution requires the revival of an all-but-vanished singing method that is not just beautiful to the ear, but also easy on the throat. Some of their ageing and beleaguered clients described it to me as a kind of fountain of youth. But their cure is not without controversy. It is based on a provocative theory that has been gaining ground among a small cadre of international talents: that we have all been singing completely wrong — even Adele. S inging is a rough business. Every vocal performance involves hundreds of thousands of micro-collisions in the throat. The vocal cords — also known as vocal folds — are a pair of thin, reed-like, muscular strips located inside the larynx, or voice box, in the throat.

    They are shaped like a wishbone, and contain the densest concentration of nerve tissue in the body. When we are silent, the cords remain apart to facilitate breathing. When we sing or speak, air is pushed up from the lungs, and the edges of the cords come together in a rapid chopping motion. The air causes the cords to vibrate, creating sound. The greater the vibration, the higher the pitch. By the time a soprano hits those lush high notes, her vocal cords are thwacking together 1, times per second, transforming a burst of air from her lungs into music powerful enough to shatter glass.

    Beautiful singing requires lithe cords, but all that slapping together can wear down their fine, spongy surface and lead to tiny contusions. Over years of heavy use, nodules, polyps or cysts form on the vocal folds, distorting the sound they create. For a singer, the first sign of trouble is often the wobble.

    His pitch fluctuates on and off key because his ragged cords have lost their natural vibrato — their ability to resonate properly. Try as he might, those notes will exit his mouth flat or, worse, as a barely audible gasp. Some opera singers complain of year-round cold symptoms, and legal steroid injections and other drugs are often used to get a struggling singer through a performance. But singing through the wear and tear can cause the lesions to burst and bleed, creating voice-ruining scars, which is what happened to Adele in Voice specialists liken the physical toll on singers and stage performers to what athletes endure.

    Dusty theatres, stuffy airplane cabins, erratic eating and sleeping patterns, the stress of living off stingy contracts — all affect the vocal cords. Add to it the occupational hazard, at least in opera and classical music, of taking on roles that require you to sing above your natural range, and the cords become extremely susceptible to injury. Back then, Crutchfield saw that singers peaked in their 30s and then began to decline.

    But Adele, Trainor and Smith all underwent career-saving surgery in their 20s. Vocal burnout is afflicting amateurs, too. One veteran teacher in Italy told me that female students in their early 20s who want to sing like Adele or a young Whitney Houston are the ones who come down with vocal nodules. Another music teacher told me she recently had to instruct one of her year-old students to stop singing and get his damaged cords checked by a specialist.

    The rise in vocal injuries is linked to a change in what we consider good singing. Across all genres, it has become normal to believe that louder is better. One reason that Adele is such a big star is because her voice is so big. As a result, singers are pushing their cords like never before, which leads to vocal breakdown. New waves of medical research into the causes of dysphonia, or the inability to properly produce voice, bear this out. In the west, vocal abuse is surprisingly common in all professions that rely on the voice , from schoolteachers to opera singers.

    Brilla and Paglin have been saying this for years. T eatro La Nuova Fenice, a 19th-century opera house built in the neoclassical style, sits at the top of the small hill town of Osimo in central Italy, just inland of the Adriatic Sea. In the grand lobby of the building is a marble plaque commemorating the night in when the Italian tenor Beniamino Gigli, one of the greatest talents of his era, performed here.

    Gigli packed concert halls across Europe and the Americas in a career that spanned five decades. Gigli is an icon of the purer, more natural singing style that characterised a period when vocal injuries were almost unheard of, say Brilla and Paglin. They have a small teaching studio in a cul-de-sac below La Nuova Fenice.