SOUND OFF
Welcome to The Voice Connection Sound Off; a forum for users of books like Raise Your Voice, Melody to Madness, The Ultimate Breathing Workout, and Unleash Your Creative Mindset, as well as a place for Vendera Vocal Academy members to interact.
This message board was created so that singers could come together and "sound off" to help support each other during vocal development and the creative process of unleashing the creative spark that occurs when writing and producing music. Currently, myself and vocal coaches Ben Valen, Ray West, and Ryan Wall are here to respond periodicially to your questions, with new vocal coaches coming soon. But, feel free to help each other too:)
This board is here for you to ask questions about my and my fellow coach's books, videos, and MP3 programs, as well as offer others help with our vocal techniques. You may also post videos of yourself and your band to share your music and ask for critiques.
Please refrain from negative comments, profanities, spamming, and inappropriate criticisms of vocal methodologies, vocal coaches, and singers. All negative posts will be deleted and subject to banning without question. I will not respond to negative posts, because, as Mark Twain once said, “Never argue with stupid people, they will drag you down to their level and then beat you with experience.” With that said, positive criticism is welcome because that is how you'll grow as a singer during the training process.
Because thats because some of the diffrent sound Jaime vendera has called fullvoice has been in CVT terms. When he does his slides in some of his examples he ends up in MLN, a realy good one i must add and with a connected core of resonance.
But if you would apply CVT terminology to it it would be called MLN.
MLN can sound tons of diffrent ways, from The highscreams of daniel heiman to Jaime Vendera. But a keynote to this is that im not talking about all Jaime's screams...
Man im pretty lousy on explaining this, and it took along time for me to understand how the CVT modes relate to the RYV terms. And apparently an even longer to explain it 
But lets take the vowel rules for CVT and compare them to the Fullvoice term. lets imagine that we are on a highnote an E5 so we can rule out the other fullmetallic mode overdrive. The vowels that can be used to keep this mode high up in the voice is EE I Eh A Oe.
Jaime describes that fullvoice can be used on all vowels if I remember correctly, thus in CVT terms when describing for instance an E5 on the vowel O in what jaime would describe as fullvoice would be a Curbing note or MTN, but in that range more likley Curbing.
cvt modes http://www.box.net/shared/tzorc5gdvs from jesse nemitz forum.
first one is neutral- second is curbing third is overdrive- forth is edge.
Hope this clarifies some about the modes and the diffrent terminologies.
I hope you understand that im not meaning that Jaime calls all MLN, Curbing notes for "fullvoice" but certain sounds that would fall under that category in cvt terms.
I started out with CVT as a total beginner, and I'm glad it was the first method I stumpled upon
But here's the deal: You have to read the book before you can understand it.
A lot of the people who finds CVT to be complicated are the ones who haven't read the book...go figure. 
I think it's important to recognize that a "register" is only a series of notes - an interval. It doesn't have any specific sound. Ex. A4 can be sung in many diferent ways but it's still the same "register". It's important to seperate "register" from sound. 
I agree with sofus as it´s a CVT idea, so it´s really helpfull with CVT methology, but for other singing methods the idea of registers is still valuable, even when you want to describe sound. For example, head voice doesn´t have the restrained sound of curbing, it´s more delicate and light, but they teach you how to go pass compressed neutral to curbing, but in another terms, mixed voiced being one of them. But if you want "pure" head voice/compressed neutral, you still can use it.
About the samples, I´ve completely forgot about it! I´m not even practicing that much singing nowadays so I don´t think I´ll do it. 
Go,
I can see your point. Though in my experience it most often causes confusion when using the same term for a register and a sound.
It's very important to define what is meant with a term when comunicating - especially between student and teacher. For instance if headvoice, chestvoice, mix and falsetto are both a register and a sound then confusion can easily appear. For instance:
"I want to be able to use headvoice and falsetto in my chestvoice but also I want to have a chestvoice and mixvoice in my headvoice."
I know it's a bit overexadurated but the point is, that in my opinion it's important to seperate register from sound or at best defining very concretely what is meant with a term to avoid confusion.
I know it's a bit overexadurated but the point is, that in my opinion it's important to seperate register from sound or at best defining very concretely what is meant with a term to avoid confusion.
I very much agree with this statement. However that being said; this CVT terminology seems very convoluted and detremental. What is with these terms? They don't seem to make any sense. Granted I know nothing about CVT, just what I have read in this thread.
John,
As you pointed out yourself - you would have to read the CVT book to understand it's terminology.
