Set Your Voice Free: How to Get the Singing or Speaking Voice You Want

by Donna Frazier, Roger Love

The greatest vocal coach in the world will help you get the voice you want.
Every time we open our mouths, we have an effect on ourselves and the way others perceive us. The ability to speak clearly and confidently can make or break a presentation, an important meeting, or even a first date. Now, with the advent of Skype, YouTube, podcasting, Vine, and any number of reality talent competitions, your vocal presence has never been more necessary for success or more central to achieving your dreams.

Roger Love has over 30 years of experience as one of the world's leading authorities on voice. Making use of the innovative techniques that have worked wonders with his professional clients, Love distills the best of his teaching in SET YOUR VOICE FREE, and shares exercises that will help readers bring emotion, range, and power to the way they speak.

This updated edition incorporates what he's learned in the last 15 years as the Internet and talent competitions have completely changed the role your voice plays in your life. These are the new essentials for sounding authentic, persuasive, distinctive, and real in a world that demands nothing less.

Genres: Music, Nonfiction, Self Help, Communication, How To, Personal Development, Health

320 pages, Hardcover

First published January 1, 1999

Reviews

[Heidi Wiechert · Rating 5 out of 5]

Set Your Voice Free was page after page of life changing revelations to me. I picked this book up because I was trying to address a specific problem. When I speak in front of groups, nerves take over and I subconsciously close my throat, cutting off my air, making my voice weak, and losing my message in my process. I didn't know that was what I was doing until I read this book. I just thought that my voice changed, but I didn't know how or why. Roger has changed all that for me and I'm so excited to put his suggestions into practice.

A world class speech and singing coach, Roger has helped many famous and every day people find their voices. "The most profound discovery I've made in the past fifteen years is this: If you know how to control the pitch, pace, tone, volume, and melody of your voice- the elements that form the core of this book- you can consciously use them to guide the emotions of your listeners and magnify the impact of every communication you have." loc 85-109, ebook. He goes on to list countless exercises and examples of just that. A consummate teacher, Roger includes almost every vocal problem imaginable in Set Your Voice Free as well as situations in which one would need to put her best voice forward.

Like visual impact, Roger tells us that audiences form their opinions about speakers and singers quickly, taking only one second of vocalizing to come to their conclusions. So, he says, you want to utilize that fleeting moment to make the best impression that you can. It all starts with the breath: "The magic that I work with voices is built on a fundamental rhythm: the movements of the body as you inhale and exhale. Breathing smoothly and deeply works wonders for the body in general. ... Once you learn to breathe as calmly and steadily as a child does, you are on your way to fabulous vocal reaches." loc 808, ebook. Intellectually, I knew how breathing worked and, demonstrably, I've been breathing my whole life, but Roger gave me a complete education about what deep breathing FEELS and SOUNDS like. I can see how this book could be life changing for readers as it has been for me.

In addition to vocal exercises, Roger includes stage and bodily movement, mixing them with the voice to create the total package. "All stage movement can be reduced to a simple pattern, and when you know how to use it, you can simply and effectively maneuver in front of any audience anywhere." loc 3270, ebook. Performers and speakers all types will find information worth knowing in this book. "When you begin to put yourself and your ideas clearly and thoughtfully into the world, with all the energy you feel, people will notice. Their new attention and interest may make you feel self-conscious, but keep using the techniques you've learned. You'll be a more active, influential player in your life, instead of being pushed to the sidelines." loc 4406, ebook. Everyone wants that.

Very highly recommended for anyone who speaks, sings, or wants to more mindfully express their message. Set Your Voice Free will help anyone who reads it turn his or her voice into a finely tuned instrument of communication. Perfect for beginners to well seasoned artists and speakers- it contains something for everyone. Some similar reads to help you put your best self forward: Platform: Get Noticed in a Noisy World, Talk Like TED: The 9 Public-Speaking Secrets of the World's Top Minds, or The Art of Exceptional Living.

Thank you to NetGalley and Little, Brown and Company for a free advance reader's copy of this book!

[Tara Brabazon · Rating 5 out of 5]

This is absolutely brilliant. Equally aimed at professional speakers and vocalists, the book offers a series of exercises to improve the voice. But further, the commentary is also clear about why a voice matters and its role in the development of a career.

Any career.

Superb. Read it. Change your life. Change your voice.

[Nate Robertson · Rating 2 out of 5]

Lie down on the floor, put your hands on your diaphragm. Now breathe in and out slowly and find your middle voice. Just do it. Find it.

And while you're doing that, ask yourself why you bought this book instead of going on youtube.

[Tom Donaghey · Rating 5 out of 5]

SET YOUR VOICE FREE by Roger Love is a self help book that really works. I was very skeptical at first, after all, how could a book teach me to use my voice better? But after reading through the book, coming back and doing the exercises, following all the recommendations and using his web site along with my own recorder, I was amazed at the results.
I recommend this book to anyone who can't actually have Mr. Love work with them in person. I know my church choir thanks him immensely for sanding out my rough edges.

[Pete · Rating 4 out of 5]

I was looking up something in this book I've had for over 10 years, and re-read the entire book.

This one for me was inspiring and taught me tricks to power up my voice and add an ocatave. Key instruction in this practice practice practice and try for more control.

I loved this book, again.

[Christopher Lawson · Rating 4 out of 5]

You Need Access To Every Part Of Your Voice


I am familiar with the authors, and especially Roger's prior works on vocal training. I liked his prior works, so, I was curious to learn his latest tricks of the trade. In SET YOUR VOICE FREE, Roger Love emphasizes the importance of MIDDLE voice: "This incredible, little-recognized part of the voice, which I specialize in helping people strengthen, is responsible for bringing a new kind of power and ease to both speaking and singing."

To help the vocal student, there are separate audio tracks so that you can hear what middle voice sounds like, and experience for yourself what it feels like going into Middle voice. Roger explains: "I’ve found that by using singing exercises to help people improve the way they speak, I can make bigger leaps much more quickly than even a speech pathologist might."

I tried the audio exercises from the accompanying website. There are pretty simple--especially the earlier exercises. In the vocal exercises, Roger contrasts Chest voice versus Middle, and also Head voice. He suggests just brief work-outs at first--don't overdo it! One of the key recommendations from Roger is to always RECORD your voice as you practice. For one thing, these recordings can help you see as you make progress.

The middle voice is not just for singers--speakers can also benefit: "Using the middle-voice exercises is a litmus test for speakers. When you are able to find middle and play with it, you can be assured that you are breathing in a way that will keep your voice strong and powerful."

After the singer is comfortable with middle voice, it's time to begin "blending" chest and head voice. The goal is to blend in the chest and head voice: "You’ll eventually wind up at the Emerald City meeting the Wizard, which I define as having the perfect blend of chest and head to form absolute middle. "

Besides the exercise, the author includes a variety of other tips. If you are an experienced singer, you will likely already know these tips, but it's always good to hear good tips emphasized. Here's one funny (but valuable) tip: "The most important piece of advice I can give you if you want to get the maximum performance from your voice consists of three words: drink more water."

All in all, I found SET YOUR VOICE FREE to be an encouraging, useful book. I think it's probably best for beginner or intermediate singers. I really like the audio exercises that help me transition to Middle voice.

For those interested in further study of learning middle and head voice, here is my favorite work by the classic teacher, D.A. Clippinger:
https://www.amazon.com/Voice-Other-Pr...

Advance Review Copy courtesy of the publisher.
For more views like this, see: https://www.bassocantor.com

[Alexandra · Rating 4 out of 5]

I think I need to withhold judgement until I practice enough to lower my larynx. but between that, breath, and middle this is a solid solid book.

did not expect to get several chapters of how to get famous but was interesting.

[Georgianne · Rating 3 out of 5]

I gave this 3 stars because Roger Love seemed to really want to help improve your voice, whether it's speaking or singing. As far as helping me goes -- well, maybe I'm hopeless. After a few months I still can't get anything in tune. My husband kids around and says I hit one note per song in tune. I honest-to-goodness can't hear myself. I can tell if other people (or instruments) are in tune, but I cannot tell if I am. Following his exercises is almost pointless because even when I think I'm hitting all the exact notes he is, my husband says I'm way off. Anyway, I couldn't give the book 5 stars because all that name dropping drove me nuts.

Update: Well, maybe I should add a star and make this review 4 stars. You can post comments online on the audio exercises for this book and Roger Love actually replied to both of my comments with some helpful advice. It took almost 3 months, but I'm sure he's busy. Even though I'm done with the book, I guess I should keep going back over the exercises.

[Shawn · Rating 2 out of 5]

Metà libro l'ho trovato inutile, troppi esempi di esperienze altrui che non servono a niente, di esempi personali dell'autore e dei suoi figli, di frasi lunghe e complesse che alla fine intendono sempre "che devi sentire qualcosa dentro di te". E come faccio a sapere se quello che sento è giusto o sbagliato? Non l'ho capito.
Strano ma vero, la parte più interessante e che mi ha aiutato di più è stata alla fine. L'unico capitolo del libro dedicato interamente agli speaker è stato il più chiaro, coinciso e preciso del libro. Ho sentito fin da subito un netto miglioramento nel canto, cosa che non è avvenuta leggendo i capitoli precedenti dedicati quasi esclusivamente al canto. E gli audio del sito non mi sono serviti a niente.

[Crystal]

Non fiction, self help for improving your voice
This was dnf for me. There is good info about how the voice works and he definitely has impressive experience with many famous singers and speakers. I expected to do real exercises but I found having to reference his website pushing his courses to be cumbersome and not what I wanted from this.
I was after some understanding of the principles of speaking...I use my voice over the phone for my job every day and feel myself "breaking character" during a long call. I also stutter and have had a lot of success ever since childhood with better fluency the more I focus on my word choices.

This is feels more like singing voice lessons from a showboat.

[Rasheed Lewis · Rating 5 out of 5]

Webster's dictionary defines the verb heal as "to make sound," a use of words that I find particularly apt.

Thanks to this book, I was able to steal the show at karaoke night with NKOTB's "Step by Step." Thanks, Roger Love!

An amazing methodological book that gives you access to, the most important resource, a website of daily singing exercises. As with any instrument (or thing really), mastery of the rudiments opens the doors to feats that I didn't even know I myself could reach.

One of those feats being access to my middle voice, which is the range that Roger hammers home as the principal so much as to say that men should speak in their middle rather than chest. Speaking completely your chest does give you the sense of masculinity your father never acknowledged, but your middle voice presents you as approachable if influence and empathy is your goal.

But the main theme of the book: to speak is to sing. On the resources website, there are both speaking and singing warm-ups, but the speaking exercises are still musical. And it's important to remember to have a sense of melody when speaking. As you go back and read this review out loud, when you approach a comma or a period, do not trail off and lower the pitch. Instead raise the pitch or keep the note the same. The tendency to descend at the end of a sentence is what kills a lot of momentum. Do it sparingly, like here at the end of this paragraph.

The hardest part is probably recording oneself. Yes, your self-esteem will take a massive hit as you listen to your own nasally, monotonous voice, but it will all but die when you start watching video recordings of yourself too. The book also covers the basics of presenting and performing on stage as well as on video, so be warned if you plan on following all of the exercises.

Those are all my thoughts. Nothing else to s--

Researchers have found, too, that baroque music, (think J.S. Bach and the Brandenburg Concertos) seems to stimulate the logical, information-processing parts of the brain to aid concentration. (p. 261)

...oh, dear.. Review coming soon?

[Jacob O'connor · Rating 5 out of 5]

I use my voice for my job. So many days I leave the office vocally exhausted. Phone call after phone call. Meeting after meeting. By the time I try to get home to talk to my wife, I'm reduced to cave-man grunts.

This was my second book by Roger Love. This was much better than the first, and I think I've isolated my problem. I'm not keeping my larynx low when speaking. It's funny. I know to do that when I'm singing, but I never considered it for my speaking voice. Here's hoping it's a permanent fix.


Notes:

Your voice is set up to speak or sing 24 hours a day. If yours can't, it's because you're doing something wrong

Great singing or speaking happens when the right amount of air meets the right amount of vocal cord.

The most dangerous thing to your singing voice is using your voice badly when you talk.

Lower your larynx even when speaking

Stop drawing a line between speaking and singing

Diaphragmatic breathing:

Use posture to create an open pathway for the movement of air

don't tense muscles when exhaling

When you tighten, you cut off the flow of air

equate high notes with difficulty

Release the gripping muscles that keep your voice trapped

Use only the necessary amount of air

Ugly duckling syndrom

Speak the way that you sing

Larynx: don't tighten the muscles in you chin to pull the adams apple down. Instead, lower the adams apple by lowering your tongue in your mouth, not by pulling the tongue backward, but by placing the tongue lower in mouth.

don't let your tongue close off your air. Keep it closer to your teeth

Keep your lips narrow no matter what vowel you're singing. Your mouth shouldn't go wider than it would have if you spoke the word.

Drop your jaw, but don't tilt your head down

Odd advice about the voice

Drink more water

Says originality but encourages imitating your favorite singers

To capture emotion, sing as though you were speaking

To learn runs, imitate very slowly, then build speed

To emphasize emotion while singing, overact

Accentuated the important words

Match your Physiology to the music you're making

Happiness is magnetic

[Andrea · Rating 3 out of 5]

I haven't read it all yet. One of those books I dip into when I have a quiet moment alone but so far I've found it very effective. I'm already feeling more confident about my warbling.

[Emily Sklaver · Rating 1 out of 5]

Until that happy moment where I find something half-decent to say on here, I’m going to keep trucking with my Rotten Tomatoes path. So…this book. I picked it up at a piano lesson a hundred years ago, and I asked for it for Christmas and got it. And I devoured it. At the time.

Now, fast forward. Off to college. Theatre major, having second thoughts about said theatre major, thought this book would be useful, because I want to play Belle soooooo badly, but of course that’s never gonna happen. The night before I left my house to move into my dorm, I picked up this book again, and a new perspective hit me. It was: WHAT THE HELL IS THIS?

It’s not because the ideas are bad. They’re not. It’s because Love gives an aura of bragging. I get he’s trying to be informative and all that, but the bragging didn’t sit right with me. Mostly he brags about himself:

Many of my clients can afford to go anywhere they want and to study any technique ever devised, but they come to me because I have developed the most specific, effective exercises that exist for opening up the voice to all its possibilities. They know that in one lesson I can give them access to parts of their voices they’ve never been able to reach and that they might not have known existed. (Page 2 of my copy)
Following a glowing endorsement from a client:
I hear comments like this all the time. (Page 16 of my copy)
Wow, what an ego.
But there’s more: But I could sing, and I clung to my voice like a lifeline. I began giving concerts at lunchtime, and I realized that I could fill a gym when I sang a song…in a short time I was winning vocal competitions and performing as a baritone in operatic productions around Los Angeles. (Pages 16-17 of my copy)
I get that it adds credibility to hear it from him directly, but after reading the previous passages, it’s just giving an air of show-off.
As if that weren’t enough, at one point, he even brags about his little daughter:
By the time she was one and a half, she was singing continually. And by the time she was too, she was singing along to the Disney classics…but she had, on her own, become the diva of the house. People would hear her voice, on pitch and connected from chest to head, WITH vibrato, and stare in disbelief. (Page 142 of my copy)
First of all, staring is rude. Second of all, vibrato at age TWO? Seriously, Love? You’re setting your daughter up for an ego when she grows up. Not to mention the fact that you’re bragging about yourself again, albeit indirectly. It’s giving “Look what I did to her! I’m so proud of myself!” Give me a break.

More than once, Love shares tales of the “students” that he’s worked with on various exercises and troubleshooting tactics. “My student so-and-so had this problem…” “My student so-and-so had difficulty with such-and-such, so I did this to help…” “My client so-and-so did yada-yada…” At first, I believed that those were real people, but now I’m starting to question it. After what I bitched about regarding Sean Covey’s 7 Habits, can you blame me? I’ll leave it at that.

Now, I don’t find it appropriate to complain about the outdated pop culture references, because this book was published in the ‘90s, so I’ll excuse that one. Instead, I’m going to move forward to something that grinds against my nerves when anyone in the world does it, and I touched on this in my bitch-rant of 7 Habits. It’s when people contradict themselves. Here is an example in this book:
A rule of thumb is that you don’t have to shake any part of your body to make vibrato (page 148 of my copy) Then, on the next page: Though I’ve said that I’m against shaking anything to make vibrato, when you’re starting out, I bend the rule a little to help you experience how it’s supposed to feel in your body and then tells us to shake a finger up and down in front of us. Okaaaayyy…I get that sometimes we need a little pick-me-up, but didn’t it JUST say a minute ago that shaking is outlawed? As if that weren’t enough, we get this passage on the following page: Make a fist and place it at the top of your stomach…push your hands in and out in a rapid pulsing motion to send quick bursts of air to the back of your throat…Keep your hands moving in and out rapidly, repeat the sound, and pay attention to where the air is pulsing in your throat.
MAKE IT MAKE SENSE! You tell us not to shake things, and then you tell us to shake things? There’s a difference between a pick-me-up and a self-contradiction.
As disdained as I feel about the self-contradictions, I do think his point about not moving your jaw up and down is valid.

My next point is about Chapter 9, which is…um, preaching, if you will, about taking care of your voice. I am 100% aware that I tend to preach too, so I’m not saying “preach” like it’s a bad thing. Anyway, I don’t like how Love’s idea of a “singer’s” diet is nothing but plain water and that you’re supposed to starve yourself otherwise because every food in the world has “problematic” ingredients that “may affect your voice.” I’m not kidding when I say there’s actually an itemized list of foods and drinks that are off-limits, and Love gets into every little gory detail of precisely why you should kick coffee, dairy, tea, and red meat to the curb. Yeah, about that, Love: Starving performers dysfunction. Everyone dysfunctions when they starve. We can’t live on solely water. Okay, there’s a mention of tomatoes, and briefly why broccoli is beneficial if you want calcium, but for Christ’s sake!
On the bright side, Love also reassures us that there are short-term solutions if we don’t want to completely go cold turkey. Enjoy your dairy foods the weekend before, but cut way back from Sunday night through Wednesday…increase the amount of water you’re drinking. (Page 133 of my copy.) That’s fine. I don’t know how I can live without a milkshake from Chick-fil-A or a frosty from Wendy’s. Did I mention that there’s a milkshake/smoothie machine in the dining hall that stares at me and mocks me every day? Talk about torture!
Another thing about Chapter 9: I did like how he preached his anti-smoking ideals. I tell people that if they want to study with me, they have to stop smoking. (Page 137 of my copy) There’s that bragging about “I’m the best teacher on the planet” again, but put that aside, and I agree wholeheartedly.

For my next point, I’m going to piggyback off another review on here that said “over-inflated promises.” Yes, we do get those. Yes, Love does have a tendency to jump the gun and over-sell himself. Yes, I think that “solving a problem in minutes, not years” is unrealistic. But as this book was written before the great technology takeover where everyone has artificial ADHD and wants things at the drop of a hat, which I’ve mentioned on here previously, I suppose I can get behind that.

I don’t suppose if I could track this guy down right this minute and tell him that my dream role is Belle, he would burst out laughing and say “What kind of pot are you smoking?” Furthermore, I imagine he would cringe and wince at the overdose of what he calls “chest” that is frequently found in Broadway cast recordings which make up my Spotify playlists. What’s the betting that he’ll say that those people are not doing it “correctly”? I’m willing to bet my bank account that he’s going to take an unauthorized trip backstage to tell those people to stop belting because it’s “causing them damage” and that he could “fix them up so they don’t lose complete control of their voices.” On the one hand, I get it. Sometimes people have bad habits. On the other hand, stage is meant to be exaggerated. It’s supposed to be larger than life. Maybe that’s why I’m not doing well in my acting class. Still, Love, I get you’re trying to help, but don’t try to force it.

As if that weren’t enough, there’s a section where Love points out the “problems” in the voices of very famous artists (outdated pop culture references that I mentioned earlier) and says that he’s not intending to “cast stones” (his words, not mine) at them. Um, excuse me, but saying “I don’t mean to be racist, but…” does not make your comment any less racist. To quote Mean Girls: “Calling someone dumb won’t make you any smarter.” I get that Love claims to be the expert, but dear God, if he said any of that about me, I would track his studio down in LA and kick his ass. Metaphorically, that is.

That was harsh. I think I’ll regret that.

Last point, and then I promise I’ll be done. This is not necessarily a criticism, but I thought I would end this on a positive note. I thought this was hilarious: Luther Vandross once said that some singers do riffs as if they’re being paid by the note and need to cram in everything and the kitchen sink. (Page 157 of my copy.) I’ll never forget when me and my sister were driving to Disney World over Christmas break, and my sister was blasting her playlist that she’d created for this precise purpose, and on it was Christina Aguilera’s “O Holy Night” that was less of “O Holy Night” and more random notes being thrown around, sliding up and down notes like a washboard, and at one point she even took it up to stratospheric high notes. It amused me thinking how Love would have rolled his eyes in disgust.

That’s about it, fellas. Now if you’ll excuse me, I’m going to go to bed and curl up with a murder mystery book and my plush Hermione that I mentioned earlier. Until tomorrow, then.

[Chris Weatherburn · Rating 5 out of 5]

Very different from usual books I read but would highly recommend, has many improvement themes throughout. Written by a voice coach to the superstars, Tony Robbins, Michael Jackson ... the list goes on. Outlines that the three types of breathing chest, middle and head. To perform chest (diaphragmatic breathing) think of a balloon inflating in your epigastric region, then deflating off its own accord. Head breathing tends to be higher notes, by tilting your head up you achieve higher notes.

The importance of trial and error in improving your voice and ability to sing. Often singers actually damage their vocal cords when speaking as opposed to the singing, so speak without putting strain on your vocal cords. Suggests singers should find their 'middle' and practising this so they can effortlessly move through different notes. Suggests if you are a singer it is important to write your own songs and keep putting your content out there this allows improvement. Aim for improvement not perfection.

Stresses the importance of persistence to improve yourself, make others who know you aware that you are trying out new things, but be prepared that they may well not be supportive. Best at times to try it out your new attempts for voices on strangers.

When you think you are over exaggerating you probably aren't, you are just used to how you sing or speak due to years of habit.
Drink water to help your voice, don’t smoke and avoid too much dairy. Posture is important to assist projecting your voice.

A higher tone of voice at times can appear seductive but at times timid, lower tones may appear more authoritative but at times too direct.

The importance of being able to use all the range is stressed so can adapt to the situation. Speed of voice should vary and be adjusted according to what you wish to put the emphasis on. When doing talks or YouTube videos try not to use symmetrical hand motions too often as this can appear staged. If you smile and widen your mouth can out strain on cords, if you open your mouth wider this overcomes this and helps.

Experiment and enjoy different sounds, find you own voice and be true to yourself.

Check out my VLOG summary: https://www.youtube.com/watch?v=ghNfN...
If you found this helpful please check out my website for more: www.chrisweatherburn.com

[W L · Rating 5 out of 5]

As a fellow vocal coach, I truly appreciate the necessity of combining text with audio examples in vocal instruction. This blend is something I've always valued in vocal books, as the voice is intangible—it needs to be heard to be fully understood. Hosting the audio clips on his website is an essential step toward creating a holistic learning experience.

For those who found exercises like lying on your back with a book on your stomach while breathing "stupid," I’d argue that this reaction comes from a lack of understanding of the purpose behind such exercises. These methods are carefully designed to teach fundamental concepts, and dismissing them undermines their effectiveness. Everything shared in this book aligns seamlessly with my own years of vocal study.

I love this book because it goes beyond mere theory. It provides a wealth of practical resources, which are vital for learning. Students of singing don’t just need theoretical concepts; they need hands-on, practical exercises that make sense within a clear framework. Conversely, practical exercises without context are equally unhelpful and not purposeful.

To get the most out of this book, keep an open mind and set aside any biases. If you’re truly looking to learn and improve, this resource is invaluable. It’s a balanced and thoughtful guide that offers both the "why" and the "how," which is exactly what aspiring vocalists and teachers need.

If you have personal issues with the author’s tone, such as perceiving him as boastful or egotistical, I encourage you to approach your review/ the book with a more objective mindset, and not for your endless blabber.

[Jim · Rating 4 out of 5]

Read the newest edition. Quite useful book, and effective exercises.
4 stars because of two reasons:
1) he highlights the myth that dairy products affect your voice badly and recommends abstaining from dairy products. That's a myth and it perhaps depends on each individual. Personally, never had any issues of eating cheese daily
2) he recommends to be louder than usual, but I'd say that it depends on each persona as well. It's worth to explore what is your speaking style once you develop your voice and are more confident. It's not necessary to be loud in "american way", like someone who tries to sell something with lots of confidence. Many Europeans will perhaps put off by his way of teaching, but nevertheless Roger has great tips and anatomical tips on observing the body while singing have helped me hugely to be a better singer.

In general, very inspiring and helpful book that should be in your shelf if you are a self-learning singer.

[Fernando Suarezserna · Rating 4 out of 5]

It's a great book, it made way more difference in my singing than the 6 month of classes I took a while ago.

4 out of 5 because of the editing, the book is structured in a weird way. I get authors sometimes need to do some convincing about why it's important to learn what they're about to teach, and this book does exactly that, along with some name-dropping, and then goes into the lessons. Suddenly, almost halfway through the book, the author goes back into convincing/name-dropping mode, and this happens about three times over the book. So, structurally, it feels weird.

I listened to the audio version, which I definitely recommend to improve your speaking/singing voice.

[Bob · Rating 1 out of 5]

This book is a print version of a sales funnel. In order to make any use of the book you need to “sign up for a free account” on the authors website. Which really means he now has your email and will try to sell things to you. That’s basically the whole point of him publishing this book.

I’m no sucker and I don’t play those games. This book might have changed my life but I won’t let guys like this get the satisfaction. After a few chapters it was impossible to follow along without the website (which is exactly what’s intended). I can only deduce this guy is a slimeball, irregardless of how good of a vocal coach he is.

[Emily Mellow · Rating 2 out of 5]

Just, no.
From go, the audiobook got on my nerves. This author, a voice coach, has the most terrible reading style imaginable. His voice sounds like he's overacting, constantly, while also being condescending. I tried to power through it, but then came to the lessons where you were meant to refer to both the accompanying PDF and specific links on the website in order to proceed with the course.
I don't know what format would have been better. Perhaps the book version, because then you don't have to listen to his voice. But then you'll have to visit his website even more frequently for audio demonstrations.
No thanks, I'll keep my voice as is for now.

[Rachel · Rating 3 out of 5]

Roger Love has created a guide for singers and speakers alike to assess and adjust the sound of their voices, with techniques for breathing, posture, and vocal exercises aimed at improving the quality and tone of the sound of your voice. The book references online examples and instructions to follow along with, which is helpful when you are able to access them. I received a copy of this book in a Goodreads Giveaway in exchange for a review.

[Dickson Tan]

I heard about this book when the author was interviewed via a podcast. At the same time, I've just taken a course which made me aware of how much communication beyond the spoken word is occuring in everyday interactions - I wouldn't have noticed this book otherwise.

Just finished skimming through the main contents of the book. I now need to spend a few weeks to do the prescribed exercises to see if they work as advertized.

[Rod · Rating 4 out of 5]

This is a great book for learning how to make your voice work its best -- but it is NOT an easy book to read! Virtually every section has exercises and routines you're expected to work on, and several of them require you to stand up and make noise. This is not a "sit around and read it at lunch" sort of book! But if you can dedicate yourself to it, you'll find a lot of cool information and helpful tips.

[Colin Wheatley · Rating 3 out of 5]

The exercises are useful and the focus on the middle voice makes sense, but there’s too much waffle. I just want to be a better karaoke singer, so the exercises on the website would have been enough for me. Anyone who’s really serious about improving their voice would be better hiring a vocal coach or joining a class.

[Riccardo · Rating 2 out of 5]

This was my second singing audiobook. Roger is trying hard. Her really is, but his voice and intonation is annoyingly over the top. Knowledge wise he seems really good, but I just could not take his voice seriously.

[Lorenz · Rating 3 out of 5]

The first few chapters offer some pretty interesting insights about different qualities and issues of speaking voices, and how to improve these aspects. Lots of minus points for overselling and general hyperbole.

[Russ · Rating 5 out of 5]

Very solid advice.

[Fatemearman · Rating 5 out of 5]

ارزش چندین و چند بار خواندن را دارد و تاثیرش بر مهارت آواز خوانی مشهود است.

[Ruben · Rating 4 out of 5]

Haven’t done the exercises (yet) but the book seems solid

[Saad Khan · Rating 4 out of 5]

easy language to understand the content. practicing from audio files is also a part that goes hand in hand with reading.