シャドーイング練習: why you hate your recorded voice (and how to fix it) - 動画で英語スピーキングを学ぶ
レッスンを作成中...
1
Have you ever recorded your vocals and thought you nailed
2
that performance and then you go and listen to it again and it sounds like absolute poo poo?
3
I used to hate my voice for a really long time
4
and over the years I learned how to not just hate it
5
but actually love it and I'm going to show you how I've done that.
6
Now also at the end of this video I'm going to show you some recording techniques
7
that are going to help you a ton as well.
8
So first things first, we need to understand why we actually hate the way our voice sounds.
9
It's a very common phenomenon amongst vocalists, musicians, producers, and just about anybody in general.
10
And it's because of the familiar versus the unfamiliar.
11
And I'll get to that.
12
So what happens is you're hearing something different than what everybody else is hearing.
13
You're hearing your voice being reverberated through your neck and chest and into your head and going into your ears that way.
14
Then you're also hearing it being bounced around the room and back into yours that way.
15
And so you're hearing something that's completely different than what everybody else is hearing.
16
When you press record, you're hearing what everybody else is hearing now.
17
But not only that, you're hearing what they would hear if you were three or six inches away from their ear holes.
18
And so immediately you're like, whoa, I don't like that at all.
19
And that's normal.
20
That's the unfamiliar.
21
It sounds very unfamiliar.
22
And the weird thing is it's like that uncanny valley where it's similar to your voice, but it's not how you're used to hearing your voice.
23
And you've been used, you have been used to hearing your voice for years.
24
However old you are now, that's how long you've been used to hearing your voice being reverberated through your chest and neck and into your head.
25
And if, and, and if you're not quite sure exactly how this works, just take a stick and bite on a stick and place it on a piano or a speaker.
26
And you can plug your ears and literally hear how your, how your ears and how your ear canals will pick up sound just being vibrated through your, through your face and through your head.
27
It's wild.
28
And so there is a completely different sound with that, though.
29
And so you're used to hearing yourself that way and not the way everybody else hears it.
30
And so because of that, it subverts expectations.
31
And like I have mentioned here, subverted expectations doesn't necessarily mean it's bad, right?
32
It just means it's unfamiliar, which is why I'm not saying good versus bad.
33
I'm saying familiar versus unfamiliar.
34
Humans and just people in general, we have this really awful tendency to be very fond of things that are familiar, even if it's bad for us.
35
If we are used to a certain thing, even if it's bad for us, we genuinely like that familiarity.
36
Like if you had a rough childhood growing up, sometimes getting back into those situations, sometimes that even though they're toxic, can feel familiar and feel comfortable to you.
37
And the opposite reaction is true as well, where something can be very, very good for you, but because it's familiar, it's not necessarily because it's good for you.
38
It's just familiar.
39
You're used to it and it brings you some sort of comfort.
40
It's the same thing here.
41
Now, when you have subverted expectations, you expected your voice to hear one way and now you're hearing it a different way.
42
That creates this cognitive dissonance and you're like, I hate that.
43
I hate the way that sounds.
44
I do not like that.
45
So now that we've understand why we feel this way and how we feel this way, now I want to explain how you can actually learn to love
46
that part of you
47
and also how you can use some recording techniques to actually emulate how you're hearing your voice as well.
48
But I'll get to that in just a minute.
49
So the main way that I really learned to love my voice was straight up exposure therapy.
50
I just did it again and again and again
51
and I kept recording and I kept mixing
52
and I just kept listening to my voice over and over and over and over and over again.
53
Then I was making YouTube videos on my main channel.
54
Like I've made almost 300 videos on my main channel producing in the box
55
and I've listened to my voice again and again and again
56
while editing and over and over and over
57
and eventually I got to a point where I actually thoroughly enjoyed the way my voice sounds because it was becoming familiar. That volume, that exposure,
58
that constant listening to my own voice was giving me enough exposure to make me familiar with it
59
and I learned to love it and I learned to love that side of it.
60
So I would recommend, me personally, I would record something every single day, whether that's you getting in front of your microphone,
61
whether that's you just pulling out your phone and recording some voice notes or something like that, just some song ideas.
62
I would record something every single day.
63
And this is also twofold.
64
This is cool.
65
Because you're recording something every single day, it also gives you an excuse to make music every day.
66
And just with about anything else, if you feel uncomfortable producing music, making music, mixing music, recording stuff, just the more you do it, the more exposure you're gonna get,
67
the more familiar and the more comfortable you're going to get with this whole experience.
68
Especially as a beginner, it is so daunting opening up a DAW
69
and pressuring record is a very simple task to do
70
but it is so daunting when there are so many buttons
71
so many features what's track and what does all this stuff do what's a compressor
72
and an EQ you kind of like start to lose it a little bit
73
and it starts to hold you back where you're like I don't even know
74
if I want to open the DAW it just scares me
75
and I understand where you're coming from I was there very very many years ago
76
but I distinctly remember that feeling I started out in GarageBand and that was daunting.
77
And then I eventually got to the point where I needed some features that GarageBand at the time didn't have, which was like some buses and things like that.
78
So I upgraded to Logic, and I almost didn't open up Logic again for like two weeks.
79
As soon as I opened it, I looked, and I'm like, oh, my word, this is insane.
80
And then there's even another section of the advanced features because when you first install Logic, it's at basic features by default.
81
You have to click advanced features to see all the other advanced features that are there, and it's like, oh, my word, what am I doing?
82
I don't even know why I'm doing this.
83
Why am I here?
84
And I closed the DAW for a while
85
and I had to like take a couple of weeks to kind of like calm down a little bit
86
and get back into it.
87
It's very daunting.
88
And so just being able to get that exposure, constantly recording yourself, constantly doing that stuff, it's just going to make you feel a lot more comfortable in the studio.
89
I have, I have done a lot of songs.
90
I actually got a video that'll probably be coming up on this video where I've done
91
so many songs over just the last year.
92
I actually got to figure out how many I've done over the last couple of years because even just the last year, I've had to do like three different backups on hard drives.
93
I have produced, mixed, mastered, and just wrote a lot of songs this year.
94
And the more I do this, even now, the more comfortable I feel.
95
So get some exposure therapy and really start to figure out what works for you
96
and continue to just go down that path.
97
Continue to record yourself every day.
98
And whether it's a song idea or whether it's just a cover or anything else, it's just going to help you a ton.
99
So exposure therapy is actually one of the main ways that I actually started to love my voice.
100
Now for some recording techniques, this is really cool.
101
Okay.
102
And I don't really see a lot of people talking about this.
103
So I can't wait to share this with you.
104
So it's going to be pretty helpful if you have a condenser microphone.
105
This is a dynamic microphone.
106
They're a lot less sensitive.
107
Condenser microphones, whether large diaphragm condenser microphones or anything like that, if it's just a condenser microphone, they're a bit more sensitive.
108
In fact, this microphone here, there's a street just on the back side of here, on the back side of this wall.
109
There's a sidewalk and then a street.
110
And when people drive by, I really can't hear road traffic from this microphone.
111
And I have a lot of acoustic treatment up, but I can't hear a lot of road traffic from this microphone.
112
But I can with the condenser.
113
I can hear everything.
114
It's insane.
115
And mostly it's because of that window.
116
It's just insane how much more sensitive they are.
117
But because they're more sensitive, they pick up a very wide frequency band and you're able to kind of use that microphone to your advantage.
118
So first, make sure that you have a condenser microphone of just a very sensitive mic and then start facing it upwards, but down towards your chest itself.
119
This is something I don't see a lot of people doing, but it's such a hack.
120
It does two things.
121
One, it starts to pick the lower resonance of your chest as you're singing, like your throat and your chest, and it really starts to add that to the recording,
122
which is what you're actually normally used to hearing.
123
So because you're used to hearing how it's vibrating in your chest and your throat and in your face and head, it's actually picking that up.
124
It's not picking your voice directly from your mouth.
125
It's actually starting to pick up some of that stuff.
126
So you kind of want it like above you almost facing down towards your chest and towards your neck.
127
And it's going to get a different sound entirely.
128
It also does one other thing, which is just nuts.
129
It eliminates a lot of the sibilances and plosives.
130
So plosive, when I into the microphone like that, all that air is like kind of shaking that around.
131
And this is actually somewhat of a decent microphone with the pop filter to keep that from happening, but it still happens a lot.
132
So those S's is that sibilance and the plosives are the
133
that kind of like low end rumble you're hearing when I do that.
134
it eliminates that because it's up here.
135
So really you don't even need a pop filter.
136
I still recommend one, but you still don't even really need a pop filter.
137
So you set the microphone up here where you kind of have to look up at it.
138
It's about eight inches away from your neck, from your face there, like eight to 12 inches.
139
And then use that, record with that.
140
It is such a hack.
141
And I've recorded my vocals like that quite a bit and I thoroughly enjoyed the way it sounds.
142
I'm used to hearing my voice that way, so it works for me.
143
But I don't know how other people feel about it, but I genuinely like the way that that sounds.
144
And I've used that recording technique on some other artists in the studio, and they've liked the way their voice sounds with it because that's what they're used to as well.
145
So give that a shot and see if it works for you.
146
Put the microphone up here so you kind of have to look up at it, but have the capsule of the microphone facing towards your neck and towards your chest and give that a shot.
147
See what it sounds like.
148
And then one other thing is just a mixing trick, which is actually using some saturation to kind of boost that low end.
149
So if you just kind of run it through a saturator, just kind of saturates some things up, warms up the vocal a little bit, makes it sound a bit better.
150
Now, mixing is an entirely different thing.
151
I actually got a video on my main channel that I will put somewhere over here.
152
And I'll make sure I leave it in the link in the description as well.
153
There's like five things that just always seem to be true every time I go to mix vocals.
154
and that's what that video is going to be all about there.
155
That's on my main channel.
156
So go check that out if you're interested in how I mix vocals and mix songs in general.
157
So I hope this video served you.
158
I hope you got some enjoyment out of it
159
and hopefully you don't hate your vocals as much as I did when I started.
160
So thank you so much for being here.
161
This is kind of an experiment channel.
162
I'm just testing it out, just pressing record, talking to you guys, just being raw and genuine.
163
So if you like this kind of content, Let me know down in the comments below.
164
I'll see you in the next one.
✨ おすすめ動画
B22
160 文
Improve Your English Pronunciation in 3 Steps (British Accent)
British AccentDaily ConversationWorking Adults
B24
460 文
#1 Communication Expert Explains Why You're Not Actually Shy | Vinh Giang
Business EnglishInterview EnglishDaily Conversation
B22
105 文
Lesson 1: Why you freeze (and why it's normal)
Daily ConversationWorking Adults
B22
124 文
REPLAY: American English Voice Placement | Learn American English! #americanaccent #americanenglish
Daily ConversationWorking Adults
B21
198 文
【PODCAST HSK4-5】Phát âm chuẩn bắt nguồn từ việc nghe chuẩn《标准的发音，始于标准的听力》| An Khả Hy
Daily ConversationUniversity StudentsWorking Adults
B21
341 文
"How to Talk About Your Feelings in English Like a Native | Learn English With Podcasts
Daily ConversationHigh School StudentsUniversity Students
B25
47 文
How to speak so that people want to listen | Julian Treasure (TED Talk Summary)
Daily ConversationWorking Adults
B21
100 文
Train Your Ear to Hear English Rhythm and Melody
Daily ConversationWorking Adults
B2110 文
3 tips for sounding like a native speaker
Daily ConversationWorking Adults
B220
120 文
I found the reason you can't speak English well
Business EnglishDaily ConversationUniversity Students
B11
608 文
The Listening Mistake Keeping you Stuck in English
Daily ConversationWorking Adults
B2216 文
English Podcast | Why You Should Stop Trying to Sound Like a Native Speaker
Business EnglishDaily ConversationUniversity Students
このレッスンの語彙とスピーキングのポイント
このB2レベルのスピーキングレッスンは、動画「why you hate your recorded voice」を教材にしています。 繰り返し出てくる語は次のとおりです：hearing, voice, microphone, sound, recording。 この動画には、シャドーイング用の文が164文、単語が2310語あります。 音声の長さは11:03です。 話す速さは速く、1分あたり約209語です。音のつながりや弱く発音される音が多くなります。 単語の85%は英語の頻出3,000語に含まれます。残りは練習の前に確認しておきましょう。
この動画の重要語彙
動画の中で特に難しい単語15語を、発音と意味つきで紹介します。
| 単語 | 発音 | 意味 |
|---|---|---|
| microphone 名詞 | /ˈmaɪ.kɹəˌfəʊn/ | マイクロフォン, マイク |
| condenser 名詞 | /ˈkʰəndɛnsɚ/ | 復水器 |
| unfamiliar 形容詞 | /ˌʌnfəˈmɪli.ə(ɹ)/ | 知られていない |
| plosive 名詞 | /ˈpləʊsɪv/ | 破裂音 |
| expectation 名詞 | /ˌɛk.spɛkˈteɪ.ʃən/ | 期待, 予想 |
| vibrate 動詞 | /ˈvaɪ.bɹeɪt/ | 震う, 震わせる |
| eliminate 動詞 | /ɪˈlɪm.ɪ.neɪt/ | 除去する |
| compressor 名詞 | /kəmˈpɹɛ.sə(ɹ)/ | 圧縮機, コンプレッサー |
| diaphragm 名詞 | /ˈdaɪəˌfɹæm/ | 横隔膜 |
| dissonance 名詞 | /ˈdɪsənəns/ | 不一致 |
| saturation 名詞 | 飽和 | |
| uncanny 形容詞 | /ʌnˈkæni/ | 不気味な |
| vocalist 名詞 | /ˈvoʊkəlɪst/ | ボーカリスト |
| beginner 名詞 | /bəˈɡɪnɚ/ | ビギナー, 新参 |
| distinctly 副詞 | /dɪˈstɪŋktli/ | はっきりと |
動画に出てくる句動詞
| 単語 | 発音 | 意味 |
|---|---|---|
| pick up 動詞 | 拾う, 拾い上げる | |
| calm down 動詞 | 落ち着く | |
| go down 動詞 | 降りる, 降下する | |
| grow up 動詞 | 成長する, 大人に成る | |
| warm up 動詞 | /ˌwɔː(ɹ)m ˈʌp/ | 温まる |
繰り返し練習したい文
動画に出てくる短く完結した文です。日常会話でそのまま使えます。
- I'm saying familiar versus unfamiliar.
- I don't even know why I'm doing this.
- Why am I here?
- It's not picking your voice directly from your mouth.
- That's on my main channel.
この動画の文法
話し手がよく使っている文型を、動画の実際の表現とともに紹介します。
| 文型 | 動画での表現 |
|---|---|
| 「used to」 used to + 動詞 — 今はもう違う過去の習慣や状態 | used to hate · used to hearing |
| 現在完了形 have/has + 過去分詞 — 過去の出来事が今も関係している | I've done · you've been · have mentioned |
| 受動態 be + 過去分詞 — 誰がするかより、何が起きるかに焦点を当てる | being reverberated · being bounced · being vibrated |
| 関係詞節 who / which + 節 — 人や物について情報を加える | unfamiliar, which is · have, which was · thing, which is |
注意したい発音
話し手はyou're, don't, I'mなど、短縮形や弱形を71回使っています。聞こえたとおりの短い形で発音しましょう。
- 「sh」と「zh」の音: expectation /ˌɛk.spɛkˈteɪ.ʃən/, musician /mjuˈzɪʃən/
- 長い単語（アクセントの位置に注意）: unfamiliar /ˌʌnfəˈmɪli.ə(ɹ)/, expectation /ˌɛk.spɛkˈteɪ.ʃən/, reverberate /ɹəˈvɜɹbəˌɹeɪt/, genuinely /ˈd͡ʒɛn.ju.ɪn.li/, eliminate /ɪˈlɪm.ɪ.neɪt/
この動画での練習方法
- まず声を出さずに動画を最後まで聞き、知らない単語をメモします。
- まず0.75倍速で一文ずつシャドーイングし、慣れてきたら通常の速度に戻します。
- 自分の声を録音して元の音声と比べます。microphone, condenser, unfamiliarなどの単語に特に注意しましょう。
シャドーイングとは？英語上達に効果的な理由
シャドーイング（Shadowing）は、もともとプロの通訳者養成プログラムで開発された言語学習法で、多言語習得者として知られるDr. Alexander Arguelles によって広く普及されました。方法はシンプルですが非常に効果的：ネイティブスピーカーの英語を聞きながら、1〜2秒の遅延で声に出してすぐに繰り返す——まるで「影（shadow）」のように話者を追いかけます。文法ドリルや受動的なリスニングと異なり、シャドーイングは脳と口の筋肉が同時にリアルタイムで英語を処理・再現することを強制します。研究により、発音精度、抑揚、リズム、連音、リスニング力、そして会話の流暢さが大幅に向上することが確認されています。IELTSスピーキング対策や自然な英語コミュニケーションを目指す方に特におすすめです。