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How to Instantly Get a Deeper Voice

A deep voice is an inherently masculine trait, being a symptom of both s

and testosterone levels. Deep voices elicit attraction from women and respect fr
om men.
I was born a charismatic public speaker but with a typical, merely average pitch
ed voice.
I was also born with a perfectionist streak which when met with discovering game
and self-improvement meant maximizing all my attributes as best I possibly could
so having a merely average pitch voice was no longer good enough.
Unfortunately doing stuff like speaking from your diaphragm will only do so much
and really only make your voice sound fuller and richer rather than actually dee
per per se.
Since I have no interest in smoking my way to a deeper voice, this is where my e
xercise came in.

1. As far as I am aware it is impossible to permanently deepen your voice.

The method I use lasts for roughly a day and a half before my deeper voice f
ades away and the exercise must be repeated.
2. I've been doing this exercise once a day 3-4 times a week for over 2 years an
d have never had any problems with or damage done to my voice.
No one I've ever shared this exercise to has ever done any damage either.
That said, I make no guarantees as to that here, do this exercise at your ow
n risk.
How to Instantly Get a Deeper Voice Secret Below!
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - Step 1: Tilt your head back as far as you can.
Step 2: Recite the sentence "Bing, Bong. Ding, Dong. King Kong." slowly,
stretching/elongating the "ng" sound for each.
Remember to do it slowly, hold the "ng" sound in word
each for 5-10 seconds.
Say it in your normal pitch the 1st time, a deep pitch
the 2nd and then your all out maximum deep the 3rd.
Step 3: Repeat step 2 but at a deeper pitch.
Step 4: Repeat again, this time at your deepest possible pitch.
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - Congratulations, you now have a deeper, manlier and sexier voice. At least for t

he next day or so. Enjoy.

****** Try larynx exercises. Open your mouth and move your Adam's Apple downward
s while taking in air.
Focus on making that hole through which air travels in your throat as open as po
At least when I do it, I sound a little like Darth Vader.

Breath Control
Controlling the intake and output of breath is essential to maintaining a smooth
vocal style.
The Ohio State University Medical Center recommends breathing exercises that emp
hasize the use of the abdominal muscles to control breath.
For instance, you can gain an awareness of your breathing habits by sitting stra
ight in your chair, placing a hand on your abdomen and inhaling.
You should feel your stomach extend outward. Then exhale and feel your stomach r
etract inward.
The emphasis here is on using your diaphragm, the muscle that lies horizontally
across the mid-torso, to expand the lungs.
The shoulders and upper body should not move upward while breathing, but rather
the stomach and ribs should expand outward.

Dr. Christopher Arneson of Rider University in New Jersey explains that resonanc
e is one of the chief concerns when developing a classical singing voice.
Resonance is achieved by amplifying sound through vibrations in the body cavitie
s, such as the nose and pharynx.
By humming, you can feel the effects of resonance in the cavities of your skull.
You can practice controlling resonance by exhaling a low, slow "hmmm," with a cl
osed mouth.
Then take another breath and repeat the "hmmm" sound, but this time alter it hal
f way through your exhalation to an "ahhhh" by opening your mouth.
You should feel a consistent vibration throughout the sinuses and skull.
You can then experiment by altering pitch from high to low and back again as you

Voice Projection
There s one simple exercise that could help you understand the essence of voice pr
find out what may be holding you back from proper voice projection and improve y
our projection immediately.
The exercise is
Lip Fluttering.
Take a deep breath in and when you breathe out, use your out-breath to make your
lips vibrate.
Sound easy? Interesting enough, many of my clients could not do that! It reflect
s two major issues in not only their voice projection, but day-to-day life.
To make your lips flutter, first you need to understand that the vibration of yo
ur lips are propelled by your out-breath, therefore you must let the breath go,
instead of holding your breath. It indicates in your life that you may often hol

d your breath while you speak, and are concerned about something,
be it not wanting to share your opinion or always wanting to be perfect in whate
ver you say, and so on. Your voice projection works the same.
The best voice happens on the out-breath.
Second you must relax the facial muscles. Lip fluttering is not done by putting
your mouth, your face or your jaw in a specific position or shape.
This is exactly the essence in your voice projection. You project the best voice
when you are relaxed.
Now try again. Relax your facial muscles, take a deep breath in and use your out
-breath to propel your lips to vibrate.
When you are able to make excellent lip fluttering, you ve mastered the essence of
voice porjection. Happy fluttering!
Exercise two
Try it now. Say Mmmmm. See if you can feel the buzzy sensation in the front of you
r face. (I ve had a lot of fun doing this on radio interviews.)
That s mask resonance. Another way to produce it is to simply say Mmm-hmm, like an e
nthusiastic yes. Now say, Mmm-hmm one. Mmm-hmm two. Mmm-hmm three.
Can you feel that sensation carry over into the words one, two, and three?
Daily Practice Use mask resonance at the beginning of a sentence and try to keep t
hat sensation in the words that follow. For example, say Mmmmmm.
It s great to see you. Did you feel the resonance in the mask as you spoke It s great
to see you, or did it fade away?
Try it again. This does require some practice. Spend 20 minutes a day working wi
th this, and add it to your awareness as you practice your presentations.
Don t be afraid of nasal resonance, but know that you need a good combination of m
outh and nose, which is why the focus is in the front of the face, not just the
If a voice sounds too nasal, it is as bad as one that has no mask resonance. Eve
ntually, you will learn to use mask resonance all the time.
As a bonus, according to Swedish researchers, mask resonance is also good for y
our health.
Exercise three
There are two key areas to focus on for voice projection: breathing technique an
d resonators (the 'speakers' in your head).
I have one technique for each. Breathing technique: Good voice projection requir
es efficient working of the lungs, intercostal muscles and diafragm.
The diafragm is an umbrella shaped muscle which helps push air out of the lungs.
Ask your trainees to locate their diafragm by placing their hands, with fingerti
ps touching, across their body below the ribcage.
If you then ask them to breathe out making the sound 'huff' they should be able
to feel the diafragm working and see their fingertips being pushed apart.
This allows them to experience how proper voice production should feel. Resonato
rs: in order to get these working well,
ask your trainees to hold their noses and say 'Many mighty men making much money
in the moonshine' with as much force as possible.
Then immediately get them to release the hold on their noses and say the same ph
rase. They will immediately hear the difference in the force of their vocal soun
Humming before speaking is another way of improving voice projection through res
onation (though this should be done before you go to the speakers' platform, of

Attention Grabbing Exercise

I used to work with a wonderful guy who developed an exercise called "my most.."
We used to ask each delegate to present for 2 minutes
on the subject of "my most.....experience was" (they could insert any adjective
they wanted; boring, exciting, fulfilling etc)
The reality was that if the audience were gripped by the speaker and the topic t
hen projection almost became irrelevant (almost!).
Sometimes people would be barely whispering and the audience would strain to her
e every word.