• Episode #108: Jasmine Star

    Posted October 21, 2011 By in Episodes With | 2 Comments

    View Jasmine Star’s bio, site and blog.

    I want my business to serve me. I don’t want to serve my business.Jasmine Star

    In this episode of reDefine, we talked with celebrated wedding photographer Jasmine Star, recently selected as one of the top 10 wedding photographers in the world by American Photo Magazine. We managed to find some time while we were both speaking at WPPI- U in Atlanta to discuss running a streamlined business by learning how to say “no.”  Listen in as Jasmine shares how to personalize your brand, and the importance of always practicing your craft.


    In this episode, Jasmine Star has a lot of advice to offer. Here are three life lessons she has learned:

    • KIR = Keep It Real. Be real with yourself, your loved ones, and your clients
    • Personalize every aspect of yourself online. Differentiate your self through your personality.
    • Continue to practice.

    … hate on, watch me fly!.Jasmine Star

    Jasmine Star is an international wedding photographer based in Orange County, California. She  was voted one of the Top 10 Wedding Photographers by American Photo Magazine. She has  developed a voice and online brand by leveraging social media and developing techniques to empower clients to become the voice of my brand.

    View Jasmine Star’s Bio



Comments (2)

wedding celebrant adelaide » 20. Jul, 2013

A family member linked me to your site. Thnx for the details.

Dorion » 20. Jul, 2014

he sticks with his deioiftnin. This is the problem with that outlook: too many singers then change their natural voices as they ascend the scale. It is rare in classical training to hear a bass suddenly trying to sound like a tenor just because he has ascended to a certain note, but it is NOT rare in amateur singers to hear exactly that. Because they get so fixated on the notes, they subconsciously feel the need to change the quality of sound as they ascend. Because popular music does allow for changes in sound that classical music will not allow, no one thinks much of it. Firstly, excepting the extremes of the range (the super high and the super low) ALL male voices have the same set of core notes (as do all female voices). Although Simon is correct in that we don’t HEAR many basses sing a High C, more can do it that you can imagine. Nor do we hear many tenors sing the low F in the bass clef, but even operatic tenors are often required to sing the A just above that. Simon’s decision to place the lowest tenor note as C is wrong. All males voices flip into what is called by most people falsetto (sounding like a women) about the same place in the voice. Tenors learn to take a mixed sound into that area rather than using a falsetto. But the voices cover nearly all of each other’s notes, excepting as said, the extremes of the range. Here is the problem, and although I cannot say that this is Simon’s problem for why he has trouble singing certain notes (ones he says even basses and tenors with bad or no technique can sing), it is a problem I have seen a great deal. It is CHANGING the timbre of the voice as one ascends. Instead of sounding like a real bass singing right up to the break into falsetto (and then managing that break to make it useful for popular singing) they alter the voice based on what notes are being sung. As they enter what they call the tenor range they consciously strive to turn their bass voice into that of a tenor, and then to pass from tenor into falsetto. That is the source of many problems, for in doing that the throat muscles must adjust themselves, shutting off certain freedoms to alter the quality of the sound. It isn’t really reaching and singing notes, but altering the natural sound into something else that is not natural.To achieve this false tenor sound the singer must often sing with a very raised larynx, raised so high it actually hurts. Their tongues are super flat and pushing back into the throat (and often hitting the larynx and stopping its progress upward). The Jaw is under complete stress because the neck muscles are so restricted. Then as they pass through this false tenor sound, they allow the voice to crack into the falsetto. Even if the singers manages to pass smoothly into the falsetto, the larynx is in the wrong position to allow any freedom even there. This is why I say defining range by notes is the wrong thing to do, as it encourages the singer to change his own sound from what it is to some artificual sound that is not at all natural. Many terrible singers with no technique often can sing some really difficult music and pass through the various notes in the voice without any real issues. They may sound awful, but they are not forcing the voice to sound unnatural. The larynx is still able to remain relatively lower. Sadly, in popular music, the notes are the range deioiftnin of the range, and singers often decide as they enter into this range to alter the natural sounds of their voice, which in reality don’t need to be altered at all. They can pass through those notes without any stress, if they just stopped monkeying around with the natural sound. That is why in my first post I asked why any bass profundo would want to sound like a tenor and sing in the tenor range? Why not sound like a bass profundo who can easily pass through his full bass range into his falsetto? There are singers with weird voices out there a plenty, and most of the really famous ones respected the natural voice. We have all heard of Yma Sumac and her unbeleivable range. Even though her low notes are nearly baritonal in quality, they are not created by forcing her natural voice to sing any way other than is natural for her sound. It is the same for her extremely high notes. They are wedding seamlessly to her middle sound. Her voice is one unit, one entity. There is no messing around with it to create the different parts of her range, and so it should be whether singing popular or classical. There is a Russian singer, however, that more effectively illustrates what I am talking about, and what Simon should seek to achieve. His name is Ivan Rebroff. He was very popular many decades ago (I am sure you can hear him on YouTube). He is a famous Russian Bass (most of them noted for being basso profundos) but who passes throughout his range into the highest and most beautiful falsetto imaginable. I mean it is breath-taking! I heard him in person many times (he does NOT sing opera, but Russian songs, so he is more along the lines of what you, Simon, are thinking of).I also heard Yma Sumac often. Both were miracles unto themselves. Although huge ranges are nothing extraordinary, they really are a dime a dozen, using the range with such mastery IS rare. If you can put aside whether you like the actual music either singer performs (and many young people of today cannot do such a thing, which is sad, for they would learn more than they could know) and take a moment and see how they use their voices, you would see what really great use of the voice is all about. Yma Sumac was supposedly NEVER trained (though I have my doubts about that to some degree), and Rebroff was mostly a Russian Trained choral singer. I only give these singers as examples of using the full voice as is natural to it, rather than going through these false voices to achieve the so called popular sound, which you so rightly expressed destroyed so many lead singers’ voices.Speech level singing, which is so popular today, has one pass through their sound altering it to fit those preconceived notions of when to switch from bass to baritone, to tenor, to mixed head, to full falsetto, etc. Yes, in the end, you can cover 5 octaves, but can you really sing? None of the exponents or teachers of that method seem to be able to sing, or even stay in tune, for that matter. However, they can grumble like indigestion and whistle like a tea kettle making siren sounds a plenty. That isn’t music. That is just sound. They claim they are teaching the old methods used by the castrati. The old Bel Canto methods? If they were, they would not need a mic to demonstrate their sound (it would carry, as the old methods produced voices that sounded large and ringing and filled theatres, and there were no mics back then to rely upon). They talk about breathing in the correct way, but one never sees any evidence of it when they sing. They claim they have created artists, but not one singer they have trained came to them with an unfinished voice. They already could and did sing well. They only learned the popular style more. Since singers who use this travelling through the various vocal timbres as a way of singing, and nearly NONE of those singers have had careers that lasted all that long before real vocal issues set in, I don’t think it is a wise system to use. For an example: I just attended a Josh Groban concert a while back. I loved his voice in the beginning. It was so fresh, so exciting, so interesting, and very beautiful. I was so disappointed, for while the voice was still beautiful, his once interesting sound was gone. His songs were very limited in range and in style (which they never used to be) and although he did do some shifting into the higher range it was more than disappointing. He had never studied speech level singing prior to his career, and now had worked with it. The results were not as impressive as one would want.This singer had lost what he originally had, and so soon into a career. Oh, that isn’t to say he was terrible, far from it. It just wasn’t the Josh of former days or of recordings. There is a Canadian singer, Michael Buble, who has a very interesting voice and is able to do much of what you are interested in doing. He respects his voice. You may not like all his songs, I don’t, but I do see what he does with what he has been given. You mentioned your range and your difficulties. To help you with your journey, I would also recommend listening to more artists than you are currently familiar with. Opening your vision to others who have mastered the WHOLE RANGE of the voice (all their notes from the lowest to the highest) and done it in a different way than you are used to hearing. There are many possible ways of achieving the same thing. Some are much better on the voice. Again, I have said too much. But I hope this helps you understand why just NOTES of a given range mean nothing. You cannot sing according to some rule of when one range’s notes begin and another’s end. Rather you must learn to use your entire natural voice singing all your notes in a manner that is natural to the sound and quality of your voice. Until you can do that, you will never be able to achieve the vocal freedom you seek, for you will forever be striving to alter your own sound into something it is not. And no singer should be doing that.