← The Human Upgrade: Biohacking for Longevity & Performance
The Human Upgrade: Biohacking for Longevity & Performance
Biohacking Your Voice? Here's How to Do It : 1330
01:10:28
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A
AI will never be able to attach communication to emotions. Second by second, they won't be able to process the emotions and it won't be able to create the emotions. So we have to hold on to the things that makes us human. And this is so evident and science is proving this more and more. We are listening to sounds that are changing the way our brain functions. It's time that we started making the sounds. The healing sounds that change the way our brains work. Change the tension level. Change the optimization. Change the stress level. Change the get up and go activate, step it up level. So we have to make sounds. We're our own sound healing machines.
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B
Roger Love is the world's leading voice.
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C
Coach behind the success of stars like Bradley Cooper, Reese Witherspoon and Selena Gomez. Roger Love this incredible vocal coach. I worked with him five days a week for months. Yeah. World renowned voice coach who's helped shape countless careers. He's transformed the way Hollywood sings and speaks, proving that the right voice can.
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A
Change everything you say to me, I have a headache, Roger. And I say go ah. And do that three times and your headache goes away. Here's the test for tone deafness. For anyone that is listening.
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C
You're listening to the human upgrade with Dave Asprey.
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B
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C
Hey guys, quick Reminder, if you're listening to this on your favorite audio podcast app and you haven't been over to my YouTube channel, check it out. Just search for the human upgrade or find me under Dave Asprey bpr. I post full video versions of every episode and a bunch of other cool content outside the pod. It's a great way to go deeper into the content and connect with other biohackers like you. So leave a comment for me. Yeah, I'm actually gonna read them and poke around while you're there. There is a lot of stuff specifically for you. It really helps and it means a lot to me. I want you to listen to this episode without speeding it up. And when you get about halfway through, you're going to hear exactly why. Because you will learn things from Roger if you listen to this just at normal speed. Even if that feels painful for you, just trust me. Do that and you'll thank me at the end. If you're a longtime listener, you might remember the episode with Roger Love. Now, he sounds like he would be maybe some kind of porn star with a name like that, but that's not what he does. He's actually a voice coach. And if you've heard the audiobooks or you like the sound of my voice, it's probably his fault. And if you hate the sound of my voice, it's definitely his fault. Because Roger is, I would say, maybe the most acclaimed, if not one of the most acclaimed, voice coaches for singers and celebrities. When Bradley Cooper wanted to learn how to sing for A Star Is Born, he called Roger Love. And I met Roger through my friend Ken Rutkowski, who runs a group called Metal Years Ago. And I said, you know, I want to do some voice training more just to learn how to sing as a way of neurologically re regulating. But then Roger's on the call. He's like, dave, I've been drinking your coffee. Like, let's do this. So here I am having voice lessons from the world's best. And it's not just about singing, which I still would say. I maybe didn't do anything you told me in the lessons, but it changed my speaking voice and my ability to intonate. And I've actually demoed this with multiple guests like Kasia Urbanek was on talking about bringing her voice from different parts of the anatomy and demoed it. And so the ability to do this, it's a new human performance skill. And I think you're one of the best in the world at that. So thank you for coming back on the Show.
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A
Thank you for that intro.
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C
Aren't you just born with your voice?
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A
People think that they're born with a voice, but you're born with an instrument, and you have to learn how to play it like any other instrument. So most people have no idea what to do with it, so they imitate the people that are around them. So if your mother speaks very, very airy, and you really, really want breast milk, then you say, mommy hungry, as soon as you could speak. And if your dad talks like this, and you want to go fishing, and you speak to your dad, your daddy fishing. So you imitate. You imitate the voices that you grew up with, and suddenly you're a young adult or an adult, and you think that's your voice, but it's just all the people you've imitated. And so I come in and I say, here's the instrument. Here's what's possible. You could. You could have a completely different voice than what you were born with.
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C
So if your parents played, like, toxic bluegrass on their instruments, you could learn how to be a smooth saxophone kind of guy.
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A
Whatever you learn, you assimilate, and you think that that's part of who you are, and then you offer that you to the public.
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C
Is there any kind of bluegrass that's not toxic? Sorry. My apologies. Sorry, dad. Just kidding.
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A
My. My knowledge of bluegrass is limited.
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C
Thankfully, so is mine. I have no idea if my parents still listen to this show, but my dad plays bluegrass. But it's one of those, like, very different genres is all I'm saying.
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A
Yeah, but when you. If. If your parents would have played bluegrass music and bluegrass music was playing in the middle of you walking into the supermarket, you'd be nostalgic for a second and think, oh, I'm feeling a little emotional.
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C
I'd be feeling traumatized. Have you not heard that stuff? Oh, my God. Do you know what instrument they use to tune? A banjo?
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A
A piano?
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C
Wire cutters.
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A
Just the length of the string.
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C
No, you just cut all the wires, which makes it sound better. There, you got it. We could go on and on about. About bluegrass jokes, but these are things.
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A
I've never spoken about. So this is a very unique interview.
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C
Already you're, like, working with the top musicians on earth, and none of them are in bluegrass. See, that's all I'm saying. So I don't know why I'm just dumping on it so much for you to learn. I apologize, Kale. You are my designated target, and I have been varying in my hatred for you.
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A
Okay.
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C
You can tell I'm very hate filled. All right, let's get back to the voice. There's singing and then there's speaking and what's going on inside your body when you do each of those.
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A
Most people think singing and speaking is completely different, but basically you have control over pitch, pace, tone, melody, and volume when you sing or you speak. And the vocal cords are pretty much doing the same thing. Air in, into the lungs, air out of the lungs, going through the vocal cords, coming out of your mouth. I say the problem is that people think it's two different things, but singing and speaking is almost exactly the same thing. And there's so much scientific evidence about what music does to the listener's brain. And my whole thing is about taking everything that is musical about music and putting it into the speaking voice so that when you're speaking to someone, they think you're speaking their favorite song, and you move them emotionally.
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C
I did learn that when you were coaching me, and I went in and I've read all of my audiobooks since you trained me. And I do hear feedback, people saying, like, I really like listening to that. It's different. And one of the most important things that I learned from you was what to do with my stomach when I'm speaking. What should people do with their stomach when they're speaking?
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A
People are so obsessed with having their stomachs not stick out and look overweight that they forget to realize that diaphragmatic breathing, the best way to make sound is, is it's necessary to allow your stomach to come a little bit forward. So you're supposed to inhale through your nose, because there's filters in the nose called turbinates. And again, you're thinking of. Well, the filters stop bad things from going into your system. But the reason I'm interested in those filters is because when you breathe into your nose, it becomes moist air. So then when it goes to your throat, you end up being able to speak or sing for hours and hours and hours because your cords are hydrated. So you breathe into your nose. You just let your stomach come forward a tiny bit. That's enough. And then here's the big thing. You're only supposed to speak or sing while your stomach is coming in. It's why an accordion goes out and then an accordion goes in. So unless your stomach is coming in while you're speaking, you're holding your breath. Watch this. 1, 2, 3, 4, 5, 6, 7, 8. 2, 1, 3, 4, 5, six, seven, eight, two, one, three, four, five. People are talking like this all the time, because they're not letting their stomachs come forward and then paying attention. I'm only supposed to speak while my stomach is coming in.
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C
So the people are talking like that. Their stomach's in all the time. So it's coming from their upper chest, Right?
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A
Little tiny bits of air managing to escape from the lungs. Instead of you just controlling the way that air comes to the vocal cords out of the lungs, air wants to get out of your body when you try to hold it in. There's poison components in air. So air desperately wants to come out. Your job is to relax your stomach and let your stomach come in the whole time you're speaking. That's the only way to have a beautiful voice.
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C
Okay, here's something that I never understood. I'm just gonna show off my stomach here. Okay? You can fill up your stomach. Like, that's gonna be twofold. Cause that would look stupid, right?
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A
Yeah, but not just look stupid. There's no reason to fill up your stomach that much. People are trying to take these giant breaths, but there's already air in your lungs.
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Okay?
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48 hours after you're passed and you're dead, there's still 25% air in your lungs. Got it.
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C
So this is just more like it's squeezing, but it's squeezing the air up here. It just comes. The squeeze is coming from down here.
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A
You're not supposed to squeeze. You're supposed to. You don't mind if I don't show my stomach?
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C
Here's my question, though. Okay? So like, like, so my stomach's full, and now I'm going to start talking. I'm going to start talking some more, and I'm going to start talking some more. But I'm capable of bringing my stomach in like, a really far distance like that. And I'm like, how far in does the stomach go before you're like, ah. Okay, so how do I know when my stomach is in far enough? That's like, there's too far out and there's too far in. And what do I do?
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Okay, perfect question. You're not supposed to let your stomach go too far out, right? Because you don't need that much air. You're going to take a breath in seconds.
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Okay.
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A
And then you're not supposed to pull your stomach in at all. You're very good at pulling your stomach.
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C
But I want to finish my sentence. If I can just pull my stomach in even more, my stomach will keep going in while I keep talking and talking and talking.
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A
But when you. How do I know you're doing the equivalent of holding your breath because you're still tightening the muscles, and that's stopping free flow of air.
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C
So you want to relax the whole time.
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A
Don't move in, tighten at all in your stomach.
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C
I wish I knew that all these books ago.
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A
Check this out. And if you're listening to this, put your hands on your tummy. Okay. Take a breath and then just go like this. Stop trying to pull your stomach in. Let the air come out based on this. You see how slowly your stomach comes in?
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Yeah.
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That's what's supposed to happen.
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Oh, no, I've been doing it wrong. What kind of a coach are you, Roger? I'm just kidding. So I probably have been pulling it in too forcefully then.
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A
Yeah, because when I talked. Pulling it in too. Pulling it in was the end of the sentence. You're not supposed to pull it in. The air will escape on its own.
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C
So you're relaxing the air in.
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A
Exactly.
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C
All right.
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A
People are creating all kinds of tension that they don't need. Tension here makes tension here makes tension here. Suddenly you're a tense person.
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C
In my first big book, like a decade ago, in the Bulletproof Diet, I had a chapter on functional movement. Do you walk properly? Do you move properly? And it turns out I did none of those properly. I'm still working on that. Most people don't tighten their feet the right way. And there's all kinds of subtle nuances that radically affect how your brain, how your body moves, your stress response and all that. And it feels like functional breathing and speech are maybe even more important than functional movement, but no one talks about those. In the world of biohacking, why don't people look at breathing and speech or singing as core neurological skills?
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A
They should, of course, but what they don't understand is most people are not even doing diaphragmatic breathing. They're breathing in through their mouths. They're drying out their throats, their stomachs are not moving out and in, so that the facility of even breathing correctly seems to have be elusive to a lot of people. But breathing is so simple. You breathe in through your nose, you keep your lips closed, your stomach comes forward, and then. The reason that people haven't also equated how important breath is to speech is because most people don't speak with any breath coming out. One of the most prevalent sounds is what I call the squeaky hinge. Like, he just bought a door and you don't have any WD40 on it. And every time the door opens, squeak Squeak. So people are talking like this. I can't even watch reality television anymore because everyone talks like this. There's no air coming out of most people's voices anymore. So they've lost this idea of singing is a solid stream of air. But when you talk, you're just sending these little tiny bursts of air. So people have lost the ability to use breathing perfectly for speaking. They understand solid airflow when you sing, but they do sputter air when you speak. And that's what they need to fix. If everybody was thinking solid air coming out of my mouth and the words riding out on that air, then speaking and singing would be the same thing. Then breathing for speaking and singing would be the same thing. And it would be healthy because it's air in, no pressure, solid air out.
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C
What does having vocal training do for your attractiveness?
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A
Attractiveness? Wow. Well, it makes you sound more attractive to others.
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C
Oh, no, not that.
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A
Because people judge you based on the way that they hear you. There's tons of evidence that suggests that if, if, if I speak down low in my chest voice, that I am suddenly more attractive to certain members of the opposite sex and, and same sex. There's frequencies in the voice, in the middle part of the voice and the high voice that make me sound more emotional, make me sound more joyful, make me sound happier. People are attracted to happy people. When you're speaking correctly, your voice sounds healthy. And people hear that and feel your health and strength. So. So how you sound is very much how people decide you're attractive and how you sound. And you hear yourself, you feel more powerful, you feel more attractive, you feel happier, more joyful, more grateful. So you're listening to yourself speak, you're making yourself happier or depressed based on your own sounds and more or less attractive.
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C
Wow.
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If I just sound like this, I'm not really the star of my own life movie. I've got a nasal voice. I'm not even. I don't sound attractive to myself. I don't want to kiss myself on the mouth. But if I sound like this, where there's melody, I sound happy, I sound confident. Suddenly I hear it, I feel it. I, I'm very attracted to myself by listening to an attractive voice.
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C
So a healthy human being is going to sound more attractive, right?
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Yes.
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That, that means that your voice is a sign that you are fertile and healthy. Just like clear skin or having a body shape that's within certain norms. No matter how much you yell about your non normal body shape being healthy, it isn't a sign of Health, Right? This is how it works.
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A
And same with voice strength. The sounds of strength are in the voice, so the sounds of health are in the voice.
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C
What do you say to people who say, well, this is my voice. People should just deal with it?
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A
Those people are trapped in their own reality, and I tell them that their voice is not for them. Your voice is a gift that you're supposed to learn how to use and package, not just old newspaper package with a bow, and you're supposed to give it away, and then you're supposed to decide if it's a great voice. If people liked the gift, it's for them. If your voice was for you, your ears wouldn't be here, and your mouth sends the sound over there. So I'm gifting my voice to you, so you're more important. Your opinion of my voice is infinitely more important than my voice opinion.
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C
Whoa.
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A
Did you like the gift?
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C
I think you just triggered a lot of people there, which means I definitely like the gift because triggering people is my love language. So that was good. But those words, your voice is not for you. Is so profound. Roger. That's one of the coolest things I've ever heard on the show.
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A
That's why you have an inner voice. Silence. Unfortunately, people have crappy, miserable inner voices that sound like crap and tell them negative things. And then they unfortunately open up their mouths and, oh, their inner voice came out, and it said, sounds like spoke to you. People speak with the inner voice that's silent.
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C
Wow.
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A
The outer voice is the gift.
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C
I love this. There are a lot of people, maybe even including me, when I got started on stages many, many, many years ago in the world of tech, who hate the sound of their own voice. Like, they don't even want to hear a recording. Like, why do we cringe at the sound of our own voice?
- [19:28]
A
We don't know what we sound like by listening to ourselves because what we're listening to is bone conduction inside our heads. When I speak, the sound is first trapped in my head, and it vibrates my skull. And the vibration makes me think that I'm big and strong and powerful, and my testosterone levels must be much higher than yours. But those are sounds that I feel and hear every inside. But when I speak, you don't hear all of the bone conduction, the bone vibration that I hear inside. So we don't know what we sound like unless we record ourselves and we listen back. And that's where people hate themselves and hate their voice, because now they're listening back, but they're not feeling all of the vibration that they did when they made the sound.
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C
It doesn't sound like me when it's played back, because when I'm speaking, I'm hearing the inner resonance versus just the outer resonance.
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A
Okay, 100%.
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C
That makes a lot of sense.
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A
And you're judging your voice based on what it feels like inside. And you don't really know what it sounds like until you listen back.
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C
That's cool. Every year, you gradually lose stem cells. Those are the cells that fix damage and basically keep you young. And every year, the stem cells you have don't work as fast or as well. And it's why injuries stick around forever, why your energy dips, and why, if you're aging, you really feel it. Science shows that you start to decline earlier than you think. In fact, at some point in your 30s, you've lost nearly 90% of your STEM cells. Stem regen changes it. It triggers your body to release 10 million of your own stem cells every time you take it. And stem regen also improves blood flow, so the stem cells can get to where your body actually needs them. Places like muscles, joints, or organs. And that means healing faster, recovering better. And it means your body feels younger for a lot longer. If you want to stay young and sharp for years, add stem regen to your routine. Go to stemregen co Dave25 and use code Dave25 and they'll give you 25% off your order. Your face is the first thing people see, and you can work out clean. But if you still look older than you feel, especially if you're a guy, you're not maximizing your potential. Your skin is a signal of how well you're really taking care of yourself. And if it looks inflamed or tired or just old, that's what people are going to notice. Even if you're doing your best to eat well, the good news is there's a company called Caldera lab that's here to fix that for you. This isn't your girlfriend's 20 step routine. It's skincare designed specifically for men, which means it has to be simple. Simple and effective and backed by science, but not too much work. After using caldera lab products, 100% of men said their skin looks smoother and healthier. And 97% said they had improved hydration and texture. And 93% reported a more youthful appearance. Caldera lab has spent years developing and testing each of their formulas with leading cosmetic chemists. So you can tell it actually works. And if they don't love it. They don't release it, which is the same way I am with my own products. Some of the products you might want to try are the good, which is a face serum that has 3.4 million antioxidant units per drop. There's the eye serum. These are peptides that make you look fully rested even when you stayed up all night doing something you wanted to do. And the base layer, which is a stem cell powered moisturizer that isn't going to give you pimples by clogging your pores. And all their products are cruelty free and plastic neutral. And for every product they sell, they pull the same amount of plastic from the environment, which is good because having little bits of plastic in your mitochondria actually sucks. So upgrade your routine with caldera lab and see the difference for yourself. Go to caldera lab.com Dave use code Dave and they'll give you 20% off your first order. So if you're not taking care of your skin because it's just been too much work, now you have a solution. Calderalab.com Dave if you were to give advice to Bobby Kennedy, who has an unusual voice and granted he has an autoimmune condition of his vocal cords that strangely came on a couple days after a vaccine, from what I hear. Not that you would have.
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A
I thought he has some level of spasmodic dysphonia.
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C
It does. It just came on a couple days after an injection. Okay. So we don't know. But it apparently is an autoimmune thing that caused the spasms. But maybe it's not. I don't know.
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A
Okay.
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C
But regardless, there's a condition behind it. And what would a professional vocal coach say in a situation like that? Because he's not the only one with spasmodic dysphonia.
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A
Yeah, I work with people that have that issue.
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C
Oh, really?
- [24:08]
A
Yeah, for years. And people who stutter. Imagine stuttering being a little one or two on that scale and spasmodic dysphonia being a 20.
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C
I used to stutter. Yeah. When I was a kid.
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A
So what I've learned by working with people that have SD and stuttering is that I change the airflow.
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C
Really?
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A
When you listen to him speak, you absolutely hear the absence of air. The chords are trying to get the sound out, but they don't have enough air. It's like me trying to play the guitar, but instead of. Or the banjo, your favorite. It's like me trying to play bluegrass on a banjo, but my hands out here. So I'm not touching the strings. So what I do is I show them how to do solid airflow in the same way I mentioned before, by making sure that their stomach is coming in. Did you know that stutterers and even some people with spasmodic dysphonia, when they sing, it comes out clear.
- [25:15]
C
Interesting.
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A
So I change the airflow. He has his stomach tight. He's tense with anticipation of feeling like the sound's not going to come out. That creates a perpetual loop of tension here. His stomach is motionless. I would train him to bring his stomach in, get him used to solid airflow and attaching the words. And I have had, I'm going to say miracle work with stutterers and other people that, oh my gosh, issues like he does by changing the airflow.
- [25:49]
C
I run a group called Unlimited Life, which is a very high end, year long mastermind with life extension medicine from a doctor, human performance coaching for me, and life purpose coaching from the people who run the Dalai Lama Foundation. Like the highest in the world thing, ultra VIP sort of thing. One of our members has this condition. I'm going to refer her to you. I didn't think that you'd have a particular thing there, but that's really cool. So I think a few people listening to this could really benefit from that. And if you said her the way I used to when I was in middle school, I know that mine came about from toxic mold and Asperger's and things like that and something called Pandas now, but I used to do the OCD thing and then I would stutter a few times and I was really self conscious of it. And as I fix my brain it got better. But I've also done enormous breath work and yoga and all that. And now I'm pretty good at speaking, but there was a time when I was not at all. So I know it can change and just how much of it is physical versus learning how to play the instrument. It sounds like it's like if you're playing a guitar and one finger is always stuck down and you don't know it, you're not going to get the right results. So if you can just learn to relax the finger and move it back and forth, it's going to work 100%.
- [27:04]
A
When I was a little kid, I was watching one of the late night shows and this comedian came on and his name was Mel Tillis and his whole shtick was he was a stutterer and he would tell jokes and the audience would laugh with him, not make Fun of him, but laugh with him. And then he would sing. And he was a country singing star.
- [27:22]
C
Whoa.
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A
And I. And I registered that as a little kid. So I realized later on that if I change the way that. That you breathe, because even though most severe stutterers in the world can sing without stuttering.
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C
Wow.
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A
And also you can be an expert on breathing techniques, but it changes when you go to make sound. So you could have the most incredible breathing, but then when you go to speak or sing, it changes it. And you start to tighten your stomach, and you start to think of the choir teacher who shouted, support, support, little boy. And you tightened your stomach. So having great breath work, understanding does not mean it immediately applies into when sound comes out, because your body does different things when you go to make sounds and creates other tensions.
- [28:14]
C
Wow. I am just loving this conversation. And I want to introduce you to Bobby and his people as well, if he's open to it, which I imagine he would be, so that's cool. I was just on stage this weekend at Texans for Medical Freedom. They just had 10 bills passed around. Your right to choose your own healthcare versus someone else choosing for you, which kind of is important to biohackers so we can extend our lives in the way we choose. And Dell Bigtree got on stage, who's a friend, you know, Dell's work, adult. He runs Eyewire, or I think something like that. Anyway, big media person, and his dad was a preacher. So he gets on stage, and I come up, I kind of talk like this, and I had, you know, people laughing, I'm telling jokes and whatever. But he comes on stage, he's like, we are charged up, and I have no idea what the heck he does every time. But it's like delivering a sermon. And, you know, the people are jumping up and down and throwing money almost. But how do people do that preacher thing where they're thundering in the room and they're doing that? What's going on in there?
- [29:17]
A
Well, there are preachers that are some of the greatest orators, voices in history. And the. And the idea is they're using their voice to save the souls of every member of their congregation. So there's a lot at stake, and it's very dramatic.
- [29:37]
C
Yeah.
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A
And there's all different styles of, you know, preaching. But. But those voices are really honed. They are instruments. When. When a great preacher speaks, it's. It's the same as the choir singing.
- [29:52]
C
Yeah.
- [29:52]
A
The church, their voice is full of melody and full of sustain and range. They don't just Stay in one place. They're all over the. All over the keyboard. So this whole idea of the greatest voices are the most musical. The most musical, great voices. A lot of them are preachers and pastors. I've had the great opportunity of working with some incredible ones. One, a friend of mine, a student right now named Steven Furtick. He's incredibly amazing vocal, emotional speaker. His church is called Elevation Worship, and he's one of these people where millions and millions of people listen to and watch the videos of his sermons. He's a great example of someone who uses their voice to move millions of people in faith through the emotions they need to get closer to themselves and to God.
- [30:52]
C
Wow. Okay. So voice can be a really powerful tool for good.
- [30:55]
A
Yeah.
- [30:56]
C
I still generally sound like a college professor, as far as I can tell, just because I learned my public speaking. I gave a couple talks in my early 20s, and I was just terrified. I don't even know what I said, but people seem to like it. So then I taught for five years at the University of California. I ran a program to teach engineers how to build the Internet. Like, I'll just teach for a while until I got really good at teaching. But I'm imparting complex knowledge in a simple way. And you might have noticed, after 1300 episodes, I'm still doing that to the best of my ability. And I've never delivered a sermon lecture in my entire life. You shall learn TCPIP protocols to improve network connectivity. Like, you don't do that, but maybe I'll do some more work on that. That'd be kind of fun to be more of like an emotional speaker versus just. I really. I'm peaceful, and I really care about how well you do.
- [31:47]
A
You are an emotional speaker.
- [31:48]
C
Yeah.
- [31:49]
A
You are a speaker teacher, and you are. You are doing a sermon every single time you do a podcast or a speech. The volume of your voice doesn't make you a preacher or not. You're a. An emotional speaker who uses the sounds that you use to influence millions of people. That's the number one reason. That's the number one attribute of a great speaker. Did you move people from emotion to emotion? Not just one emotion. You're great at moving people to wonder and action and. And change.
- [32:30]
C
Oh, thank you. Those are all really things I care about. So if that's working.
- [32:34]
A
Cool.
- [32:35]
C
But there's all styles. Yeah, cool.
- [32:39]
A
There's all different types of music, and the music that you make as a speaker is reaching millions of people and moving millions of people. So you don't have that much to learn.
- [32:49]
C
Well, thank you. That's a really meaningful compliment coming from you.
- [32:53]
A
Truthful.
- [32:54]
C
And if you're listening to the show, which you obviously are right now, I'll.
- [32:58]
A
Be starting a religion. Yeah.
- [33:01]
C
I'm interested in continuous improvement. Improvement. And I don't really care how good I am at something. It doesn't matter. Like if I can find a way to make it easier or better or more efficient, then I want to do that. And it doesn't matter if I'm 9.9999%. If I can apply a little bit of effort and go up another 0.0001%, I'm happy to do that. Right. And this is, I think, where mastery comes from. But I only want to master things I care about. Everything else. I don't care anything about it. What made you get into voices so deeply that you became a master?
- [33:36]
A
I realized early on that whenever I sang, it just made me happy. I didn't understand the science of it. There's plenty of science that proves that now. But back then, I just wasn't all that happy as a kid. So I would sing and I would instantly change my mood. And now we know dopamine gets released and all. All other amazing things happen. But I sang because it made me happy. And then as I grew up, singing was everything to me. And when I realized that I could teach and show other people to use their voice to make them happy, as Pollyanna as that sounds, that's a great skill set. And then, literally, I started as a singing coach. So for 17 years, I only taught singers. And then speakers started coming to me. Tony Robbins and. And famous actors started coming to me. And then I turned them all away because I was really thinking. My goal was to teach great singers how to sing better and to show the world that anyone could sing. And I've proved it. Taken people that couldn't sing at all, and they've become superstar singers. Wow. So that transition between singing coach to speaking coach changed my life. Because as a singing coach for all those years, I thought my job was just to help people sell more records and. And sell more t shirts at their concerts. But I realized that by working on the speaking voice, I wasn't that interested in creating great voices anymore. I wanted to use voice to help make great people. And then I decided I could save the world one voice at a time. And then that became my mission. You're not the voice you were born with. The voice you're using is either giving you the life you want or it's taking that life away. So I'm just still passionate, minute by minute, over taking my skill set, saving the world by helping people change their voices that change their lives.
- [35:41]
C
Okay, so you were just pursuing happiness, so you became obsessed with it, right?
- [35:45]
A
Yeah.
- [35:45]
C
That's awesome.
- [35:46]
A
And I found a gig that I could sing all day and make myself happy and everybody else happy.
- [35:50]
C
Well, that's. That's winning in life. Okay. When I sit down with people for a meal, so. Oh, my God, what's Dave going to think about what I put on my plate? And the reality is, I'm not going to think about what you put on your plate. It's your plate, and you get to eat, to feel however you want to feel. And if you ask me, I'll tell you what, you can improve or not improve, whatever, but I don't really think about it. But what goes on in your head when you first hear someone's voice?
- [36:17]
A
First of all, people are afraid to speak to me.
- [36:21]
C
So, you know, they're afraid to eat in front of me. Afraid to speak in front of you. That's so fun. Okay.
- [36:25]
A
The beginning of every dinner that I go to with a group of people that don't know me, they say, someone says, I'm afraid to speak because you'll judge me.
- [36:34]
C
Do you judge them right there and be like, that was bad.
- [36:36]
A
I judged them more. I'm thinking that. But the truth is, is that I could turn it off. Yeah, like you turn it off.
- [36:42]
C
Yeah.
- [36:43]
A
I don't. I don't want to be the teacher at the table. I just want to be. Sometimes I want to be the guest at the table. Sometimes I just want to be a participant. Sometimes I just want to be the listener at the table more. So I want to be the listener. I talk for a living. I love to listen. So I listen to people's voices, and I can listen for. For other than technique.
- [37:05]
C
Right.
- [37:05]
A
But the truth is, is that when they ask me, I can switch it on pretty fast and tell them. But, you know, truthfully, this reminds me of the story that I was newly married years and years ago. I'm still married to the same woman, and she had never seen me lecture. So I was giving this big lecture in New York, and There was about 500 people in the audience. And I would bring people up, I'd listen to them, and then I'd do transformations. I'd tell them what they sounded like, and then I'd transform them. And at the end of the class, I'm thinking, wow, I can't wait to ask my new bride what she thought, because I thought I was superhero omnipotent. I felt like this was going to be the luckiest romantic night of my life. And she just saw me in my best life, and she said to me, I said, what did you think? And she said, you're the meanest person I've ever met in my life. Why would anyone study with you? I said, what do you mean? She goes, you made fun of every single person that came up. I said, I didn't make fun. I showed them what they sounded like, and then I fixed it.
- [38:17]
C
Wow.
- [38:18]
A
So sometimes you have to be honest. But that was a lesson for me, and I try to do it in a loving way. But humor can be loving. Humor. I teach with a lot of humor.
- [38:28]
C
The trick is to be kind but not nice, because nice is not kind at all. Oh, your voice is just fine. And they sound like cats dying. You should probably tell them. And it's not kind to let the spinach stay in someone's teeth either.
- [38:43]
A
Yeah. And if people are sitting at a table with you and don't ask you something about health and nutrition, they're dumb.
- [38:50]
C
Well, I mean, they can ask. I'm happy to do it, but I'm not going to lecture and I'm not going to judge. But it comes down to something called toxic empathy. I read about that in my last book where people are like, oh, being empathetic is so good. No, if you can't turn off your empathy, you just feel everyone's guard garbage all the time. And imagine how hellish your life would be if every time you heard anything, you had to judge it. And imagine how hellish my life would be if every time someone's doing something that's healthy or not healthy, I had to go through this internal process of judging it. Gross. So that just comes with, I think, learning how to control what's going on in your head. So you're there. That's good. So, guys, you don't have to be afraid of talking to Roger Love. He's only going to judge you if you ask him to, and he's going to make fun of you, and then his wife won't like him anymore.
- [39:33]
A
And, you know, you know, because you're a creative that you can't create and judge at the same time. So if I'm a songwriter and I'm writing a song, I can't judge it while I'm writing or I'll never finish it.
- [39:43]
C
Yeah.
- [39:43]
A
So. So you and I both know that that that balance between being non non judgmental is what keeps us creative.
- [39:51]
C
Yeah. It's kind of like playing ping pong anyone's played very much. If you think about the shot, you will not make the shot. You have to not judge it and just let it happen. And then you say, I can't believe I just did that. And it's that gap of judging that takes you out of the creative flow. Right?
- [40:09]
A
Yeah. I work for the last couple years with Tom Brady.
- [40:13]
C
Yeah.
- [40:14]
A
And I've learned so much about life by learning how he throws the ball.
- [40:22]
C
Oh, interesting.
- [40:23]
A
And what goes on?
- [40:24]
C
What did you learn?
- [40:24]
A
Mind? I just. It's not about technique, it's just allowing what's supposed to happen happen. Because you practiced to the nth degree and you learned everything you need. But then when you're actually throwing the ball, you're in the most relaxed place you could actually be.
- [40:43]
C
It's interesting. I've had Nick Foles and Beau Eason on, but I haven't had Tom Brady on. I'll have to reach out to his team.
- [40:49]
A
Beau's a friend of mine and student.
- [40:51]
C
Oh, no kidding. Of course. Bill's a good friend. He's a great guy. And it's really funny when you look at these super pro athletes and the Bryant brothers have been on and the weird stuff that happens between when we think and when we act. There's some kind of a native thing they do that just turns that off. It feels to me like great orators are doing the same thing. They're not sitting there going, okay, my stomach is out where it needs to be and I'm slowly bringing it in. They're just in flow. How do people learn how to be in flow when they speak and still have all the right intonations and all that?
- [41:33]
A
What we learn from an athlete or a great speaker is that they put the work in ahead of time.
- [41:38]
C
Okay.
- [41:39]
A
So nobody works harder than a professional athlete at that level to learn all the techniques, all of the skill sets, to hone the body, to do everything the body could possibly do that is necessary to perform their expertise at that sport. And great speakers need to do the same thing. That's why I'm a technique teacher. I train the instrument so that the instrument will be in perfect condition so that you don't have to worry about what's happening in your voice. You just have to feel and teach from a place of emotion. And the things that you know and, and you know that the brain can be consciously competent on multiple things at the same time. And people are trying so hard to be unconsciously competent at everything. And that's where I think that they're missing it. You should be consciously competent. And then the body and the brain can do all of those things and think about all those things. That's the job of the brain. And it can still come out effortlessly without question.
- [42:49]
C
Once you develop conscious competence, it's available unconsciously if you just relax. Yeah, okay.
- [42:54]
A
Yeah.
- [42:55]
C
That's my experience.
- [42:56]
A
That's what a great speaker does. That's what a great athlete does. You learn to train your voice and you only know the things you know, so you can only say the things you know. So it's being consciously competent to the level that it seems unconscious.
- [43:11]
C
I've seen research showing that when people have trained their voice, it changes their posture. It changes even their physical vitality and probably their longevity, to be honest. Does it also improve athletic performance?
- [43:23]
A
Yes. Again, you, you are breathing more healthy. So you're actually, some would say you're oxygenating your blood more in order to get air into the lungs to sound great. You can't round your shoulders over because it blocks the entrance of the air into the lungs. So posture super important. Your chest has to be, I feel, judged. But you have pretty good posture. Your chest has to be up, shoulders back and down so that the rib cage is out of the way so that air can go right past into the lungs. So all of these things, posture, breathing, how much air you take in, how much air you exhale, all of those things are making you healthier.
- [44:10]
C
When everyone got all this COVID vaccine injuries or straight up Covid injuries of their lungs, did it change the way you hear people talking?
- [44:18]
A
Yeah. Yeah. People, when they got Covid and the aftermath of COVID they felt that they couldn't take in as much air. So as I said, as a, as a species, we are already not good at speaking with the right amount of air like we sing. So humans were already not sending enough air out. But then when they realized they couldn't take that much air in, it became more that that millions of people started speaking softer and weaker and airier like this because they didn't feel they could get enough air in to then send enough air out. But also, I wanted to say to the last question, the sounds you make really do make you healthy.
- [45:02]
C
Yeah.
- [45:03]
A
Or they don't. And this is so evident, and science is proving this more and more. We are listening to sounds that are changing the way our brain functions. It's time that we started making the sounds, the healing sounds that Change the way our brains work. Change the tension level. Change the optimization. Change the stress level. Change the get up and go. Activate. Step it up level. So we have to make sounds. We're our own sound healing machines. And people don't realize that, even though science is telling us that now.
- [45:45]
C
The definition of biohacking, when I first wrote it, was the art and science of changing the environment around you and inside of you. So you have control of your biology or of your state. And the vibrational or sound environment around you and inside of you is a direct way of communicating with your mitochondria and with your subcellular components. They are vibration sensitive because they're ancient bacteria that are all vibration sensitive. So there's all these unseen levels of communication, whether it's another voice or your voice. We've had Stephen Porges on the show, who's the father of polyvagal theory, who learned certain female vocal ranges radically change the state of people's nervous systems for deep healing. Strangely, not for male voices. We don't really know why. So there's all this almost invisible to our conscious mind thing that's happening. And you've made this incredible study of going deep on how do you make it so that you're communicating with others, but maybe also with yourself?
- [46:45]
A
You're listening to the sounds you make. It's all about vibration and frequency and hertz. Very soon you say to me, I have a headache, Roger. And I say, go, ah. And do that three times and your headache goes away.
- [47:04]
C
Wow.
- [47:04]
A
That we will be able to control function with sound.
- [47:09]
C
I love that. So healing sounds. Now, if some government person comes to me and says, I want you to do this harmful thing against your will, what sound do I make to make them get really nauseous and maybe fill their pants, can you teach me that sound?
- [47:23]
A
That's a longer story.
- [47:24]
C
Okay. By the way, it's 8 hertz makes them feel their pants.
- [47:27]
A
But, but, but there are certain hurts that do certain things to the brain and put you in different states that you want to be in. And so why not make those sounds?
- [47:39]
C
Why not? Okay, this is a question that I've wanted to ask for a long time. I always, for some reason, find the most esoteric weird studies that people aren't talking about. And I'm just barely old enough by calendar age if people still use that. It's kind of like the eight track way of measuring your age. But when we cut over from vinyl or tape, which are analog signals, into digital signal processing. So if you're someone who's only listened to CDs or streaming music. You've only heard digital music unless you've gone to a live show. And even most live shows now have digital stuff in line before you hear it. And I read a paper by someone, so I must have been in my early 30s or late 20s or something, and it was a paper by someone who was 70. I wish I can remember his name. It was a while ago. And he said, look, if you're listening to digital music, it's like a thousand tiny ice cubes hitting your ears. But if you listen to an analog signal, it's like a wave of water hitting you. Because analog music, at its core, it's not a bunch of little digital signals like stair steps. It's truly a smooth curve. And this is a voice. The way that you and I are hearing each other now, that's a real sound. But what everyone's hearing on the show has been compressed and re expanded and sent across the Internet, and it is all digital. How bad is digital signal processing for communication?
- [49:08]
A
First of all, I'm so happy that you know all that. I mean, there are. There are still record producers who must have some analog processing on it, so they might record digitally. But then eventually it goes into analog machines onto tape. And to try to. To try to simulate some of that analog, there are. There are musicians who won't listen. They won't listen to MP3s because it's. It's if, if. If music is your religion and you listen to MP3, you're not talking to God. It.
- [49:43]
C
I feel the difference with analog and digital in my nervous system. Yeah.
- [49:47]
A
When I have people record speaking or singing, when I have my singers record in the studio and when I have my speakers record, I tell them that the only thing that's true sound is the sound that comes out from here and gets to here right before it goes into the mic. And that's why I don't let them wear two headphones. One headphone, one headphone off. I focus my speakers and singers on creating only the sound in the room, no matter where it's going. And that. That's the only real sound, that it's not true. Once it goes into the mic and comes back through the wires into my headphones, it's got processing that has changed the sound. So real sound is what happens between hearing the mic. Real sound is what happens between my mouth and your ears. And every time it gets processed, it is downgraded.
- [50:41]
C
Wow. So we could be actually weakening humanity with our digital signal processing.
- [50:47]
A
Because we put pretty things on top of the week. We add reverb. We have machines, we don't. People don't learn, have to learn how to be loud when they want to be loud and soft when they're soft. We have machines that equalize that the signal so it's all. So it doesn't get too soft or too loud. We have, we have things that add bass to the voice and treble so that EQ it differently. So all of that electronic stuff was created to make up for the fact that we're not just listening to somebody speak or sing in a room.
- [51:20]
C
Roger, you're making me sad. So padded shoes have ruined human feet and legs.
- [51:25]
A
Yeah. Because of the, because of the padding have made the. Have made the bottom of your soles less, less resilient.
- [51:32]
C
Right. And now you're saying that all of the things that doing on the show right now. So it sounds even better than it does in person. We think are the equivalent of padded shoes that take away our natural native ability.
- [51:44]
A
Yes and no. I'm saying that when you have the opportunity to actually have conversations with people mouth to ears. Ears to mouth, that that's real and that's real connection.
- [51:56]
C
Right.
- [51:57]
A
And that humankind needs to hold onto that before it just gives up the whole idea that human voice is not the voice of our future, but that AI voice is the voice of our future.
- [52:09]
C
And AI voice will always be digital. Right. That's intriguing. So there you go. I think in this world where AI takes over a lot of job functions, I'm actively encouraging my kids not to go to college because 58% of people graduate, can't get a job anyway. It's a terrible thing. Buy a business with the money you would have used to go to college and if you fail, you can still go bankrupt. But that student loan is never going to go away. So you might as well just face facts. But if you are going to study something or choose a vocation, one that requires face to face interaction cannot be replaced as long as the interaction is the goal. Right. You can have a robot cut your hair. Right. But if it's something that requires speaking or human touch, we can't replace those.
- [52:59]
A
Yeah. Remember that 100%. That's what colleges are having so many problems trying to convince students that they should go and pay all that money.
- [53:06]
C
Yeah.
- [53:08]
A
So the idea is that communication is human based because we attach the communication to emotions. AI will never be able to attach communication to emotions. Second by second, they won't be able to process the Emotions. And it won't be able to create the emotions. So we have to hold onto the things that makes us human. Years ago, when I saw bad human communicators teaching machines how to sound, I realized we were in trouble. Because humans are not great communicators. They've stopped. They've lost a lot of their ability to communicate emotionally. And then they're unemotionally teaching machines how to speak unemotionally. And where are we left? If you want to be AI proof, become the greatest communicator that you can be. The most authentic, the most connected to your own emotions and the emotions of other people. And AI will never be able to replace any of that.
- [54:06]
C
So finding your voice makes you AI proof.
- [54:09]
A
Exactly.
- [54:10]
C
How do you find your voice?
- [54:11]
A
You find your voice by training it as an instrument. You find your voice by finding the melodies and the volume changes. You find your voice by the bouncing it off of other people and trying to move them emotionally with your voice. You find your voice by listening to other people's sounds and deciding what moves you emotionally and separating the emotional sounds from the non emotional ones. We learn by becoming musical again, emotional again, putting all of that in our voice. That's what makes us AI proof.
- [54:45]
C
That is so profound. I'm going to play this episode for my kids. I think it's got something in there for them. Thank you.
- [54:51]
A
Thank you.
- [54:52]
C
How do you move between sounding powerful and sounding forced?
- [54:57]
A
Volume gets a bad rep. Okay, so sounding forced is so attached to volume. So people don't want to sound like they're mansplaining or woman splaining or powering their way through conversations. And people are worried that if they spoke loudly, right? That they would sound angry. And God knows there's enough anger sounds in the world. So anger's gotten a bad rep. But Vol. So volume's gotten a bad rep. Okay, now what's the component of volume? What? What's the component of anger? Not just loud volume. The sound component of anger is loud volume, fast paced and monotone. So of course I'm louder when I'm angry. But I also don't have time for melody because I've been holding all this stuff inside of me and I gotta get it out right now while. While we're still doing the interview. And so I get faster and there's. I don't have time for melody and I have to speak really fast. So unless you are speaking loud, super fast and no melody, you don't sound angry. So I convince people to speak louder. That's how you sound powerful. That's how you're not bullying anyone. But you have to mix in a lot of melody, and you have to not go fast or loud sounds angry. But if loud has melody and controlled pace, you just sound strong and powerful and beautiful.
- [56:28]
C
You just taught me something. So I'm a large guy. I'm six four, and I used to be really fat, too, so I'm usually the biggest guy in the room. And with men, we're primates. And I'm always a threat because most people know I could probably kill them. That's just the way it is. It's not that. Hopefully you're not thinking about that all the time, but if it just comes down to. To physics, there's a thing. I also have loud voice, and I also think really fast, and I communicate really fast. And if you're listening, go, Dave. You communicate fast. I actually learned consciously how to slow down. And in fact, I'm running at half speed most of the time because I just realized if I go at my native speed, I just lose people or they feel like I'm somehow trying to be superior, which I'm absolutely not. I'm just excited because this is so cool and so interesting, and I just want to talk about it. And do you think about this? And did you think it about.
- [57:20]
A
About that?
- [57:21]
C
Right. But I haven't really considered that I could add melody in. And when it comes to corporate leadership stuff, there's plenty of times where someone on the team, usually someone more junior, they think I'm really mad. I'm so not mad. Like, it takes a lot to make me mad. I was just. Okay. I had 24 meetings scheduled today, and I'm getting on a plane tonight, and we have exactly 30 seconds. So I want you to do this and this and this. No anger whatsoever. But maybe I can play with melodies so people don't tweak all the time. Time. That's.
- [57:49]
A
Yeah, you understand melody, but sometimes you get into the same place where you have a bunch of words where they just rattle out. Your brain works fast. So this idea of you'd never enjoy a concert from an artist if they only did ballads or only did uptempo songs. Sometimes you want to jump up and down and then stand up at a concert. Sometimes you want to sit down a little bit and hold hands of the person you're sitting to next. So it's just adding more music to move people to different emotions.
- [58:19]
C
So interesting. Another thing I wanted to ask you about because, yes, you're a vocal coach. But you also know a lot about auditory processing, which is just an incredibly interesting field to me. When I listen to audible books, I put them at about 1.6 to 2 speed, even if they're pretty complex. My taught my brain how to do that on purpose because then I can absorb twice as much info. But I did let my kids do that because when they were young, if they listen to books at 2x speed, they're going to start talking at 2x speed and it's going to be probably neurologically destructive. How bad is it to listen to audiobooks or podcasts at double the speed?
- [59:03]
A
Okay, it's only bad on one level.
- [59:06]
C
Okay.
- [59:06]
A
I don't. I don't let anything that I record be sped up.
- [59:11]
C
How do you stop it?
- [59:13]
A
I control the player. Anything I put out, I control the player. They can choose.
- [59:17]
C
But I mean, this is going to get played at 2x speed by some people.
- [59:20]
A
On the things I put out, I got to control it with the player, and I try to keep it at 100% speed. The issue is that when I listen and when anyone listens to something sped up, they have a good reason. You only have so many hours in the day. You have 24 meetings. You want to get the content, and your brain works fast. But there is no way to for me to listen or anyone to listen to sped up conversation and feel emotionally as connected to it because the voice itself doesn't sound as authentic sped up, the pitch changes and the speed changes, and it makes me less connected to the person that is speaking.
- [60:03]
C
Wow.
- [60:04]
A
So I want. I, of course, have limited time just like you. I might have had 12 meetings instead of 24 like you have. But there's only so many hours in the day. And I want to learn the content, but I feel like I resist the content if the person is reading it, if I've altered their voice in a way that makes them sound less than honest and less than real. So it bugs me to listen to it sped up. Everyone sounds like Mickey Mouse. And it's fine if I want to watch and listen to Mickey Mouse, but if that person is speaking, I want to try to hear that person in the wild, in nature, in authenticity. So it's a tool for expedience, but it's not a tool for emotional connection to hearing the words and the sounds.
- [60:51]
C
Okay, then I'm going to record this part now, and we'll play it now. And at the beginning of the show, I want you to listen to this episode without speeding it up. And when you get about halfway through, you're going to hear exactly why. Because you will learn things from Roger if you listen to this just at normal speed. Even if that feels painful for you, just trust me, do that and you'll thank me at the end there. So now we'll ask people to do that. I think you have a good point there about people being able to connect with the emotion of the reader. What made it work for me was in the old days, early on, you play a tape at 2x, people start sounding like Alvin the Chipmunks and all that. What they do now with modern players is they have all this digital crap.
- [61:38]
A
Which we already raise the pitch as much.
- [61:39]
C
Yeah, it drops the pitch, so at least that's better. And I also felt resistance, but I just trained the resistance out of me because I want to absorb info versus I want to connect. But how many of us listen to music at 2x speed? That would be dumb, right?
- [61:52]
A
Dumb, yeah. And. And again, you've come to the medium to say, I just want the content.
- [61:58]
C
Right.
- [61:58]
A
You don't really care about the person that's reading. It might be the author, might just be some voiceover artist. So you don't really care about that person.
- [62:04]
C
Right.
- [62:05]
A
So you're only getting it for content. But then isn't it possible that if you were emotionally receiving it, that you might process that content faster than the way you think you speak and the way you process? Because remember, the brain processes spoken conversation first for emotion and then for logic. So you actually are trying to trick your brain when you just think, I'm only getting this for the logic side. I might be listening to content.
- [62:32]
C
I might be removing some of the emotion by speeding it up, you're 100%.
- [62:35]
A
Removing the emotion and your brain is processing it. But it doesn't mean that you haven't rewired your brain enough to process first for logic and then emotion. It's just bypassing some of it.
- [62:47]
C
You can't. One of the things that our brains do that's entirely invisible to us is that every memory you have, every memory of a word, of a number of an experience, is accessed by emotion. So the way we look things up in our internal database is all about emotion. So if you learn something with emotion, it's in there. And if you learn something with just logic, it probably won't last as long. And that's real.
- [63:13]
A
Why do you think people learned ABCs by attaching it to a song? Why do you think that stayed with everyone?
- [63:20]
C
That's why drunk people always sing during the sobriety Test. Right.
- [63:23]
A
Do you know if you ask someone to say the Alphabet, they chunk and not sing it? They say A, B, C, D, E, F, G, H, I, J, K, L, M, N, O, P, Q, R, S, T, U, V, W, X, Y, Z. It's rhythmic because that was the rhythm of the song that they learned it.
- [63:42]
C
Wow.
- [63:43]
A
You can't separate the emotion from music. And if humans continue to keep separating emotion from sound, we won't be any better than A.I.
- [63:54]
C
Ooh, that's a big statement. Why do people get chills when they hear a beautiful voice but not AI?
- [64:01]
A
People get chills because of the frequencies and the hertz and that your body reacts to certain sounds. There are singers that can break glass because sound sound waves can shatter substances at certain hertz and frequencies and volumes. So the first time I went and heard Pavarotti sing, I couldn't stop the goosebumps on my arms when he would hit the high notes. Speaking and singing is a physical connection. When I speak or sing to you, air travels out of my mouth and it vibrates your body if you're doing it properly. So then once that sound vibrates your body, it's a physical connection. People are speaking incorrectly and they're not sending enough air or sound that it's vibrating anyone's body. But when you're vibrating someone's body or you're in the audience and that singer is vibrating your body, it's a physical reaction.
- [65:08]
C
Wow.
- [65:09]
A
It's not oral.
- [65:10]
C
I'm guessing you haven't had a chance to listen to or read heavily meditated Manua's book.
- [65:17]
A
Not yet.
- [65:18]
C
Okay. It's one that you at least want to skim at 2x speed. Kidding. Because I talk about auditory processing in the book and it's so relevant to what you just said. And when I make a sound with my voice and then you hear it, you perceive that my lips moved, the sound took a second to get there or some amount of time, and you heard it. But if we're measuring your auditory processing systems in the brain with electrodes, your body holds onto the signal for about a third of a second, 350 milliseconds. It's called evoked potential in neuroscience. And that is where I believe the chill comes from. This is the body, not the mind, the body pre processing reality to tell you what emotion to feel about it.
- [66:03]
A
I love that. And by the way, this is also how the body works. When you make sound and it vibrates my body. I'm not 100% sure that I didn't make that sound because I hear it and feel it.
- [66:16]
C
Wow.
- [66:17]
A
So once sound is in the room, it's a collective. It's like sympathetic vibrations.
- [66:23]
C
Incredible.
- [66:24]
A
So actually your sound, once it vibrates my body, part of my brain thinks, did I make that sound? Because I hear it and I feel it. Whether you say it or I say it, we're shared in this vibration more than you think.
- [66:39]
C
That is so cool. It's one of the reasons that if you ever have a chance to do something like a kirtan where you go to a yoga class where they have singing, like group singing afterwards, or even just that group om at the end, it does something to your nervous system. I can't exactly say what, but it's. It's a sense of connectedness and peace. That's really cool.
- [66:59]
A
Yes. There are studies that talk about that if you go and sing at a choir that for 24 hours or so many, I mean, hours and days, you're still high from singing with other people. So why shouldn't speaking be that way? Why. Why aren't we in a. A duo group every time that we're speaking and we're making music that we feel and other people.
- [67:21]
C
People feel, but no reason. One of the things that I use when I want to get a room to quiet down, I used at the last biohacking conference. We had 4,500 people at this event in Austin. By the way, guys, biohackingconference.com But I told people if your phone goes off during this part of it, you have to stand up and sing. I'm a little teacup. Right?
- [67:45]
A
Good choice.
- [67:48]
C
And I'll tell you what happened because it's funny. And the real question though is going to be, why is it so nerve wracking? Why do people feel so vulnerable when they have to sing versus have to speak? But we'll get to that. Here's what happened. I'm up on stage talking and I have a continuous glucose monitor on one of the ones from Abbott that you can't turn off the freaking alerts on it. And it said my blood sugar dropped. It didn't. It was a signal error. So I get the emergency alert you could have. Guys, I don't have diabetes. I just want to know what my blood sugar was. Different issue for biohackers. So my phone goes off. I'm like, that wasn't a ring. The audience wasn't having that. So I had to sing I'm a little teacup. And then Wired magazine wrote about it and said, Dave saying, I'm A little teacup. So thanks, Wired. Anyway, so that didn't bother me too much because I've learned to just not like I do what I do. And if people don't like it, then they don't like it. That seems like it must be their problem. But that could have been a traumatizing experience. We'll put it that way. By the way, I did rap. I'm a little teacup because my singing voice still needs work. But why do people feel so vulnerable when they sing versus when they speak on stage?
- [68:57]
A
First of all, people feel vulnerable when they speak on stage. That's as well. I mean, the number one fear in America is speaking in public.
- [69:05]
C
I don't believe that. If they'd asked speaking or singing, everyone was that singing was even worse than speaking.
- [69:10]
A
But the survey right now says that number one fear is still speaking in public. So why are they more think of singing as speaking on. On steroids. Amplified. You're not. Your volume is louder. There's more notes. You're. You're held to accountability of whether or not you hit the pitches. We're speaking. You can just not hit any pitches and make up bad melodies. There's. It's just speaking times a million on steroids. And it seems more vulnerable.
- [69:43]
C
It does.
- [69:44]
A
And also a great percentage of the people believe that they are tone deaf. So when you say, would you sing for me? Most people who are not good singers immediately go to that emotional place where they're like, I'm tone deaf. And if I go to sing, it's going to be sounds so bad. You're going to hate me. And I'm going to hate me.
- [70:05]
C
You actually taught me that I wasn't tone deaf.
- [70:08]
A
Yeah. I just thought it was a simple test. Should we teach your listeners?
- [70:11]
C
Yeah, let's do it.
- [70:12]
A
Okay. Because I know there are millions and millions and millions of people who think that they're tone deaf just because they can't get in the car and sing all the notes that Elvis can sing on the radio or anyone else they're listening to. Here's the test for tone deafness. For anyone that is listening. I'm going to sing a little bit of Happy Birthday. Okay. And you're going to tell me. I'm not even going to do the whole thing. You're going to tell me, is this the happy birthday that you learned? Happy birthday to you Happy birthday to you Happy birthday. Yes or no. The right melody.
- [70:51]
C
I'm pretty sure you got that one wrong.
- [70:52]
A
Okay. It was. It was an interesting one, though. I'M That's. I'll give you that interesting than I normally that may. That may catch on anyways. But.
- [71:00]
C
Or not.
- [71:01]
A
If you were tone deaf, that would have sounded like this. Happy birthday. You wouldn't have heard any of the pitches. You wouldn't have heard me go higher and lower. So less than 2% of the entire world population is tone deaf. And it happens from some damage to the middle ear when you're young or. Or early in life. Nobody is really tone deaf. They're tone lazy. They're tone shy. They haven't learned to play their instruments.
- [71:31]
C
They're tone untrained.
- [71:32]
A
They're tone untrained. Their grandmother gave them a Steinway piano and when she died, I'm sorry that happened. But they got a Steinway piano and they have to make two choices. Should I move out all of the furniture in my living room and put it there or not? So then they decide they move out all the furniture and put it in the living room. Then they have another decision. Are they going to learn to play it or are they going to use it as a frame holder? The voice could be a Steinway piano. And you decide whether you're going to use it as, As a. Wow. As. As an instrument and use it to change the way people react to you people to get to know you. Use that to create the brand, your identity, your character, to showcase the best of yourself. It's an instrument, but only if you learn how to play it.
- [72:21]
C
Wow. That is. That is profound. So I, I love that analogy. And Roger, you work with celebrities and I had the honor of working with you, but most people listening aren't going to be able to do that. So is there Cliff Notes to this or a quick and easy way to. To learn this?
- [72:42]
A
Yes.
- [72:43]
C
Okay.
- [72:43]
A
And I came with a present because. Because I, I don't. I'm not. I'm interested in giving away what I know or I wouldn't do these interviews. You're a generous guy and basically you can go to RogerLove. R o g e r l o v e RogerLove.com forward slash Dave. Why not Forward slash Dave. And you can. And I'm giving you everyone a $50 gift towards purchasing anything of. Of the programs that I. That will teach people. So if you've. If listening to this has inspired your listeners in any way to realize that voice is the makeover that they need next, that voice is the life change. That voice is the change that's going to get them to the next level. Go. And I'll give you $50 towards any of the programs speaking or singing as a present. And and that's the fastest way.
- [73:34]
C
Thank you. And if you're listening right now, think about getting this for a young person in your life. Someone who's going to college if they're still making that mistake, or someone who's just getting going in their career. Because if you're young, every episode I've recorded actually are things I wish I would have known when I was 20 that would have just saved me millions of dollars and countless suffering and learning these skills early on in life. It changes the people you spend time with, it changes who you end up dating, it changes your career. It changes everything. And if you're any other age, this stuff keeps you young, it gives you energy. It's really important. I've under indexed this for years. Even compared to something like functional movement or just being fit or respiratory and fitness and all that stuff that I've studied ad nauseam, this is important and it's a major part of biohacking. So thank you Roger.
- [74:27]
A
Thank you so much.
- [74:29]
C
See you next time on the Human Upgrade Podcast.
- [74:37]
D
The Human Upgrade, formerly Bulletproof Radio, was created and is hosted by Dave Asprey. The information contained in this podcast is provided for informational purposes only and is not intended for the purposes of diagnosing, treating, curing or preventing injury any disease. Before using any products referenced on the podcast, consult with your healthcare provider carefully, read all labels and heed all directions and cautions that accompany the products. Information found or received through the podcast should not be used in place of a consultation or advice from a healthcare provider. If you suspect you have a medical problem or should you have any healthcare questions, please promptly call or see your healthcare provider. This podcast, including Dave Asprey and the producers, disclaim responsibility for any possible adverse effects from the use of information contained herein. Opinions of guests are their own and this podcast does not endorse or accept responsibility for statements made by guests. This podcast does not make any representations or warranties about guest qualifications or credibility. This podcast may contain paid endorsements and advertisements for products or services. Individuals on this podcast may have a direct or indirect financial interest in products or services referred to herein. This podcast is owned by Bulletproof Media.