In the age of online audiences, singers and vocal coaches need a constant flow of fresh content. In this episode, Bree Noble welcomes Lara Chapman, founder of VoxTape Studios, who shares her transformative journey from music enthusiast to expert in content creation systems and vocal training. She talks about her transition from a classically trained musician to a pop singer, and the challenges she faced in the music industry. She also offers practical advice for aspiring vocal coaches and tips on maintaining vocal health. Tune in to learn how you can elevate your vocal training and content creation skills to reach a wider audience and make a lasting impact.

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Elevate Your Voice Online: Content Systems For Singers And Coaches With Lara Chapman From Voxtape Studios

Introduction

Welcome to the show. I am so happy to be here with Lara Chapman from Vox Tape Studios. Now I will say I met Lara through a mutual friend. The reason I met her is because he was like, “You got to check out this girl’s content online. She is so amazing with her content.” Then I just read in her bio that she has over a million followers online.

Music And Singing Background

We’ll definitely be talking about her content and how that draws in so many people because I know many of you can learn from that. The thing is, her specialization is voice. We’re going to talk about vocal technique and how to get over a vocal injury and all of that. It’s going to be a multifaceted episode, which is exciting. Let’s start off, Lara, with just your background. What is your background in music and singing? How did you get into vocal technique? Then how did you start teaching students?

First, thank you so much for having me, Bree. I’m excited to be here. My story. I always did music. I remember I was telling the story to someone recently and it was like, “I was in the national karate team and I quit because I wanted to do more music.” They’re like, “Wait, hold on what? Did you quit being in the national team to do music? Why would you do something like that?” Music has been my big thing my entire life but it was always voice. I play piano and guitar and you know the recorder, like everyone learns how to play the recorder in school?

I did all that too. I grew up in Switzerland, a tiny little country in Europe. I never had the chance to participate in a musical from school. It’s just not things we do like a band or just like an orchestra, a musical, anything like that, that was just not a thing. I had to do everything outside of school. That was always something that very much drew me to the US because I just always saw all these things on TV, in those movies and everything. I was like, “I wish I could go to school in the US and do all these cool things. It sounds so amazing.”

After high school, I ended up moving to New York City and I studied musical theater. Out of all things, I studied musical theater and acting for film and TV for two years. During that time, I learned like, “I don’t love musical theater.” For me, it was like, “Why not sing, act, and dance at the same time? That sounds great.” Not realizing that musical theater music was very different from pop music. Very different. The way you sing it is also very different. I didn’t quite realize that because musical theater is just not a thing.

I mean, it is like it’s coming more and more, but back when I was in Switzerland, we had the major musicals and that was it. I was like, “Those are fun. I can do that.” Learned a lot there, but realized musical theater wasn’t my thing. Then I auditioned to go to the Berklee College of Music up in Boston. I did that. As I was going to school there, I got signed to a manager in Nashville to record music, release music, go on tour, and do all these things, which was cool, but as a naive young girl from Switzerland, I was like, “This is my big break.”

That wasn’t the case, but I learned a lot during that time and to make money on the side, I was playing gigs and they paid, but it wasn’t enough. I started teaching voice lessons on the side and realized that I loved teaching so much more than being the artist myself. Don’t get me wrong, I love the recording, I love the performing, and all of that stuff was great, but everything else, including social media, believe it or not.

I hated it. I was like, “I don’t know what to do. No, I don’t like it.” I loved teaching other people how to sing. I went through a whole identity crisis of like, “I wanted to be a singer my entire life. Why don’t I want to do it now? Now that I’m doing it, why is it changing? What’s going on?” Then COVID hit and that was the thing that allowed me to transition into coaching full-time rather than just doing it part-time.

It’s like it permitted you to do the thing that you actually wanted to do.

Isn’t that crazy?

It’s crazy.

For a year and a half, I had this internal battle of like, “No, people are going to look at this as like I’m quitting because I couldn’t make it.” I was so concerned with what other people were going to think about this switch that I pushed my desires and my wants into the background.

I think some of it is that whole, “Those who cannot do, teach.” That whole like, “You failed at it. Now you become a teacher.” That’s so frustrating to me.

Yes. I agree 100%. I truly believe you can only be a good teacher if you understand what’s happening. For me, it’s the opposite. A teacher should be someone who’s like, “Really figured it out.

Knows how to explain it to others. That’s the other thing.

Yes. One hundred percent. Just because you can do something doesn’t mean you can teach it and explain it.

Just because you can do something doesn't mean you can teach and explain it. Share on X

That’s right. When during COVID you started building up your studio, how big is your studio now?

I currently have four coaches that help me with the student load. I mean, I’m still teaching, but all the continuous lessons, all of my coaches are taking care of that. They’re amazing. It’s been a wild journey for sure. It’s all thanks to social media. As an artist, I was like, “I hate social media. I don’t know what to talk about.” Again, I was doing the thing that I wanted to do. It became easy for me to create content for social media because I could talk about it all day long.

That is the key right there, you were fully aligned and you were talking about what you wanted to talk about. Do you think that part of it is that you’re taking the focus off of yourself and talking more about the voice and the technique? Obviously, you’re still in the videos but somehow it’s maybe not as much about, “Look at me.”

I definitely agree and a big mistake that I made as an artist trying to promote my music was my image, my artist image, and who I was or am did not align. For me, my big thing as an artist, my artist name was Lumaine because a lot of people always commented on my hair and I was like, “How can I make my hair a part of my identity as an artist?” I was like, “Big curly hair like a lion’s mane, Lumaine.” I have very straight hair. This is very curly. I don’t usually have hair like this. Usually, it’s very straight.

It’s true, I saw you the other day and it was straight now that I think about it.

Yes, super straight. My hair is super straight and my image was big curly hair. My manager was all about like, “Let’s make it mysterious. Everything you do has got to be perfectly within this image.” It didn’t work because I wasn’t allowed to post selfies. Then I was like, “I don’t know what to post about if I cannot post selfies.” Then also, I had to have this huge head of hair every time I wanted to shoot a piece of content. That was a big process. It didn’t allow for spontaneity.

Spontaneity. You got it.

Spontaneity, thank you. Being spontaneous. It didn’t allow for that. It became a chore because everything needed to be perfectly planned and I’m not a planner.

No, I get that. It’s hard enough that we maybe want to have our hair looking good and wear the right outfit and have maybe some makeup on or whatever, but you had to totally transform in order to make any content.

It wasn’t working at all.

That’s a big thing.

Now I love social media. As much as I can I always have a little love-hate relationship with social media. Every so often I’m like, “I don’t want to do this.”

Social Media Strategy

I get it. We talked about how you have to have a pile of content and create a big bunch of content at once. Then it’s like, “I’m good for a while,” but then, “No, it’s dwindling or whatever. Try to get some that’s evergreen.” That’s a struggle that every artist goes through. I’m curious, how do you come up with your ideas for social media? Is it just totally off the cuff? Is it on a daily thing or do you write out some ideas and then just do a whole bunch of shooting, or what do you do?

It depends. Most of what I do is bulk recording. I do think of a couple of things. In lessons, I have a little sheet that I have. I start whenever there’s something that comes up in a lesson that I’m like, “This would be a good piece of content. I need to talk about this.” I just add a quick little note to that sheet so that whenever it is shoot day, like content creation day, I can just go off of that list and start talking about it. I don’t write scripts. I just go off of the notes and just be like, “Yes, I need to talk about this for 30, 45, 60 seconds. Let’s go. Make it short.”

Most of us, we can talk off the cuff, especially if we’re talking about something either we know well or about ourselves. It’s pretty easy to talk off the cuff as long as you have something to spark the ideas. This is something I’ve been trying to drill into artists that I work with. You’ve got to have a system for capturing that stuff. If you’re on a walk and an idea comes to you, you’re not going to remember it by the time you get home. You got to stop, put it in your phone notes, or however you keep track of those kinds of things, and make sure that you’ve got a running list. When it’s content day, you’re not like, “I got nothing.”

It’s also, a lot of it is trial and error. I remember the first couple of things that I posted. I was like, “What was I thinking?” Wrong format like it was a horizontal video instead of a vertical. I just had a bunch of black space, just bad, just bad. You just start by posting and you learn as you go. Recently, I’ve been posting a bunch of stuff that I was like, “This is what I wanted to post, but it’s not resonating with my audience.

I’m going to go back to doing the things that I know work.” Today is actually shoot day for me, content creation day. I’m like, “I know my audience loves my pop song exercises where I take a pop song and make a vocal exercise out of it. Let’s go back to doing that.” I created ten of those and now I’m filming them. Obviously, do what you want to do, but also listen to the feedback that you’re getting from your audience as well and make adjustments accordingly.

Do what you want to do, but also listen to the feedback from your audience and make adjustments accordingly. Share on X

I know you’ve had a few that have gone viral, maybe more than a few. Are those the pop song exercises, or are there some other types of content that you found go viral?

Every time a video goes viral, it’s a pop song exercise, but not every pop song exercise goes viral. It’s not a foolproof thing. Once you have something that goes viral, you’re like, “I’ll just recreate this and it’ll go viral.” No, I have some that perform poorly and I don’t know why, or they perform well on one platform but not on another, and it’s like, “Why? This makes no sense.”

That’s the thing for sure. I find that there are ones and it’s almost always the same. If it does well on Instagram, it doesn’t do well on TikTok and vice versa. There’s hardly ever a thing that does well on both.

It’s very interesting. There are some people who ask me, “Tell me what’s your strategy?” I’m like, “I don’t have one.” I just go with the flow. They’re like, “How many hashtags?” I’m like I don’t listen to these gurus out there that are like, “You got to do this and that exactly this way.” No. I wish there was a formula or a step-by-step process that we could follow, but there just isn’t. I think the best thing you can do is start posting, learn from it, acquire feedback essentially, and then adjust accordingly.

Just gathering data, that’s the best way to go for sure. Everybody’s data is different.

Yes, 100%.

Vocal Technique And Addressing Challenges

Awesome. We talked about social media. I definitely want to get into vocal technique because that is your specialization. I remember when I was taking lessons, there was sometimes this disconnect from how something sounded versus how it felt. You may feel like it sounds amazing, but then, “I feel like this is hurting my throat,” or vice versa.”

I remember when I went through this phase where I was trying to develop my break and all that stuff, and she’s like, “Just don’t care how it sounds. It can sound super breathy, whatever, just do the technique this way and eventually you’ll build it up.” I’m like, “That sounds terrible. I cannot stand it. I didn’t want to do it.” How do you help singers distinguish that and feel comfortable with maybe it doesn’t sound quite right yet, but it’s the right feeling and you’ll develop it.

There’s definitely a whole lot of trust in the process that goes on in singing lessons. We make weird sounds sometimes where it’s like, “What on earth is happening? How could this possibly help me to get to the result that I’m looking for?” I use this technique called overcorrection where let’s say your singing sounds very overly compressed, like it doesn’t feel good, it’s very pushy and strainy. That usually means there’s too much compression going on in your vocal folds. Your audience knows what this sounds like, it would be something like, “Hey.” It’s very much like, “We’re pushing here.”

Basically, we just need to go from an overly compressed sound to the opposite of that. Now, what is the opposite of an overly compressed sound? It’s a very breathy sound. It’s, “Hem.” We practice that for a little bit until we reach the tone that we want to achieve, which is a well-balanced sound, which would be something like, “Hey.” It’s not, “Uh or huh.” It’s, “Hey.” It’s balanced. I use this overcorrection technique a lot because it helps you get to the results very quickly.

As a bass, it’s so important that singing feels good. I don’t care if you’re making a sound that you’re like, “This sounds incredible. I love it. Everybody else out there loves it too, but it feels terrible.” Like, no, I’m sorry. We can get to that sound in a sustainable way, in a way that feels good too. I don’t want you to compromise your sustainability, your vocal health, all of that, just to get to a specific tone. It’s not worth it. Trust me. I went down that rabbit hole.

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I think people think if you’re belting, you’re growling, or whatever, you have to hurt yourself to make that sound.

No. I think this is one of the biggest industries out there. Singing is hard and that makes you feel like, “If I’m working hard, that’s when I know I’m doing it right.” It’s actually exactly the opposite. When singing feels effortless and easy, and like you’re not doing anything. That’s when you’re doing it right. That’s when it feels natural, flowy, and easy. It just flows out of your mouth. It’s like, “How did I just do this? This is incredible.” That’s when you’re doing it right. That’s when it becomes sustainable. That’s when it becomes a healthy technique, whatever it is you want to call it.

For me, it’s more like the sustainability aspect of it. I want you to be able to get on stage night after night and do your thing and nail it every time and not get tired from it. Obviously, there are always limits to the voice. At the end of the day, it’s muscles that we’re training and that we’re using. Just any other muscle in your body, it has limits. You can only do so much. You can definitely overuse your voice and still end up with a vocal injury. Even if you have perfect vocal technique, still we want to make sure that everything you do feels good. Once it feels good, we can tweak it to make it sound the way you want it to sound.

I think the other struggle, and I’ve talked with other singing teachers on this show about this because I was classically trained. I feel the danger with being classically trained is it trains all the uniqueness out of your voice. I have great technique, but it can make my voice sound like everybody else. I know you work specifically on pop singing. How do you help people keep that uniqueness or even amplify that uniqueness in their voice?

I love that you just said amplify because that is my job. My job is not to help you sound perfect because perfect is boring in contemporary singing. No shade on classical singing. It’s a very different style of singing. Very different style of singing. Also, I haven’t had a day of classical training under my belt. Not a single lesson was classical training. You don’t need to do classical voice lessons to sing pop. It’s not going to help you. Do pop training to sing pop or country or rock, like contemporary music in general. How do we do that?

My job is to listen for those natural imperfections that you have in your voice because those are the things that make you stand out, the style. That’s where the style comes from. It’s the imperfections that you have in your voice. Then figure out how can we do those more. Like developing your style that way, like your signature sound, your radio effect, whatever it is you want to call it, without sacrificing technique. We work on techniques that help you amplify those things so that you can do them more often and more easily.

Also, explore other things. It depends on what singer I’m working with. If I’m working with more of a beginner and they like we need to work on the fundamentals of singing first and then we look at all these different embellishments or different kinds of tones that people can create and say, “What do you like? What do you not like?” Then work on those techniques so that you can do it in your voice and then see, “Do you like it in your voice? Yes or no?” Just because you like it on somebody else doesn’t mean you like it in your voice.

I think that would help someone that was new. Maybe they don’t know what the uniquely interesting parts of their voice are and stuff to just try those things. I’m curious what you think about this. I listen to a lot of music when I’m picking music for women of substance. I hear plenty of people who have interesting, unique sounds to their voices, but they don’t fully sing in tune. For me, that is very painful. Do you ever experience that if I sing perfectly in tune, I’m going to lose the uniqueness of my voice or something?

It’s interesting because I just recorded a pitch accuracy exercise. Pitch accuracy is very important. In the studio, yes, we have autotune. We can use those things. There’s no shame in using autotune. I’m a big fan of it. I use it myself. There’s no shame in using it but when you’re singing live, you don’t have that. You need to be able to sing on the pitch. On one hand, I always say singing is not just about hitting the right notes at the right time and sounding good.

 

Singing is so much more than that. At the same time, if you’re not singing the right notes at the right time and you don’t sound good, none of the other stuff matters. That’s the fundamentals. We need to make sure that the pitch is there. Nothing else matters. If you cannot sing on pitch, you can have the most beautiful tone, you can have the most interesting voice. It doesn’t matter. No one can listen to it because it’s not right. The notes aren’t there.

Sometimes I think that other people can put up with it more than I can because I hear people, “I love this artist.” Then I hear them live and I’m like, “They’re not in tune.” I guess a lot of people that maybe aren’t musically trained like me can be like doesn’t bother them.

There’s definitely a certain level to that and also fandom comes into place. If you go to a concert and we paid money to be there, you’re obviously a fan. You’re there for the experience. If you’re not a trained musician, you don’t notice like you and I would but still it’s impossible to sing 100% accurately every single time. It’s impossible. There is always an error there, but we want to shoot for like 90%, 95% of the time the pitch needs to be there. Even with tools like autotune, we got to make sure the pitch is there.

Voice Injury

I know you mentioned earlier about, you can even have the best technique and still injure your voice. I know that you went through that. Do you want to let us know just a little bit about your voice injury journey?

Sure thing. My injury didn’t come from perfect technique, but from overusing my voice. My injury came from the technique. I didn’t doubt have good technique. Even though I was taking lessons for like 12, 13, 14 years, something like that before I had my injury. It’s actually fascinating. The more I talk about it, the more I’m like, “How did none of the fifteen-plus vocal coaches that I was working with ever tell me to just stop because I was going to end up in this situation?” Like not a single one, not even the professors at Berklee.

Not one listened to me and was like, “I hear what you’re doing and I promise you’re going to end up in this situation in a couple of years, sooner or later.” I’m fascinated no one told me. Anyway, so I was a yeller, a screamer. I was yelling on pitch essentially. I didn’t care what it took to hit that high belt note. I was going to get it no matter what. I was like, “I’m increasing my range. I’m stretching my range.” No, I’m just pushing. I’m just pushing and doing that for a couple of years. When you’re young, your voice bounces back and the older I get, and I mean, I’m still young. I’m still only 28.

When I had the injury, that was just a couple of years ago. I’m pretty young and these injuries happen, but the more you do it, the less your voice bounces back. The longer this went on, I would lose my voice for a day and then I would lose my voice for two days, but it would always come back until eventually it wouldn’t. There was this one time when it was February. My voice didn’t come back for four weeks. Like I couldn’t even speak. Like speaking would hurt. That’s when I was like, “I messed it up this time.” I went to go see a laryngologist and I had vocal pre-nodules.

Those were basically just small nodules. Obviously, that was the worst news I ever got. I was panicking, but my laryngologist said, “It’s okay. You’re just going to have to do some speech therapy and you’re going to have to change the way you sing because girl, it’s not working. You’re going to end up in this situation over and over again if you don’t change things.” That to me was like, “I need to make changes to this and I need to prioritize releasing tension and making singing feel good.”

Together with the speech therapy and all this other stuff that I did, I was able to get back to the skill level where I was at within just a couple months, maybe three months of having the diagnosis went back to normal within three months, and then exceeded my vocal skills and just improved and got better and better from there on out and I can now sing better than I could before, and it feels better than ever before. I’m not having any vocal issues. I’m not getting tired. I’m not having any vocal injuries or anything like that. Just because I started prioritizing what singing felt like rather than what it sounded like. It comes down to that.

That’s great to hear that you can recover like that. Do you feel like with your students, can you see or hear if they’re going down that path, can you actually see that tension in them or hear it in their voice?

Immediately. Especially if it’s someone who’s as bad as me at it, who’s just literally yelling on the pitch. Especially if it’s this prominent in their voice, then I’m like, “You’re going to hate me for the next couple of months, but you’re going to love me after because I’m the medicine you don’t want to take, but I’m the medicine that’s going to help you get better. You have to do this or it’s not going to end well.”

In most cases, tension is there, but not as badly as me. I was a very extreme example, but yeah, I would say tension is something that I work on in about 90% of first-time lessons. When someone meets with me for the first time in a very first lesson, releasing tension is most likely going to be something we do, but it looks different in every singer releasing tension. It shows up differently for everyone.

If they’ve been using a lot of tension, yelling on the pitch, belting, that kind of thing, and then you’re trying to get them not to do that and release the tension, do they immediately feel like, “Now my voice is weak, my voice sucks?”

No.

That’s great.

We release tension in a way where we don’t have to sacrifice power. That’s what it’s all about. I don’t want you to go from Demi Lovato to Billie Eilish just because it’s better for your voice because it’s not.

I thought maybe you’d have to go there and then you could build it back up.

I mean, sometimes, and sure, maybe for a week or two or sometimes even a month, it depends on the singer and how bad the tension is. In most cases, it’s like we do 2 or 3 exercises in that lesson and then we bring the power back in and you already feel a difference. The power is there and it already feels better. It might not be the end result that we’re going for. It’s going to take a couple more tweaks than just one lesson, but we can absolutely already get to like, “This is what we’re going for and it feels much better and it still sounds good and it still sounds powerful.”

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Importance Of Vocal Training For Singers

That’s awesome. We all have different types of musicians that watch the show and listen to the show. We do have a lot of singer-songwriters. I’d say many of them maybe haven’t had a voice lesson or didn’t think they needed one or they were focused on just singing their own songs the way that they sing and that kind of thing. What can you say to them about how maybe just even taking voice lessons for three months? How it can change and improve what they already have?

You don’t know what you don’t know. Currently, you might just be singing the songs you always have, and it probably sounds good. We love a good natural talent. Congratulations, very few people have it. There’s a whole universe out there to explore. There’s so much you could be doing with your voice. it goes beyond just like, “Do a vocal fry here and do a riff there and add some vibrato.” There’s so much that goes into it. When we start exploring together, the releasing tension part, your range increases, your vibrato gets better, and you can riff faster. That’s a part of it. The other part of it is just exploring your voice, different tones, different embellishments, and seeing how can we put together a full picture for you.

 

Especially if you feel like, “Everything’s sounding the same.” If you feel that, please dear Lord book a session, whether it’s with me or somebody else out there, please book a session because there’s so much that you could be doing. If you listen to Adele, for example, if you listen to her sing and you dissect every single phrase that she sings, it’s like, “There are so many different things that she’s doing to pull us in and take the experience to the next level.” I feel that’s every singer’s job. If you’re a professional singer, why don’t you have a coach? Have you met a professional football player who doesn’t have a coach? I think it would be different for singers.

That Adele example. It’s like she’s got all these tools and I think we tend to think, “That’s just all natural. That’s just what happens when she opens her mouth.” No, she has learned all these tools. She knows where to use them. If some of it becomes totally subconscious, but then some of it is like, “I think maybe it would be better if I pulled back here instead of that kind of thing.”

No, 100%. Again, it goes back to you not knowing what you don’t know. You’ve been singing the same way for such a long time. What if you had somebody else out there who’s guiding you a little bit and exploring things with you? Even if you don’t like one of the examples, you’re like, “Actually, I don’t like that.” I’m like, “Cool. Let’s not do that then. Let’s do something else.” It very rarely happens, but it’s not on me to tell you what you should sound like and just be like, “This is going to be you.” No, it’s a collaboration and you take the lead. I’m just here to give you the tools to get you to where you want to be.

Connecting With Lara

I think everybody that’s listening now is probably excited. They’re like, “I want to jump in on that.” How can they connect with you? How can they follow you on social media and also maybe book a lesson?

My social media handle is @VoxTapeStudios. That’s the name of my studio. I’m the founder of the studio. I highly recommend that you check out some of our videos there. We do have a free guide called the Vocal Persona Quiz. Like I said, it’s going to be different for everybody. That’s why learning how to sing off of YouTube videos or social media videos in general is quite difficult because not everything applies to you. If you don’t already have a lot of experience, you don’t know what applies to you and what doesn’t apply. If you’ve been feeling frustrated with your progress, you’re not seeing progress.

It’s probably because you’re doing the wrong things for your voice. I solved that problem with my quiz where you answer a couple of questions and it spits out your vocal persona for you. No, vocal persona and voice type are not the same thing. Like soprano, tenor, and all of that. A vocal persona is not the same thing. Vocal persona helps you understand your voice better, and your tendencies better as a singer. Then you got a personalized training for your persona as well. I highly recommend that you check out my little quiz, my vocal persona quiz. The links are on all my social media pages. That’s where you can book a session with me too.

Wrap-Up

Perfect. No, I love the quiz. It’s great to go in with some knowledge about yourself before you book a session as well. That’s super awesome. Thank you so much, Lara. This has been so good. I love hearing about your creation process for social media, as well as all of your knowledge about singing. It’s great to know that if we’ve got these tendencies in our singing, it’s not something we cannot deal with. If we have the right coach, they can help us to get our voice and keep it in shape. Here I am, 52, I’m still singing. I feel like I’m singing like I was when I was 30 because I’m keeping my voice in shape.

Kelly Clarkson recently said in an interview, that she’s 40 something and she’s like, “I’m a better singer now than I was when I was twenty.” It’s like if you feel you’re hitting a ceiling or you feel something’s not possible for you because, I hear this all the time, “How can I hit high notes? I’m an alto, and high notes probably are just not for me or vice versa. I cannot sing low notes or I cannot sing with power because I’m a soprano.” I’m like, “Literally, none of that matters. You just need to have the right tools.” That’s my job and my team’s job. To give you the tools so that you feel like everything’s possible because it is, it’s just training.

If you feel like you're hitting a ceiling or something seems impossible, none of those matters. You just need the right tools. Share on X

Thank you so much.

Thank you so much for having me.

 

Important Links

• Vox Tape Studios
• Profitable.com/Income
• Bandzoogle
• @VoxTapeStudios – Instagram Vox Tape Studios
• Vocal Persona Quiz

 

About Lara Chapman

Lara Chapman is an award winning singer/songwriter turned viral vocal coach with over 1 million followers online and the Founder of VoxTape Studios. After having suffered a vocal injury due to the lack of sustainable vocal technique herself, it has become Lara’s mission to help as many singers as she could to make singing feel effortless and free so that singers won’t have to compromise their vocal technique in order to fully express themselves.