The Unlimited Voice

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The Unlimited Voice I help singers & songwriters sing the way they want so they feel more confident sharing their songs. EEK! You may have seen or heard me on TV or in a movie.

If you’re tired of feeling frustrated with your voice and want to begin making real progress, I can help you develop a consistent tone and increase your range, strength, and flexibility, so you can love your voice and belt out your favorite songs with confidence and ease. Before finding the right training, I struggled a great deal with my own voice. I had a frustrating break in the middle of my range that I was constantly trying to hide and my voice would embarrassingly crack during performances. It was heartbreaking, and I was determined to get to the bottom of it. My experience sent me on an unshakable quest to free my voice and now I want to share that freedom with others. I was once known as that girl from the Amazon Kindle ads. I starred in, co-wrote and recorded the songs that appeared in an international, stop-motion campaign that launched the Amazon Kindle. I've also had a publishing deal as a songwriter, released albums, and had my songs licensed for film, TV, and commercials. In addition, I've guest starred on numerous hit TV shows, had a supporting role in Academy Award winning Best Picture film Argo, and have appeared in countless national TV commercials as an actress and/or singer. Currently you can catch me recurring as Jennifer on Freeform’s hour long drama Good Trouble (a spinoff of The Fosters). When I’m not teaching, singing, or acting, I’m messing up my kitchen making bath bombs with my 7 year old daughter, Lake, while our rescue dog, Starbuck, (named after Ahab’s first mate from Moby Dick) sits at our feet wondering if he can actually eat the bath bombs.

Seven mostly inexperienced singers. Two private voice lessons each. One Christmas album to record.When I was brought in ...
09/23/2026

Seven mostly inexperienced singers. Two private voice lessons each. One Christmas album to record.

When I was brought in to coach the members of OfflineTV for their holiday album, the goal wasn’t to completely retrain anyone’s voice in two lessons.

It was to figure out what would help each person right now.

What was getting in the way in this song? What adjustment could make this phrase easier? And what could I give them that they could actually use later, standing in front of a microphone without me beside them?

The project ended up being such a good reminder of something I see with singers all the time: technique isn’t about having twenty more things to think about. It’s about understanding your voice well enough that when something isn’t working, you have somewhere to go.

I wrote about the whole experience, including what happened when we got into the recording studio, some of the confidence challenges that came up, and what two voice lessons can actually accomplish.

Comment "COACHING" and I'll send you the link to the blog👇

The onset (how you begin a sound) shapes the entire emotional color of a phrase. In our last Studio Class, we broke each...
09/17/2026

The onset (how you begin a sound) shapes the entire emotional color of a phrase. In our last Studio Class, we broke each one down with real examples, then coached our members live on how to use them in their own songs.

Swipe through and listen closely to how each one feels different, even when the vowel is the same.

There's no one "right" onset. There's only the one that serves the moment.
Comment "ONSET" and we'll send you the full breakdown.

09/16/2026

He almost paid someone else to sing his songs.

Think about that for a second. Mike had music in him. Real songs, ready to be heard. And his first instinct wasn't "I need to find my voice." It was "I need someone else's."

So many singers carry that same quiet belief: that the voice they have isn't the voice they need. That confidence, range, control... those belong to other people.

Mike decided to bet on himself instead. Real training. Real work. And what he found on the other side wasn't just better technique.

It was freedom.

The freedom to stand on a stage and think about the song, not the fear.

Your voice was never something to replace. It was something to unlock. 🎤✨

Recording yourself isn’t about catching every flaw. It’s about giving yourself information you can’t fully access while ...
09/01/2026

Recording yourself isn’t about catching every flaw. It’s about giving yourself information you can’t fully access while you’re singing.

When you’re in the middle of a song, your brain is managing breath, pitch, lyrics, rhythm, coordination, emotion… you’re busy.

When you listen back, you get to be the observer instead of the performer.

That’s where you start to hear what actually changed, what’s working, and what you might want to adjust next.

And please don’t turn this into a 20-minute critique session.

Start small:
One phrase. One listen. One adjustment.

That’s it.

If you’ve been feeling stuck with your singing, comment UNSTUCK and I’ll send you my full breakdown of the three kinds of stuck singers run into — technical, practice, and mindset — and what to do about each one.

08/28/2026

I saw Tori Amos perform this week for the first time in about 24 years.

Little Earthquakes was such a huge part of my own musical fabric, so hearing her again all these years later was incredibly moving.

Her voice has changed. She has spoken openly about menopause, hormonal changes, and how those changes affected her range. And as a voice teacher, I found it fascinating to hear how the instrument has evolved.

But what stayed with me most was not the change itself. It was the adaptation.

The arrangements were beautiful. Her newer songs are written for the voice she has now. Some of the older songs have been rearranged and reimagined. And she is still completely at the center of it all.

She has a phrase I love: “Adapt or collapse.”

And she chose to adapt.

I think that’s such an important reminder for singers. Our voices change with hormones, age, health, and life. The goal isn’t always to recreate the voice we had 10 or 20 years ago.

Sometimes the work is learning the instrument we have now and continuing to make music with it.

You know that singer who makes you feel something, even on a song you've heard a hundred times before? 🎤It’s not because...
08/21/2026

You know that singer who makes you feel something, even on a song you've heard a hundred times before? 🎤

It’s not because they hit more notes. Or bigger notes. Or riff more than anyone else in the room.

It’s because of what they do with the words.

Two people can sing the exact same lyric, melody, and key... and tell two completely different stories.

The difference? Phrasing.

✨ Which word matters most
✨ Where you breathe (and why)
✨ When you hold back vs. let go
✨ The word you almost rush past, but shouldn’t

Say the lyric “I never said I wanted to leave” out loud. Then say it again, stressing a different word each time.

Notice how the meaning changes?

That’s phrasing. And it’s not some mystical gift you’re either born with or not.
It’s a skill you can practice.

I broke down 4 ways to start shaping your own phrasing, plus an exercise you can try with a song you’re working on right now.

Comment PHRASING and I’ll send you the link 👇

07/23/2026

What separates a good singer from a truly compelling one? 🎤

Often, it’s rhythm.

You may not consciously notice great rhythm, but you feel it. The singer sounds confident, relaxed, musical, and completely in the groove.

Rhythm affects:
• clean entrances
• intentional cutoffs
• whether you sound grounded or rushed
• whether syncopation feels stylish or messy
• whether you’re truly in the pocket

Save this and listen for these details the next time you practice.

Where does rhythm tend to slip for you: entrances, cutoffs, or staying in the pocket? 👇

A lot of singers think they need to pronounce every word harder in order to sound expressive.But often, that’s the very ...
06/26/2026

A lot of singers think they need to pronounce every word harder in order to sound expressive.

But often, that’s the very thing pulling the voice out of balance.

Too much consonant pressure can interrupt airflow, reshape the vowel, and make singing feel tighter and less connected.

That’s one reason exercises often feel easier than actual lyrics:
the sound keeps flowing more consistently.

This doesn’t mean diction doesn’t matter. It does.

But in singing, resonance usually has to come first.

When the voice stays connected and resonant, the emotion often comes through more naturally too.

This is a big part of the work we do inside our studio membership—helping singers bridge vocal technique into real songs and performance.

Here's a simple way to give yourself a setup so you’re not reaching for the note. Try this in your next practice session...
05/28/2026

Here's a simple way to give yourself a setup so you’re not reaching for the note.

Try this in your next practice session.

And if you want help applying this to your own songs, this is exactly the kind of work we do inside UVA: theunlimitedvoice.com/academy

Ever feel great on an exercise… and then everything changes when you add words?This is a simple way to bridge that gap s...
05/17/2026

Ever feel great on an exercise… and then everything changes when you add words?

This is a simple way to bridge that gap so your practice actually carries into your songs.

Save this and try it the next time you’re working on a tricky phrase.

And if you want help applying this to your own songs, this is exactly the kind of work we do inside The Unlimited Voice Academy.

Link in bio or visit theunlimitedvoice.com/academy

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