93 to All!
"Do you (or anyone reading this) have the link where you explain the vibration drills?"
I think that's what Mr. Eshelman meant by "vibration drills":
"I don't think your technique (as I understand from your description) is particularly good. This doesn't (for example) sound like Gregorian chant (though that would be cool in its own right). I don't have anything I've written on the subject (it always makes most sense to me to teach this in person, one-on-one), but let's try something simple.
The idea is to get the deepest, most resonate utterance possible, with each syllable having its own weight. If I were to exaggerate hugely (hugely!), you want to turn into a cathedral style pipe organ, the kind of instrument that is physically felt and, more importantly, is emotionally felt for its resonance and depth.
Why do this? I suspect it is mostly psychological, and secondarily does set up a resonance in the physical body that has various advantageous effects.
To practice, stand upright and do a little shaking loose the physical stress and tension, and a little light rhythmic breathing. Then take a deep breath, and aim your voice substantially lower than you think makes any sense - as low as you can go (we're looking for a "floor" that is below what you eventually will use) - and slowly let out the most resonant "Ahhhhh" on a single note that you can. (You can use other syllables, but this is a good one for mouth shape and sound.)
Concentrate primarily on your physical body sensations. Watch the breath, how it moves out, how everything feels in your body. (At this point, it probably will feel all wrong.)
Take another deep breath and, this time, start at the same place and then, every few seconds, raise the tone a note or two. Pause at each place to witness how your physical body feels. At some point - still down in the deep registers - something will happen that is quite different, that resembles a tuning fork suddenly having the right note sounded near it. Your body will take on a new "buzz," will enter into the vibration more. If you move up, past it, this effect will stop. After you've found it once, you can move up and down past it, and find that when you are exactly on that spot, you will have this additional, distinctive "buzz" in your body, but you won't have it above or below that.
This is the note you should use.
Except, it will change. It will change (just a little) more or less every time you work. It varies with you, the room, the temperature, your physical and psychological condition, etc. So you need to practice finding it, after which it will be pretty automatic to go to (or near) the right spot every time (and easy to tweak it, with the highly recognizable feel, if you don't hit it outright).
Unless you are using specialty techniques that assign distinctive notes to each Hebrew letter, you should keep your tone steady throughout an entire vibration. Make every syllable of even length and weight with the others. YOD HEH VAV HEH is four even syllables of equal weight, but so is AH DO NA EE, etc."
hope, it will be as useful for you as for me)
