Varieties of tone of voice

Glow

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Just wanted to share what im working on in relation to verbal impact and vibe. This is not for beginners as you want a certain ability to drive convos with women to utilise this more. its about delivery.

Voice as subconscious impact
in short, theres been loads of talk about voice in here. its on of the keys of fundamentals and especially tone of voice a key to understand for any seducer. How you say things significantly provides pre-response to whether or not what you say will be accepted.

The main insight is to understand that voices precedes what you say by hitting mirror neurons in the brain of the women and fills much more on the receiving side as outlined by many studies and experts.

so the point is - use your voice as a subconscious way to impact people, women especially.

A wider perspective on seductive voices
i divide seductive voices into several subcategories:
  • Voice1 - the firm, decisive voice - when you state something thats undeniable and wanna cement it with clear weight
  • Voice2 - the seductive, voice, sensual undertones, eg supported by purrs due to the down ward layering of the voice - which is more soothing and caressing, calming and warmly relating to the other
  • voice3 - just calming, warm but no sexual undertones - great to relax people and remove anxiety, resistance
  • Voice4 - the more energetic uplifting voice - energy creation to rise the energy of the listener, seeking connection and being connectively vulnerable and light
  • voice5 - the warm friendly voice, how a good buddy would encourage you while still being fun and friendly warm.
These are my current repertoire in my mind atm. ill see if i can find examples but it might be something you wanna do for your self while exploring the nuances so that you sense them and work it out yourself. Its not important to use mine. more important it is to get a starting point and starting your own exploration of what im talking about.

you wanna train these as your voice will often be in one direction the majority of the time you speak. we need the ability to riff freely in between several. Key is to understand there are more, understand their subconscious impact and to enable a variety. mine are just examples.

Examples of how unrefined thinking will limit us
- Too soothing a sensual a voice for a more anxious girl is weak for example as she will feel inferior and itll make her go the wrong way statewise.
- if youre always uplifting youll never introduce the calm effect where she chills down and feels your soothing presence in a sensual way
- if youre never uplifting you might loose girls initially or when something more glittery walks by if shes carefree

This is a field driven in the midst of training it post. So it is partly unsharp atm. just have that in mind. The impact is very clear though if you start using it and observing how people respond. So its field speculative at the moment for me and not field tested for success. But those who know verbal game will recognise the weight in it.

Emphasis of parts through TOV changes, pauses and pace
A simple way to do this is to do this with certain parts of a point you're making, where you choose a certain segment to be delivered with a shift in your TOV, and eg a slow down of pace. Maybe a pause. To emphasize certain lines and adding a feel to them. Nothing new here. just to point towards a TOV change to emphasise certain parts and really give them a specific feel that stands out in the rest of your flow. Other techs repeating something very slowly, sensually can support this. Nothing new here, just wanted to bring it along.

How to
This needs training. You need to train yourself to shift fluidly between TOVs at home.

Then you need to start to apply it in field and note peoples responses. observe. change it. retry. observe. continued iterative learning loops.

As you start getting it in you can start applying it in flow but its not just something you can one trick and use. You need continued focus and effort to develop verbal fundamentals to do this. Once you do though- its a mastery level thing in influence management.

some people like to use it tactically, im more aliveness oriented but thats a whole other discussion. i would advice to not be too tactical about it while learning. Aka really feel how each voice is to use. Embody it.
 
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Bacchus

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Well damn it @Glow.

You keep making these brilliant posts about aspects of seduction, that I've mostly delegated to the unconscious side. . . of this biological computer and space-time event. . . that I like to call myself. So anything useful I can add to these threads, must be prefaced by a process of careful excavation.

Let me start by mentioning 2 more tonality variations, I was able to unearth that I use frequently enough.
  • Voice 6 - The primal voice of immediate urging. This is a voice with a noticeable roughness. . . as well as a slight hint of a growl.
  • Voice 7 - The amused voice of regal benevolence. This voice is kind. . . but almost condescending. Ironic without a trace of contempt.
Now I only make use of these in very short bursts. Because prolonging them is a risky decision which can increase. . . the probability of unfavorable or dangerous consequences during a seduction. So I shift towards one briefly to underline a word, or phrase before moving away. Towards one of the other subcategories you listed. Another aspect of this subliminal process worth mentioning here is. . . some tones make for smoother transitions than others.

I can recall seductions where I shifted to primal, from the seductive. . . or the firm voice. On the other hand, a friendly or calming voice, has often introduced the amused tonality. Then after dramatizing the intended word, phrase or part of sentence. . . I typically return to the previous tone.

Not always though, sometimes I shift towards a totally different tonality, which also happens to form a natural transition.

This type of mesmerizing fractionation may bring on impassioned developments. Other times the responses in your listeners. . . are more subtle. But every now and then, when used in just the right ways. . . you integrate subtlety and intensity. . . with the dexterity of an orchestra composer. All that said, its cruical to remember that your voice is a living instrument. So this sort of play eventually creates a feedback loop. . . between the listener's state and yours.
 
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Glow

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Well damn it @Glow.

You keep making these brilliant posts about aspects of seduction, that I've mostly delegated to the unconscious side. . . of this biological computer and space-time event. . . that I like to call myself. So anything useful I can add to these threads, must be prefaced by a process of careful excavation.
Lol. And thanks. Takes brilliance to see it :p

Let me start by mentioning 2 more tonality variations, I was able to unearth that I use frequently enough.
  • Voice 6 - The primal voice of immediate urging. This is a voice with a noticeable roughness. . . as well as a slight hint of a growl.
  • Voice 7 - The amused voice of regal benevolence. This voice is kind. . . but almost condescending. Ironic without a trace of contempt.
Now I only make use of these in very short bursts. Because prolonging them is a risky decision which can increase. . . the probability of unfavorable or dangerous consequences during a seduction. So I shift towards one briefly to underline a word, or phrase before moving away. Towards one of the other subcategories you listed. Another aspect of this subliminal process worth mentioning here is. . . some tones make for smoother transitions than others.

I can recall seductions where I shifted to primal, from the seductive. . . or the firm voice. On the other hand, a friendly or calming voice, has often introduced the amused tonality. Then after dramatizing the intended word, phrase or part of sentence. . . I typically return to the previous tone.

Not always though, sometimes I shift towards a totally different tonality, which also happens to form a natural transition.
hm interesting. i like the burst notion of things. Ill try to feel it out myself. I like the idea of raw bursts of vocal expression... interesting. Sounds like theyre full of raw emotion and very in the moment. I wanna look more into connecting feel with voices so very inspiring. The two extra voices are cool - the sevent especially allures me - The amused voice of regal benevolence :D

This type of mesmerizing fractionation may bring on impassioned developments. Other times the responses in your listeners. . . are more subtle. But every now and then, when used in just the right ways. . . you integrate subtlety and intensity. . . with the dexterity of an orchestra composer. All that said, its cruical to remember that your voice is a living instrument. So this sort of play eventually creates a feedback loop. . . between the listener's state and yours.
Never thought of it as fractionation but ofcourse its part of the stream of escalatory or emotionally stimulating dos we do. Prob. cause i saw voice before primarily as escalatory where its a default MASF style to see escalation as an immersive momentum. Alongside other things is exactly how thes subconscious parts work even better, subtle slided in. But this is even more interesting a perspective for me as we can now look at vocal impact as play ins to fractionation. much like hints can induce things in her imagination better than full verbals at some times. bursts pulling her back into a certain state. Hm...

good point with the mix of how it lands and various responses. Nor to over conclude on them.

Good stuff B as always..
 
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Skills

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Glow I use all of the voices a lot when selling, even with a heavy accent and when talking to women on the phone. I even teach women when they get loud and dramatic to imitate my voice and I get really low and soft it sometimes makes to throw them out in arguments. Another voice you left out is the let's call it imitation of narration voice when you are telling stories talking like someone else. Many guys are boring cause they stay in only one voice when talking, doing biz etc. Should be mandatory to use minimum at least 3 or more voices that change alone will make your conversation s more interesting and charismatic.
 

Glow

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Nov 11, 2019
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Glow I use all of the voices a lot when selling, even with a heavy accent and when talking to women on the phone. I even teach women when they get loud and dramatic to imitate my voice and I get really low and soft it sometimes makes to throw them out in arguments. Another voice you left out is the let's call it imitation of narration voice when you are telling stories talking like someone else. Many guys are boring cause they stay in only one voice when talking, doing biz etc. Should be mandatory to use minimum at least 3 or more voices that change alone will make your conversation s more interesting and charismatic.
Great skills, nice to hear your more all round usage of it.
 
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