Julia Radosz

My love of vocal technique began almost as early as I began singing. By age 15, I had read Richard Miller, Seth Riggs, Sataloff, and McKinney—devouring everything I could find on vocal science and pedagogy. I was fascinated by how the voice worked and determined to figure mine out.

My voice was never “easy.” From age 16, it showed natural weight and density—qualities often mistaken for tension or push. I was misdiagnosed, misclassified, and mis-trained for years. Even earlier, at age 11, I had worn a Herbst appliance to address jaw issues—an intervention that unknowingly altered my craniofacial structure and laid the groundwork for compensatory patterns I wouldn’t fully understand until much later.

In my late 20s, as my voice grew and matured, I began to experience real balance issues—tightness, instability, and loss of access to parts of my range. Despite my training, no one could offer solutions. That’s when I began dismantling everything I thought I knew. Through obsessive experimentation and years of muscular retraining, I discovered that my tongue was over-engaged in phonation, interfering with true function. I spent six months unlearning what I had believed was “natural” singing.

Then came the discovery of a posterior tongue tie. The functional frenectomy I underwent was a turning point—eliminating years of neck pain and unlocking a new level of freedom and fullness in my voice.