Isometric concept is a pillar of voice production, how to obtain and why we find a precise isometric is less studied. In a contemporary view of kinesiology we can see that the hold – typical and characterising isometric- is provided by the muscles of the joint involved, its tendons, its ligaments, the fascial layers of the muscles, plus the contributions of forces from previously activated muscles fibres -according to a threshold of time and effort of the previous- and the others joint eventual forces, as I presented in last September PEVoC15. According to the state/characteristics of all those contributors the same position isometric will differ even in a relevant way in different subjects. Some traditional high level practices, functional training practices and tissues adaptation practices – as Craig Liebenson, Charlie Weingroff, Matt McInness Watson- and the specifies of reversed movement strategies plus the studies on the effects of eccentric contractions show how it is possible to change and in relevant ratio determine adaptations/contributions on all the components of the hold. In my specific practice the physiologic results are the voice side of the precedent logics. In here I would like to open the discussion on how the training and functional logics can provide a better or more desired isometric and what are the typical biomechanical logics/ transition phases of this work. Nuancing isometric concept is important and relevant for the consequences at a therapeutic or artistic interventions/practices.