Keyboard Lessons Vijay

Ep 33 How to Sing Mix Part 1

How to sing mix, or how to sing with a mixis a very common question. Inside this tutorial, I'll define and demonstrate mix. Warning:normally I try to avoid this, but in this tutorial I get a little 'geeky' about singing.(Vocal geek) Hi, I'm Chuck Gilmore with Power To Sing. How to sing in a mix. Well, whatis a mixé A mix is a mixture or blend of at least two things. When singing, you're ina mix if you have a mixture of chest voice and head voice. Ahahah. If you sing onlywith chest voice, you have no mix. Ahhhh. If you start in chest and sing higher andbreak or flip into falsetto, you have no mix. Ahahah.because you've lost the connectionto your chest voice. If, when singing, you

bring falsetto down into the area of the chestvoice that is supposed to be chest, there is no mix. It's only falsetto. Ahahah. Amix can only exist if the vocal cords remain connected. If your vocal cords break intofalsetto and you do not reconnect, you have no mix. It's only falsetto. Ahahah. Mixis made with connected vocal cords and a blend of chest resonance and head resonance. Now,where is mix in the voiceé There are several schools of thought about when and where you'rein mix. Some define mix as only occurring in the vocal bridges, passaggi. When singingin chest voice, as you sing higher, and while keeping the vocal cords together, the resonancebegins to move higher from your chest into

your head cavities. The resonance splits sothere's a mixture, or a mix of both chest and head resonance. This split occurs in thebridge or passaggi. After getting through the first bridge the singer encounters a secondbridge and then a third bridge. For women, there are even more bridges. With each bridge,there is a blend of overtones from the register below and the register above. Lower overtonesdamping, or dropping out and higher overtones coming in. As a result of this process, manybelieve that mix is only occurring in the actual bridges. Some believe if the vocalcords remain connected while the resonance has split into both chest and head cavitiesthat mix is always present, both in and in

between the bridges. In other words, everythingis mix. At this point in my singing and teaching, I think it's a combination of these two. Pavarottiis reported to have said that singing was like a repeating figure 8. Seth Riggs concluded,and I believe like Seth, that Pavarotti was describing the repeated narrowing into thebridge and the opening into the new register and so on upward. In my opinion, if the vocalcords remain connected, there's always some chest residue, even if it's very slight. Soeven in the highest head voice, if the cords have remained connected, that seems like mixto me, even if it's 100 to 1, it's still a mix. At a certain point, if the cords remainconnected, does it really matter if we say

it's mix or connected super head voiceé Theproblem is, what happens to mix when you sing down below the first bridge into chesté Well,you could definitely bring mix down into the chest register. So, I understand how thatcan be mix, but in most voices, you can only do that so long before the chest voice takesover. How, then, can that be a mixé A third concept that has helpful for me, is 'maintainingthe verticalquot;.(Vocal Geek) This is mentioned in the book, quot;The Voice of the Mind', by E.HerbertCaesari. Imagine a vertical sound beam started by the vocal cords and shootingupward into the mouth. In head voice, this resonating sound beam, if it maintains thevertical direction, will angle slightly backward

and penetrate into the head cavities abovethe mouth. Ahhh. Ahahah. In chest, there is still a vertical sound beam, but it beginsto angle slightly forward and engage the hard palette. In my opinion, to lose the verticalwhile in chest voice, is to grab the vocal cord, squeeze and close the throat and jamthe sound beam down into the throat. Ahahah.Ahhh. The tone can barely escape and has no roundness,no fullness and no appeal. To me, this is not mix. Maintaining the vertical, even ifcompletely in the lower chest voice, creates an upward lift in the tone. The sound beamresonates on the hard palette appropriately. This seems to recruit more than just chestvoice by adding a rounder, fuller tone, as

Analog Synth Demonstration Keyboard Tutorial

Welcome to Metalworks Institute Keyboard Tips.My name is Peter Kadar and today, we're going to talk about analog synthesizers. First ofall, when it comes to playing live, I have to make sure I've got my bases covered. Mymain keyboard is always going to be some kind of a workstation keyboard that's got greatall around sounds, that allows me to do lots of splits and layers and lets me do thingsas complicated as whatever songs I'm trying to play. Sequences, triggering samples, maybestreaming some audio. The next most important thing that I'm going to need is a really goodHammond organ emulation. So that's something that's going to allow me to have the individualcontrol over the draw bars, and something

that's going to have a really good feeling,Hammond style action. The third thing that I would want to have on a gig would be a reallygood analog synth. And there's two reasons for this. Number one, the sound, and numbertwo, the interface, and the ability to interact with the sound. So I'm going to talk aboutboth of those things right now. Here's the sound of an analog synth. Okay. Here's anotherexample. Here's a nice lead sound. Alrighté Here's another sound. This is using somethingcalled oscillator sync. Really hard to do this with samples. Okay. And finally one ofthose really classic polysynth patches from back in the day. So analog synthesizers definitelyhave a unique sound to them that to me, stands

out from everything that's digital. The otherthing that I think is really great about analog synthesizers are the interfaces. And whatwe see here is we have a whole bunch of knobs, and whenever you're shopping for a keyboard,if you see a keyboard with a whole bunch of controls on it, don't be intimidated. It'sactually a good thing because you want to be able to connect directly with the soundas much as possible. What would freak me out is if I went and saw a keyboard that had alittle tiny display and a little dial and maybe some cursor buttons. That's not goingto let you get into the engine. So this is perfect. This is great. So we've got all kindsof different sections. If I need to open or

close a filter, or make any other changesto the sound. If I want to speed up the attack, or maybe draw it out a bit, or draw out therelease a little bit. Turn up the resonance. Or anything else, or assign controllers. Ican do it easily, and get to pretty much everything I'd ever need right from the front panel.I think this is really important to discuss because as synthesizers get more and morelocked into computers we tend to lose the connection to instruments. And these are thekind of things that you hear guitar players talk about when they talk about the way thata really special guitar feels, or a saxophone player gets a really nice vintage horn andit just feels a certain way and they connect

to it in a certain way. As keyboard playersI think it's really important for us to find instruments that are going to inspire us inthat way. It's going to make us feel like we're actually playing an instrument ratherthan just triggering something one a computer. So the other thing that's really, really greatabout analog synthesizers is because you've got all these knobs in front of you, is thatit's going to help you become a better sound designer. And you're going to learn more aboutsynthesis that way. If you have to go through and dig through menus and look at this andlook at that. It's just not going to have the same you're not going to get as goodat replicating sounds off records if you're

used to understanding what all the differentsections of a synthesizer do. So, I highly recommend getting a really good analog synthinto your life. It's going to make a huge difference in your sound. Every time I playsomething like this live, it just makes people smile. They don't know why they're smiling,but they just react to the sound in a very positive way that they don't react to withdigital. And whatever we can do as keyboard players to give ourselves a unique voice,artistically, I think is really important. And it's a lot of fun. I'm Peter Kadar fromMetalworks Institute Keyboard Tips. We'll see you next time.

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