Singer Iron On Patches Instructions

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

How To Apply Iron On Patches

Coming up we will show you how to apply your iron on patch the easy way. Let's get started. We will be using this garment,which is a cotton polyester blend. Lay your garment out smooth on a flat surface such as an iron board. If you are using a table instead, put padding such as a towel between the garment and the surface in order to have a more heat transferable buffer. Make sure to lay your garment smooth taking away any wrinkles between the fabric especially where the patch is going to be placed.

If your garment is button down or zipper such as this polo shirt. You can use this part of your garment as a guide for aligning your patch. Next you will align the patch onto the garment. You should find the center of the patch to help make sure it will be attached correctly to the garment. On this patch, the center is between the R and A on the bottom. and between the O and R on the top. Alignment can be very simple. You can use the button down hem of the shirt,

and the bottom of the hem to the seam under thebottom of the sleeve, can be a guide as well. The bottom line can be used for height adjustment. You can use the sheet of paper, set at the two points, as a reference. Adjust the angle of the patch as well as the height. Use the center line of the patch, and the button hem of the shirt as guides for parallel alignment. Once you have it set, double check the placement. Is it straight, is it at the right heighté And importantly, is it in the center betweenthe button hem and the sleeve hemé

Once you are good with placement, Next you will use the plain sheet of paper as a barrier between your iron and the patch. This is what will help protect the patch from scorching while applying heat. Gently lay the paper on top, and prepare your iron. With our garment we pre heated to the cotton setting on the Iron. You will not need steam, or water, so make sure this is turned off.

Before ironing, make one last check that your patch has not moved and that you are satisfied with where it will be placed. Apply heat by firmly pressing the iron onthe paper over the patch. Keep the iron slowly moving across the paper where the patch is underneath in order to distribute the heat evenly. You want to do this for approximately Forty Five seconds to One Minute. After your time is up, you simply remove the heat. You will probably notice an imprint on the paper of the patch. this is normal and is also one of the reasons why we use

the paper as a barrier, so the patch material does not scorch from the heat. Remove the paper, and your patch should now be in place. Before checking it, let it cool for a few seconds so that it will not be hot to the touch. After slight cooling, you can check the edgesof the patch simply by raising the garment and making sure the patch and the material have been bound by the adhesive of the patch. This patch looks very good. all the edgesseem to be secured. So I will once again, lay out my shirt andlet it cool down completely.

How to Iron On Patches Ironing On a Patch

Hi, I'm Marti and on behalf of expertvillage I'm here today to show you how to use an iron patch. Keep the iron moving. At this pointyou do not want to burn your fabric by leaving it in one spot for too long. Now that my fabricis warm to touch, I'm going to place my pattern on and put my iron on my patch. As you ironyour patch, make sure to put the point of your iron on the edges. You want to make sureyou get a really good seal. You want to iron the patch for about 30 seconds or accordingto manufacture directions, that one is already stuck. Once you are done, you can have men'sjacket or pair of jeans perhaps a decorative element.

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