Singing Teacher Luton

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

Creating a Ghostly Vocal Reverb Transition Effect

Hey guys, Matthew Weiss here, weisssound ,theproaudiofiles . I am still in the dark because I still have not changed thislight bulb. I swear to god it's not because I'm lazy, it's because I have very tallceilings — which are great for acoustics and terrible for changing light bulbs. Anyway, not important because the focus ison the sound, not on the visual effects. That's my excuse. Anyway, I'm gonna play you a little bitof a record here.

So I've played the record right at the startof a section change and what I'm gonna show you how — what I did — was how I createda transition effect that wasn't there. So I grabbed this sound effect right here. vocal effect I don't even know where I go that in thesong. There's like some pitched vocals and I grabbed a pitched vocal and I put some effectson it. The first one is called MondoMod. MondoMod is sort of a crazy little effect where youcan kind of change the amplitude and frequency through modulation and it sounds like this.

vocal effect + MondoMod modulation So it gives it that warbily weird character.Ok, but we don't stop there. Then I'm throwing on this DVerb plugin and we getthis. vocal effect + MondoMod modulation and reverb Ok, getting weirder. Now, I'm gonna tryand bring out the tail of the DVerb using a compressor. vocal effect + MondoMod modulation + reverb+ compression Notice how you hear the trail of the “ooooh�a little bit more. Now we're throwing on

some EQ just rolling off that low end. vocal effect + MondoMod modulation + reverb+ compression + EQ And lastly throwing on an imaging plugin tomake it really wide. vocal effect + MondoMod modulation + reverb+ compressor + EQ + S1 Stereo Imager So it covers the whole space. Now is thatthe end of ité Nope. I'm doing one last thing. Let me turn off this little trim thingand turn on our volume automation. And I'm automating the volume to come way up rightbefore the transition point and then drawing it down so that it fades out. And it soundslike this.

vocal + MondoMod modulation + reverb + compressor+ EQ + S1 Stereo Imager + volume automation So it's kind of this ghostly rise and fall.One more time vocals + MondoMod modulation + reverb + compressor+ EQ + S1 Stereo Imager + volume automation So it kind of works like a riser in a waybut it's a little more ghostly and ethereal. Alright, hope you guys learned something,I sure did. Anyway, 'til next time.

Charles Simpson Ministries Celebrates 60 Years of Christian Ministry

Welcome to Charles Simpson Ministries and CSMpublishing my name is Stephen Simpson. I'm thepresident of CSM I'm also the editor OnetoOne magazine. Today we're privileged to have the opportunity to talk with our founder Charles Simpson, who is this year celebrating 60 years of ministry and I want to take this occasion just ask him a few brief questions about his heart, about his vision, and what he hears God saying for us now

in this very significant season. So DadI'd like to just start with this question: you went intoministry at age 18 young man trying to hear God, trying to see His purpose for your life. How has your vision change over the past sixty years and what have you seené well that's a very difficult question in the sense that we could take a long time that we don't have, but I had to decide first of all that it really was God's will to be a minister. My father was a minister

I grew up in church and I had a lot of reservations but when I committed my life to it after atwo year struggle my my first vision I suppose was to be faithful to the gospel and thento build a church that would be successful in terms of affecting the community and God helped us to do that. In '64 I became acutely aware that that it wasn'tjust about our efforts and programs that we needed the Holy Spirit

and at that time I was baptized in theHoly Spirit after preaching through Acts. And then I became immediately interested in covenant Genesis 15 stood out to me God's a covenant God and He made a covenant with Abraham and discipling, about it being rather than just building a church,building people and people who reproduced others.

And in the seventies I got moreexplicitly involved in discipling and in building a network of leaders who in turn would mentor others and God helped us to do that. Today wehave leaders around the world that are serving the Lord. As a look ahead it's a challenge because I feel like God's birthing something, but it has to do with personal relationships. For many years it's been about individuals but now I think it's about

individuals building bondingrelationships outside of the church. Be in church, but it's our fellowship in the world with other Christians and with nonChristians that's gonna make a difference becausewe live in a time when people have to see and not just hear. You've said that our mission now with CSM and your personal mission is embracing truth with their lives. Right. What is the truthé

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