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
Ken Tamplin Vocal Academy Masters Class Training Program Hawaii
Hey guys! Welcome to the Ken Tamplin VocalAcademy â€œMasters Singing Programâ€�. What is the Masters Singing Programé Well, it'sa program that I designed specifically for professional, semi professional, and aspiringprofessional vocalists. I curtail and design a program specifically to meet your own uniquevoice, and do a total breakdown of every aspect of your voice to take your greatest weaknessesand help you turn those into your greatest strengths. It's a 50 hour program that canbe divided up in many different ways. The longest way could be two hours a week up tosix months. Or it could be brought all the way to two hours a day five days a week, upto five weeks. Now, it can be done on Skype,
or in studio, at my Studios here in Hawaiior in Los Angeles, and it's by application only. So, if you're man enough or womanenough to want to take your voice that seriously, I look forward to seeing you in the program. I will help you take your greatest weaknessesand turn those into your greatest strengths.
THE TRUTH ABOUT VOCAL TRAINING by Ken Tamplin Vocal Academy
Hi. My name is Ken Tamplin, and welcome to Ken Tamplin Vocal Academy. My slogan is, â€œIf you like the way I sing, I'll show you how I do it.â€� The PROOF is in the Singing.Why do I say thaté I say that to say this: I started out as a singer, just like you. I didn't start out to learn how to teach the voice to a bunch of people and tell other people how to sing. I started out because I wanted to be, maybe the greatest Rock Singer in the world, or at least the greatest singer that I COULD be.
So I began studying the voice diligently around the age of nineteen. I studied it for well over twenty years, and have had the opportunity to study under some of the greatest vocal teachers this world has to offer. Folks like Ron Anderson, who you might know as the premier vocal coach for American Idol, and the TV show â€œRock Starâ€�. He also has worked with Chris Cornell, Kelly Clarkston, Adam Lambert, Jennifer Hudson, he goes on tour with Alicia Keys, the Chili Peppers, Josh Stone, and so forthâ€¦
I also studied under David Kyle, or the late quot;Maestro Kylequot;, and I went to Rome for a few years to study there, as well. So, with that said, I want to talk to you a little bit about the voice, and what I feel KTVA represents, as opposed to what I feel there's a lot of other methods out there that misrepresent the truth about singing. And I just have to say it for what it is. In fact there's some courses out there that will even tell you they'll put an octave on your voice in just a few weeks, and they'll even â€œguaranteeâ€� it.
Folksâ€¦ I've just got to tell you. That's just not the truth. They're just looking for your money. They're looking to line their pockets with your hardearned dollars. I know, because many years back there were a lot of coaches out there that would â€œmeteroutâ€� information very slowly. In fact, most coaches do that, because they want to get you to keep coming back over and over again and they just want to fill their bank account with your hardearned cash. I designed KTVA to streamline
all of my life's experiences, not just learning how to sing in some climatecontrolled vocal booth room, but the years of live stage experience, different types of singing environments, competitions, recording, You know, and, and, andâ€¦ And I've streamlined that into the components, the hard core components of what it takes to become an excellent singer. Now you could stay in the beginners, or starters, or intermediate courses and enjoy that, and maybe you're a karaoke guy and you just want a weekend kind of thing,
or you can take it all the way to the Masters Class, which is Stage Three, which will give you the tools beabsolute monster singer. Now I want to talk to you about this quot;timeframequot; within which this happens. And here I've just slammed all these people. On my website I'm not posting a zillion famous people that I've taught. You know, my cousin is Sammy Hagar. I've worked with some of the biggest Rock Bands in the world. I've worked with some of the biggest music producers in all of Rock and Roll History. I have thirty albums out. I've got three Dove Awards, which are like Gospel Grammysâ€¦ Fourteen