Chesty mixed voice? Powerful upper mixed voice? (feat. Wintertide)
Summary
TLDRIn this informative video, singer and progressive rock artist Leo Maya discusses the concept of 'chesty mix' in singing, explaining its true meaning as a blend between chest and head voice, particularly in the upper range. He argues against the common misconception that adding chest voice to the upper range is beneficial, as it can lead to straining and yelling. Instead, he suggests focusing on proper vowel shaping, vocal tract space, and airflow to achieve a powerful and rounded head voice. Leo illustrates his points with examples from his own singing and emphasizes the importance of embracing the natural sound of the head voice in context with a band mix.
Takeaways
- đ€ Leo Maya is a singer and progressive rock artist who shares singing techniques on his channel.
- đŁïž The term 'chesty mix' refers to a mixed voice that is closer to chest voice than head voice, particularly in the upper range.
- đ« Leo Maya believes the mindset of pursuing a chesty mix can be harmful for vocal development.
- đ The natural vocal transition from chest to head voice involves starting with chesty mix, then balanced mix, and finally head mix.
- đą People often use 'chesty mix' to describe a desire for a beefier sound in the upper range, which can lead to straining and yelling.
- đ¶ The context of a song, including instruments and mix, can make a head voice sound like a chesty mix even if it's not.
- đ Leo Maya demonstrates how a head voice can sound powerful in the mix of a song, even without a chesty mix.
- đ The key to developing a fuller sound in the upper range is to focus on head voice and vowel shaping, not adding more chest voice.
- đ Leo emphasizes the importance of embracing the natural sound of the head voice and learning to shape it properly.
- đ§ Techniques such as proper airflow, soft palate raising, and vowel modification can help achieve a more powerful sound without straining.
- đ« Leo advises against the misconception of trying to bring chest voice higher, which can hinder vocal development and performance.
Q & A
What is the main topic discussed by Leo Maya in the video?
-The main topic discussed by Leo Maya in the video is the concept of 'chesty mix' in singing and why he believes the term can be misleading and harmful for singers.
What does Leo Maya believe about the term 'chesty mix'?
-Leo Maya believes that the term 'chesty mix' can be misleading as it implies adding more chest voice to the upper range, which is not what it actually means and can lead to straining the voice.
What is the definition of 'mixed voice' according to the script?
-According to the script, 'mixed voice' is the area between the head voice and chest voice where the two are blended together, typically occurring during the natural transition from chest to head voice as one ascends in pitch.
What is the typical progression of voice types when ascending in pitch?
-The typical progression of voice types when ascending in pitch starts with the chesty mix, then moves to a balanced mix, followed by a heady mix, and finally to the head voice.
Why does Leo Maya think the pursuit of a chesty mix can be counterproductive?
-Leo Maya thinks the pursuit of a chesty mix can be counterproductive because it leads singers to add more chest voice to their upper range, which can result in yelling and straining, rather than achieving a balanced and powerful sound.
What is the context Leo Maya refers to when discussing how the voice sounds in a band setting?
-The context Leo Maya refers to is the environment of a rock or metal band with guitars, bass, keyboards, and drums, which take up a lot of frequencies in the mix, leaving the mid-range to upper mid-range for the voice.
What does Leo Maya suggest singers do instead of pursuing a chesty mix?
-Instead of pursuing a chesty mix, Leo Maya suggests singers focus on shaping their vowels, vocal tract, and airflow to create a rounder, more powerful sound in their head voice and mixed voice.
What is the song 'Winter Tide' by Jeff Black that Leo Maya uses as an example?
-'Winter Tide' is a power metal song by Jeff Black that features Leo Maya's vocals, which he uses to demonstrate how his head voice and head dominant mix sound in the context of a full band mix.
How does Leo Maya describe the sound of his head voice in the song 'Winter Tide'?
-Leo Maya describes the sound of his head voice in 'Winter Tide' as not being a chesty mix but rather a head dominant mix that, when put in context with the full band mix, sounds powerful and full.
What advice does Leo Maya give regarding the development of one's singing voice?
-Leo Maya advises singers to be okay with sounding thin out of context, to embrace and learn how to shape their head voice, and to focus on proper technique rather than trying to force chest voice into their upper range.
What are some factors Leo Maya suggests singers consider to improve their head voice?
-Leo Maya suggests considering factors such as vowel shaping, vocal tract space, throat space, proper airflow, avoiding yelling, managing compression, and raising the soft palate to improve the sound of the head voice.
Outlines
đ€ Understanding the 'Chesty Mix' and Vocal Techniques
In this video script, singer and progressive rock artist Leo Maya discusses the concept of the 'chesty mix' in singing. He explains that the term refers to the vocal range between the head voice and chest voice, blending the two. Leo argues that the common pursuit of a 'chesty mix' for a beefier sound in the upper range can be counterproductive and potentially harmful to vocal health. He emphasizes that for his baritone voice type, the chesty mix is not applicable in the upper range as he naturally leans towards head voice. Leo suggests that instead of trying to add chest voice to the upper range, singers should focus on proper technique, such as vowel shaping, vocal tract space, and airflow, to achieve a powerful sound. He also highlights the importance of context in how a voice sounds, demonstrating how a head voice can sound powerful within a full band mix due to production techniques like EQ and compression.
đ¶ Embracing Head Voice and Vocal Development
Leo Maya continues his discussion on the 'chesty mix' by sharing his personal experiences and insights on vocal development. He clarifies that the term should not imply adding chest voice to the upper range but rather indicates the beginning of the mix closer to the chest voice. Leo provides examples from his own singing, such as the chorus of 'Winter Tide,' to illustrate how head voice and head dominant mix can sound powerful in context, despite not being a chesty mix. He advises singers to embrace the natural sound of their head voice, focusing on shaping it effectively rather than forcing chest voice into areas where it doesn't belong. Leo also touches on the technical aspects of singing, such as vowel modification, soft palate raising, and proper breathing, to achieve a fuller sound. He concludes by encouraging singers to be comfortable with their head voice and to learn how to shape it within the context of music production.
Mindmap
Keywords
đĄHead Voice
đĄChest Voice
đĄMixed Voice
đĄBelt
đĄVocal Break
đĄVocal Strain
đĄVocal Register
đĄPower Metal
đĄVocal Mix
đĄVocal Technique
đĄVowel Modification
Highlights
Leo Maya, a singer and progressive rock artist, shares his knowledge on singing techniques, especially for baritone voices.
The term 'chesty mix' is often misunderstood and can be harmful to vocal development.
A 'mixed voice' is the blend between head voice and chest voice, typically used when ascending in pitch.
The desire for a 'chesty mix' often refers to wanting a beefier sound in the upper range.
The speaker's voice type, baritone, reaches head voice at A4, indicating no chesty mix in that range.
Pursuing a chesty mix in the upper range can lead to yelling and straining, which is counterproductive.
The context of a rock or metal band affects how the voice is perceived in the mix.
A head dominant mix can sound huge in context but thin when singing alone.
Leo demonstrates the difference between head voice and chesty mix in the song 'Winter Tide'.
The full mix of 'Winter Tide' shows how head voice can sound powerful in context.
The speaker emphasizes the importance of vowel shaping and vocal tract space for a powerful sound.
Straining to add chest voice to the upper range can hinder vocal development.
Leo advises embracing the natural sound of the head voice and learning to shape it.
The key takeaway is that 'chesty mix' does not mean a beefier upper range but the start of the mix closer to the chest voice.
Leo shares his personal experience with the term 'chesty mix' and its impact on his vocal development.
The speaker suggests focusing on vocal techniques rather than trying to force chest voice into the upper range.
Leo encourages singers to be okay with sounding thin out of context and to embrace their natural head voice.
Transcripts
are you trying to find your chesty mix
maybe you found your head voice in this
video I'm going to share everything that
I know about it and why I don't like the
term my name is Leo Maya I'm a singer
and a progressive rock artist I compose
and I sing in this channel I share
everything that I learned on how to sing
hi especially if you have a voice type
like mine which is a baritone which is a
little lower for the style and it's all
about techniques so let's get started
the number one question that I get is
how do I make my head voice sound
beefier how do I get to the chesting mix
and I think this mindset is actually
very harmful I'm going to tell you why
but let's first Define what chassis mix
mean and what it does not mean mixed
voice is the area between your head
voice and your chest voice where you
kind of blend the two this is a very
oversimplification of the topic but is
enough to Define Jessie mix from that
perspective chesty mix is a mixed voice
which is closer to your chest voice than
your head voice and by closer I mean
when you're ascending in pitch and start
to mix you start with the chesty mix
then you go into a balanced mix then you
go into a heading mix and then you're
going to head
just a natural transition from chest to
head mixing them both and gradually
changing registers
but usually when people say I want to
have a chassis mix they're talking about
a very upper range like A4 B4 C5 and
they just want that to sound beefier
and it really depends from person to
person where your brakes are but on my
case for example at A4 I'm already
almost all on head voice so there is no
chesty mix on that range for someone
with my voice type in the end people
just want to sound more aggressive more
powerful
so it's very counter-intuitive to pursue
a chesty mix because when you want to
sing on that range you need more head
voice
if you're thinking Chastity mix if
you're thinking about adding more chest
but you are on that range you end up
yelling you end up straining you end up
stuck in a belt where you cannot really
reach the notes unless you really strain
all your neck muscles and you cannot
sing E's and oohs
and if you've ever experienced what I
just described let me know in the
comments below I think a lot of this has
to do with context
you see in a rock or metal band there's
guitars there's bass there's keyboards
drums and they take a lot of frequencies
on the mix what's left for the voice
really is the mid-range to Upper mid
range so the lower undertones of your
chest voice they can't really be heard
on a dance mix
if you record a head dominant mix
with doublers compression EQ vocal
harmonies you end up sounding huge in
context although you might sound thin
when you're singing by yourself in a
room with no instruments I'm going to
demonstrate this with winter tide which
is a power metal song by Jeff black that
has my vocals on it I know exactly how I
recorded it I'm going to demonstrate
here how it sounds like and then we're
going to here
in the mix and hopefully you will
understand what I'm talking about
before I do that if you're liking this
type of content please subscribe to the
channel leave a comment a like anything
helps
and if you like this song check out
wintertime in its entirety I'll leave
the link in the description you will
also find in the description links to
all my music and Jeff's music the chorus
of the song goes like this
please again way break through this
winter time this is heading mix and head
voice there's no chesting mix here at
the end of this phrase you can hear how
I go completely into head voice to sing
the ooh from through this winter tide I
can't belt that so I just go into head
voice
the little belt at the end of this
phrase with the head dominant mix makes
it sound more powerful so you don't even
notice the U in context with the mix now
I'm going to play you the same phrase
but now with the full context of the mix
which Jeff black did a great job mixing
this by the way
[Music]
so
it's always
can you hear how that sound huge
can you hear how that sounds like a
chesty mix but in the end I'm just using
head voice and head dominant mix the
second part of the chorus it's very
similar but there's one little
difference there's a stab at a C5 at the
One Touch part of it which is once again
head voice
but it sounds big in the mix and
everything around it sounds chasty
although it's not
fun
[Music]
and same thing for the little ending
there melt this winter tight it's a lot
of head voice and finishes with a nice
little heading mix belt I can sing it
very Softly on full falsetto
just went that died
and you can see how closer that is to
the actual song
than it is to my chest voice which is
what I'm speaking to you right now I
could actually do half the phrase in
falsetto and then a little end with a
belt and in context it might sound like
everything is chassis mix
[Music]
nine so once again let's hear through it
in context with the mix
space
so what is the key takeaway that helped
me sing the song and other songs in
relation to chesting mix in the end
Chastity mix doesn't mean a beefier
upper range it means the part of your
range where you start your mix closer to
your chest for me it's a little lower
than that it's let's say the beginning
of the chorus from like a stone Chris
Cornell and it's more like
and young house I longed to be
this is already above my first break so
it's mixed voice but it's very close to
my chest so there's more chest than head
voice that's what testing makes mean
it's not about going up there and
singing beefier and the main problem
that really hurt me in my vocal
development with the term chesty mix and
why I don't like to use it but you guys
really seem to like it I see all over
YouTube
is because it implies adding more chest
voice when it's not what it is in the
end once you find your head voice in
full voice in your mixed voice and it's
sounding thin
and you want it to sound bigger what you
need to do is not to bring more chests
up instead look at your vowels how are
you shaping your vocal tract
how how is your space in the back of
your throat are you using a vowel that's
too wide are you using the wrong vowel
do you have the proper airflow maybe
you're squeezing a lot because you're
yelling you're trying to compress too
much are you raising your soft palate
and getting a nice round shape to your
vowels
all of those things are gonna make your
screechy thin
newly acquired head voice into a rounder
more powerful sounding but still thin
and still narrow heading mix and then
once you put it in the context of a
dense band
a mix and once you put doublers and eqs
and compressors and harmonies
that is going to sound how you'd like
just be okay with sounding Finn out of
context and most importantly
you start Finn
and you embrace it
and you learn how to shape it rather
than trying to think you can get your
chest up there because that's the worst
thing that happened to me I heard my
voice I was stuck and I couldn't really
develop my voice I couldn't really sing
the songs that I wanted to sing and I
was just training stop thinking chest
think head voice and let me know if that
helped you
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