Chesty mixed voice? Powerful upper mixed voice? (feat. Wintertide)

Summary

In 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

• 🎤 Leo Maya is a singer and progressive rock artist who shares singing techniques on his channel.
• 🗣️ The term 'chesty mix' refers to a mixed voice that is closer to chest voice than head voice, particularly in the upper range.
• 🚫 Leo Maya believes the mindset of pursuing a chesty mix can be harmful for vocal development.
• 🔁 The natural vocal transition from chest to head voice involves starting with chesty mix, then balanced mix, and finally head mix.
• 📢 People often use 'chesty mix' to describe a desire for a beefier sound in the upper range, which can lead to straining and yelling.
• 🎶 The context of a song, including instruments and mix, can make a head voice sound like a chesty mix even if it's not.
• 👂 Leo Maya demonstrates how a head voice can sound powerful in the mix of a song, even without a chesty mix.
• 🔊 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.
• 📌 Leo emphasizes the importance of embracing the natural sound of the head voice and learning to shape it properly.
• 🔧 Techniques such as proper airflow, soft palate raising, and vowel modification can help achieve a more powerful sound without straining.
• 🚫 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

00:00

🎤 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.

05:01

🎶 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.

Keywords

💡Head Voice

Head voice refers to a type of vocal register that is used for high-pitched singing and is produced by the vibration of the vocal cords in a lighter, more resonant manner. In the video, Leo Maya discusses the misconception of achieving a 'chesty mix' by adding more chest voice to high notes, when in fact, singers should be focusing on developing their head voice to sound more powerful in the upper range.

💡Chest Voice

Chest voice is the vocal register used for lower-pitched singing, where the vocal cords vibrate with a thicker and fuller sound. The script mentions that people often confuse the term 'chesty mix' with adding more chest voice to their upper range, which is not the correct approach and can lead to straining.

💡Mixed Voice

Mixed voice is a vocal technique that blends elements of both chest and head voice, allowing for a smooth transition between the two registers. Leo explains that mixed voice is the area between chest voice and head voice, and it is not about making the upper range sound beefier, but rather about blending the two voices effectively.

💡Belt

Belt is a vocal technique used to sing with power and intensity in the upper range without strain. In the script, Leo mentions that when people think of a 'chesty mix,' they often end up yelling or belting, which can be detrimental to vocal health and is not the intended use of the term.

💡Vocal Break

A vocal break, also known as a passaggio, is the point in a singer's range where the voice naturally transitions from chest voice to head voice. Leo uses his own vocal break as an example to illustrate that the concept of a 'chesty mix' varies from person to person and is not about adding chest voice to the upper range.

💡Vocal Strain

Vocal strain occurs when a singer pushes their voice beyond its natural capabilities, often resulting in a forced or tense sound. The script warns against the harmful mindset of trying to achieve a 'chesty mix' by straining the voice, which can lead to vocal damage.

💡Vocal Register

Vocal register refers to the different ranges of the voice, including chest, head, and sometimes falsetto. The video script discusses the importance of understanding and utilizing the mixed voice register to achieve a balanced sound, rather than incorrectly pursuing a 'chesty mix' by overemphasizing chest voice.

💡Power Metal

Power metal is a subgenre of heavy metal music characterized by fast tempos, powerful vocals, and epic themes. Leo uses the song 'Winter Tide' as an example to demonstrate how a head-dominant mix can sound powerful in the context of a power metal song, even without a 'chesty mix.'

💡Vocal Mix

Vocal mix, in the context of the script, refers to the balance and blending of different vocal registers to achieve a desired sound. Leo explains that a 'chesty mix' is not about making the voice sound more chest-like in the upper range, but rather about the transition from chest voice to head voice.

💡Vocal Technique

Vocal technique encompasses the various methods and practices singers use to produce sound, including breath control, resonance, and vocal placement. The video emphasizes the importance of proper vocal techniques in achieving a balanced and powerful sound, rather than relying on misconceptions about the 'chesty mix.'

💡Vowel Modification

Vowel modification is the act of adjusting the shape of the mouth and vocal tract to change the quality of the sound produced. Leo suggests that instead of trying to add chest voice to the upper range, singers should focus on vowel modification to create a more powerful and resonant head voice.

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