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    • I love me a good full cover of Iron Maiden!! I was completely reminded of Grendel the figure of a sympathizable but monster all the same.
    • Hi Studiousstudent, I replied to a similar post on this subject. thought you might want to check it out. good luck!    
    • Vatnsturn, I'm surprised more replies have not been posted for your inquiry.  You have written a few comments that give evidence that you may have a misguided notion about what mixed voice actually is. This is very common. I'll link the excellent video by Robert Lunte that sets the record straight on exactly what about "mixed voice" has been misconstrued or misunderstood by so many students (and some teachers believe it or not).   I'd have to write way too much here on this reply to give you a complete overview, yet here are some thoughts to consider: - "Bridging and mixed voice are related but NOT the same thing. The ability to bridge well really only occurs on the notes which are in your specific "Passaggio" range of notes. Different between most men and women, and slightly different between say a Baritone and a tenor.       i.e. -  I'm a Baritone and I would not sing "higher" than an A3 in my chest voice (V1) without bridging. That is technically where my passaggio begins. Even when you are singing a siren from as low as say a G2 (M1) all the way up to say, an E4 (M2), bridging still only occurs at the "break," you know, where the voice wants to flip to head voice (M2). Mastering that bridging transition is a prerequisite to THEN begin to work on the muscular configurations that are sometimes referred to as "mixed voice." This is because the notes that are near the beginning of your passagio have the greatest potential to "mix" in some of that "chesty" (M1) sound color via (at first) a "light mass phonation." Lots of training (vocal exercises) aimed at strengthening that light mass phonation into a "beefier" sound color will (over time with training), increase the sound color's strength & power.  - Bringing more "chest-like" sound color to "high" head voice notes (M2) is another training process. A good introduction to this was also posted on video by Robert Lunte (see below).  I want to encourage you to get Robert Lunte's training system. It will teach you everything you could possibly want to know and more. As far as my credentials go; I am 59, trained with 3 of the best vocal coaches in Los Angeles (who have trained the biggest names in lead vocalists), in my twenties. I have sung professionally (many studio hours). I discovered Robert Lunte's training system (The Four Pillars of Singing) around 10+ years ago and found it to be superior to all three of my teachers in terms of it's overall insight and innovated training techniques. Robert Lunte's methodology brings you a much deeper intuition on what's going on in your voice so you can physically feel whats happening while you sing, as well as the knowledge of the physiology! You won't regret buying it! I hope this helps!         
    • If you really want consistent progress, find a teacher and take lessons consistently. You can tell them your goals for singing and singers/bands/music you like and how to implement these techniques in your voice, or whether or not to avoid them because they are not suitable for your voice in the long run (for example dramatic singing for lyric voices) They will help you find your passaggi, fach, tessitura, weight, etc. over a period of time I've been taking classical voice lessons for a year now with one teacher and have improved tremendously from just having one source of feedback on my voice for technique and not several dozen. I was already able to mix to my 2nd passaggio when I started singing in 2014 and belt to B4ish in a mix but I had no reliable way of achieving cord closure, quiet lower notes below B3, a ton of tension throughout my range and pushing and unsustainable stylistic choices from singers I listened to-and only a basic understanding of vocal anatomy and phonation and how the voice works. I took a break from any serious singing or recording for two years after having my cords scoped in 2017 and finding no nodules but a lot of inflammation in the surrounding muscles and realized I not only needed to rest but my singing had to change technically in the long run if I wanted a sustainable instrument. Protect yourself. Be careful what models in singing you try to imitate. Not all are possible to do in every voice since everyone is made differently. Be a smart vocalist. There's Pillars, CVT, SLS etc. (if these still are around) or private teachers that are all available to you if you can afford the time, money, and work required.
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