Have you heard of the vocal term the mixed voice before? It’s a really important technique to learn. And I feel that it’s most likely the number one thing that all singers should work on developing.
Why is number one?
Well, when you develop a strong mixed voice, good things happen! Firstly, a strong mixed register is the key to hitting high, powerful notes. Also, singing in your mixed voice takes the strain off your voice. It removes vocal tension.
Your mixed voice also sounds wonderful, because what you are doing here is blending your other two vocal registers together. You see, you have your chest voice, this is the register that you hit your lower notes in.
And right up the top of your vocal range you have your head voice. This is the vocal register you hit your highest notes in. Both of these vocal registers have a different sound character. Your chest voice is more powerful and very thick. On the other hand your head voice is much sweeter, but less powerful.
When you develop a strong mixed register, you are basically using all the good bits from these other registers. Your mixed voice has the power of chest voice, with the sweetness of your head voice.

5. Using too many microphones. The simpler your setup is, the better your chances of getting a good recording, obviously within reason. If you use three microphones to mic a guitar amp, you've got to deal with proximity effect between all three, and you've got to balance the equalization and panning just right to make sure that the guitar amp sounds absolutely perfect. It's much easier to do with a single microphone, placed properly. The golden rule of audio production is to keep microphone placement as simple as is possible.

6. Using the wrong type of microphone for the job. Realize that different microphones do different things; a large diaphragm condenser microphone is great for vocals, but it's usually not the right choice for a drum set because of the way its pattern is. A Shure Sm 57 is great on snare drums, but not on kick drums because it doesn't hear enough low frequencies. Know everything that you can about your microphones and pick the right one for the job.

7. Not experimenting. The essence of good production is a good ear, and you develop a good ear by trying out as many microphone placement alternatives as you can, Experiment as much as you can; if you're recording bands other than your own, don't do your experimenting on their time, but spend your own time trying to get the best sound that you can get out of guitar amps, vocals, pianos, whatever you can. Too many producers simply set up a microphone and press record. Good producers have a reason for putting a microphone in a certain location, and will experiment when necessary to get the right sound.

8. Ignoring or not understanding proximity effect. When you've got two microphones set up to record a sound source, if they're not matched 100% properly or are different distances from the sound source, they'll report back the audio information at different times. This results in a delay-type of sound that can be a huge issue on home recordings; it can hide certain frequencies and generally trash the overall sound of a song. Be aware of proximity effect, and fix it by buying hand-matched microphones and using your recording software to fix any difference between two miked recordings of the same sound source.

Msanii wa nyimbo za injili Willium Simba akiwa na Msanii mwenzake wa nyimbo za injili Ruth Mkemwa na Producer Orme Splash wakiandaa nyimbo ya injili iliyo katika mahadhi ya reggae.

In thinking of backing vocals, you must understand that there are varying types. The easiest kinds are chorus backgrounds. These are accomplished by recording your voice in the same key, in multiple tracks. The result is a sort of "choir" effect, wherein it sounds like several people are literally singing behind you. The trick to getting this to work is to sing in a key different from the lead vocal, and only in certain sections of the song.

The most popular kind of backgrounds includes harmonies. There are really too many harmony variations to name. But the standard is known as a "three-part harmony", in which three background voices accompany the lead, singing in three different [harmonious] keys. If you listen much of R&B/Jazz singer Sade's work, that buttery-sounding background accompaniment is comprised of three different keys, blended to create one lovely sound.

Many people also use a technique known as "stacking" vocals. This means that multiple recording tracks are used to sing the lead vocal. This technique isn't exactly a background method, parse. But it is used to fatten up thin lead vocals, or to create a fuller sound. Much pop music today wouldn't survive without this particular stacking effect.

1. Not using a pop filter, don’t ever  think you’ll be all clever and fix it without buying a pop filter. You decide to angle the microphone 30-40 degrees to the side, that way the singer isn't singing directly into the diaphragm.

Well, this does help with the plosives, but now you've got to deal with the fact that microphones tend to have a lot of off-axis coloration. They’re designed to sound their best when aimed directly at the source. By angling it, you could be drastically affecting the sound of the mic, just get a pop filter.

2. Singing into the wrong side of the mic.

3. Miking too close, since noise is a common issue with home studios, we try to compensate for it by miking the instruments/vocals as closely as possible. The idea is that the closer the mic is to the source, the less noise it will pick up. Right? It is Wrong.

As it turns out, placing the mic really close to the instruments doesn't pick up any less noise, and you have to deal with proximity effect.

Your recordings will sound much more natural if you move the mic back from the source by 6-12 inches.

4. Miking too far away, obviously, you can go too far in the other direction, too. If you place the microphone so far away from the musician that you’re picking up everything in the room (computer, hard drive, your growling stomach, etc.), then that’s certainly not ideal.

You need to find a middle ground. It will be different for every mic, every room, every musician,so play around with it a bit.

Ni busara kwa mzazi kumuongoza na kumsahuri mtoto wake katika mambo mbalimbali. Lakini mtoto hachaguliwi ndoto zake wala hachaguliwi kipaji, hivyo ni jambo muhimu sana na ni busara kumuwezesha na kumtia moyo mtoto pindi anapoonyesha ana dhamira au msukumo wa kufanya jambo fulani alipendalo. Kumkataza au kumchagulia cha kufanya ni kumpotezea ubunifu, maarifa na kuua kipaji ambacho ni zawadi ya pekee iliyo ndani yake aliyopewa na Mungu.
Mdadisi mtoto anapenda kufanya nini, muongoze na kumtia moyo, muwezeshe atimize ndoto zake, kuwa mshabiki wake namba moja ili akikuze kipaji chake.
Video hii ni ya mtoto Jayden-Christ akipiga kinanda kwa vurugu bila mpangilio wowote lakini tabasamu lake linaakisi furaha aliyonayo kila asikiapo mlio wa kinanda.
Mungu awabariki watoto wote popote walipo.

Mullar Jr. anaandaa single mpya yenye mahadhi ya kiafrika zaidi, hii ni baada ya single yake ya Without you kuendelea kufanya vyema.