@Draven Grey That would be great. I'll gladly accept any help you have to offer. Although I said I'm satisfied with it, there's obviously plenty of room for improvement. I feel like I know how to do it without shouting, but it's far from every time I do it perfectly. Granted that recording was made over the past month or two and I feel like I'm better at not shouting/pushing every day. I looked up the epiglottis and yeah, I do hear that happening quite a lot now that you bring it up. I'm generally aiming for a sweet spot with good sounding distortion that's straight up (like the parachute you mentioned, I suppose) or maybe even leaning a little forward from there. If I pull it back too far, the reverberations get too big, almost like Chewbacca. Not sure if that's epiglottal too, even though the resonance still feels like it's above the soft palate somewhere. I guess the main thing I'm probably not quite getting is, even though I can do the distortion sound (shape) crisply and clearly and on command, connecting that to actual powerful singing that feels in any way natural. The only way I've found to do that is to project super far forward beyond a certain threshold to the front of the face or up to the crown of the head. If done right, I can do it with only compression. If done wrong, I'm forcing it and shouting. But either way, it's like only above that threshold of power or breath support I suppose that I have any sort of natural movement enough to phonate or even really sing. If I'm just making the sound (which does sound crispest and clearest and best) I'm very locked in that shape.

Mixed voice is all about hitting that sweet spot where the muscles from below (your chest) and the muscles from above (your head) are both contributing precisely to flexing your vocal cords (I don't know if that's technically biologically accurate but it really helped me to visualize it that way) so it just becomes totally crisp and clear but also effortless. Effortless and totally maneuverable, so you can hold the notes forever. But it's all about precision and hitting that exact little sweet spot and holding it there. Do you know how to locate your bridge (or "break")? That's where the sweet spot lies.

@Shajeen Islam Here's a recording of what I do to find my bridge. I originally watched a Chris Liepe video where he suggested using the phrase "I'll get you, my pretty" from the Wizard of Oz, but obviously you don't need to say the whole thing once you understand. That break or little yodel when it jumps up to head voice is my bridge. When you flip up to head voice this way you get there in a strong mix, so even taking it up higher it's still effortless and maneuverable because the chest is also helping to support. If you enter head voice and it breaks up and gets airy, then it's falsetto, not a mix. https://drive.google.com/file/d/1RgkPEMycjHD-A-M-0CXiamrCOhJhTGLf/view?usp=sharing

@Kenny Kendall yeah, for sure. Dynamism in all things, I say. It's just way more fun and interesting to use the full range of grit even within the same song, between different parts. Varying volume, tempo, etc. too. Everything, really.

@Kenny Kendall I can't really say I'm experienced enough to have a good answer to this. The only way I've reproducibly found to do it so far is being above the threshold of breath support and pulling the C into an L. Below the threshold, it's pretty much always either on or off, at least when I'm really consciously focusing on it. I will have to pay more attention as I mess around in the future and see what I can do. I do like to move the placement all around, switching between clean singing and grit back and forth. So I do it plenty, I'm sure, just not necessarily in a very conscious or controlled way. I'll pay attention to the breath support question you raise in particular.

@Draven Grey Thanks! Yeah, I Know My Price is undeniably well-mixed. Unfortunately I wasn't the one who did it. That was my collaborator on that project, Sound of Unknowing. My mixing is always, shall we say, sparse. I just want to sing and play instruments. I hate clicking things on a computer. Actually, another reason Heaven Fallen isn't actually the greatest song to be showing off is the mixing. At one point, the main vocal track wound up with garbled artifacts throughout it and I couldn't figure out why or how to get rid of them. So that was actually the impetus to just put tons of effects and overdrive on the vocals to cover up the parts that were bad. Haha. I do have tons of instrumental songs but I usually don't make instrumental *versions* of songs. I certainly could though. I imagine taking the vocals off would reveal all sorts of mistakes that were hidden underneath, heh. Here's what Heaven Fallen sounds like: https://soundcloud.com/to_the_sun/heaven-fallen-instrumental As for a solid mix of chest and head voice, that is exactly the angle I like. More and more I want to be messing around with dynamic placement and aggressive parts woven in right with softer parts.