what is going on in your musical life

i've always enjoyed this anecdote about "Together in Electric Dreams":

When Oakey recorded the song it was over very quickly, after the first full recording Moroder told Oakey that the first take was "good enough, as first time is always best". Oakey who thought he was just rehearsing insisted on doing another take. Moroder let him but to this day Oakey is convinced that Moroder still used the first take on the final production.

but obv not all of us are Phil Oakey

The thing about doing a ton of vocal takes is that then you have to go back and listen to them critically and decide which bits of which ones are keepers and that is the most agonizing part of the whole ordeal. But then maybe that's what I'm paying the producer to do and I should just ask him to just do it after I leave but that takes trust and I am kind of a control freak.

The thing about doing a ton of vocal takes is that then you have to go back and listen to them critically and decide which bits of which ones are keepers and that is the most agonizing part of the whole ordeal. But then maybe that's what I'm paying the producer to do and I should just ask him to just do it after I leave but that takes trust and I am kind of a control freak.

― St3ve Go1db3rg, Wednesday, October 9, 2013 12:13 PM Bookmark Flag Post Permalink

Yeah, it is a little bit like "Lens #1, or Lens #2" at the eye doctor's office. I think it is often best left to the producer, because what a singer considers the best take and what a listener considers the best may not be the same thing.

ha yeah, it's "oh man, I was really hooked in on take #3 and phonating like a beast" vs "take #4 sounds like you understand what the words you're singing mean"

haha yes. that's another reason I hate recording - first few takes and I'm all like Rocky while Gonna Fly Now is playing, feeling hte music, fourth and ongoing it's like "Christ, AGAIN?", and you can start hearing the difference.

and no matter who makes hte final decision or how much I liked the finished product prior to completing it, the moment I listen for the first time after it's done I hate it anyway.

it's weird, after the long process of writing, recording, mixing, and mastering has been done and i listen back to it, sometimes i feel like i can only hear it on a level of "these sounds are nice, it's nice to listen to nice sounds." it's a weird detachment that's so far removed from the anxiety involved when you still have to make decisions.

It's more or less impossible for me to hear one of my completed projects as a piece of music. It always sounds like a pile of components for a long long time. After maybe a couple of years there's enough distance for me to start hearing an album as actual music again.

Wow, so glad everyone has exactly the same experiences and hang ups as I do wrt singing on tracks. Flipping nightmare !

Wow, so glad everyone has exactly the same experiences and hang ups as I do wrt singing on tracks. Flipping nightmare ! Like, why can't I sing as well in front of a studio mic as when I'm cycling or doing the dishes?

Sorry about x2 posts

you'll get it on take #3

Best/worst part, when mixing, is when the engineer solos your vocal track to the amusement of all.

that was usually my favorite part because the engineer would then use any oddities/fluctuations in my take to point out to the guitarist where he'd played something wrong </insufferablevocalist>

xp bring it on, I don't care </shitvocalist>

lol xp

In the studio about to do vocal takes, pls keep me in your prayers

Four fun vocal tricks for DAWs that I learned via trial-and-error and use regularly:

- when comping together your vocal take, create a separate track with a pitch corrector on it and keep it muted. Select notes here and there that need correction, snip the regions, mute the original, unmute the corrected. I only ever use this a max of three times on any mix tho bc perfectly tuned vocals sound like balls

- record your vocals Elliott Smith/Eno style, double them up hard-panned left-and-right, then when you've got that perfect dual vocal sound, slap them into mono and leave 'em there

- I almost always pitch-shift all lead vocal takes up 5-10 cents because vocals sound good when they're sharp. If Alicia Keys ever tried this she'd be clean off the B-list and on to the A, imho.

- Never do one-can-on, one-can-off when you are doing takes. You will sing flat. Turn your monitored vocal level up until it's as loud as your head-reverberation.

I almost always pitch-shift all lead vocal takes up 5-10 cents because vocals sound good when they're sharp.

This is the second-most valuable thing I ever learned about singing in college (the most valuable being sightreading).

Having a director be all "sharp all day if you want to, but if you go flat I WILL CUT YOU" really, really helped my pitch

Yeah man it's the cyanide in the Celine Dion cocktail. Sing sharp and they'll wet their pants

accidentally made trip hop just now

accidental trip hop

stumbled hop

btw I'm really happy w/ all yr guys' singing advice ty

- I almost always pitch-shift all lead vocal takes up 5-10 cents because vocals sound good when they're sharp

whoa, definitely gonna try this.

i'm pretty wary of pitch-shifting tbh. digital artifacts tend to sound brash to me. i think i'd rather try to get a good take.

Yeah. At first it's like "bbbbut what about this Neumann I rented and the API preamp I borrowed, what about my precious, precious fidelity" but it sounds so good, I can't stop using it. The Logic Pitch Corrector with all the notes turned off set to +5 cents is a magic trick. No artifacts. I even cheat and use it when doing tape mixes it sounds so good to my ears

it's pretty easy to pitch-correct a bad note ever so slightly to where it's not noticeable. I prefer to just get good takes myself where I can, but if it's literally one or two notes where I shit the bed and the rest of the track is usable, I'd rather just tweak it slightly then bother with the effort of re-singing that two seconds, which out of context, often is annoying.

thta's also because I live in a house with two 30-something alpha males who are likely to knock on my door and go "WHY DO YOU KEEP SINGING 'I BLESS THE RAINS' OVER AND OVER AGAIN IS YOUR BRAIN STUCK ON LOOP?"

I'll resing an entire phrase/verse to give the duff notes a context point

ugh, then all I think is "great now will I fuck up the notes I did right the last time", but then again you can always delete those so I answered my own question well it wasn't really a question but ehh comment redacted

it would be much easier if I had a private studio, cuz the one time I recorded "Wouldn't It Be Loverly", nobody bothered me when I did all four of the quartets parts, but when I started singing Eliza's part concerned roommates asked me if I'd adopted a cat in heat.

vocals are the absolute worst but after 25 years of recording em I've got some general principles

1) spend some time to find the right mic that enhances or matches yr vocal style and timbre. human voices have a wide and highly idiosyncratic frequency range, and microphones have a big impact on how your voice sounds (unless you're awesome, but face it, most of us aren't). have the engineer set up as many mics as they've got, try em all. this can lead to:

2) defend your right to get a good vocal sound. don't let engineers or bandmates discount, belittle, or try to rush the vocal process. this can be hard when you already feel shitty and self-conscious, but don't be bullied into using the first SM58 stuck in yr face. kind of blows my mind when musicians sink serious dollars, time, and energy into honing a unique sound, and then view vocalists who own their own microphones like divas. I'm guessing this attitude is prolly more prevalent in the (punk) rock world?

3) if you're home recording, get a mic preamp. it's amazing how one small piece of equipment can make such a difference, but it does, and it is highly likely the channel preamps suck on whatever mixer you're using.

4) get hammered. unless you're doing opera or something, in which case you don't need my advice, you could stand to loosen up a little.

5) avoid marathon vocal sessions to "get them all done". better to break the vocals into 2 or more smaller sessions. invoke rule #2 if necessary.

6) find the right lubricant. water, tea, milk, booze, they all have diff effects on yr voice. find the one that feels right. folks doing a lot of screaming will find milk thickens the roar.

7) when mixing, if you can hear an effect on your voice, it's prolly too much. dial it back a little. unless you're going for a v specific sound like a rockabilly well of reverb. what sounds really awesome the first time can start to sound like unnecessary window dressing after the hundredth listen, or 10 years later, whichever comes first.

6) find the right lubricant. water, tea, milk, booze, they all have diff effects on yr voice. find the one that feels right. folks doing a lot of screaming will find milk thickens the roar.

pineapple juice has been p nice at times

oh yeah, a couple more:

8) PERFORM. it's hard when you're alone in a room singing into a sprig of pantyhose, but if you're not making any expressions or emoting (and you're not doing a cover of "warm leatherette") that kind of blah is going to be audible. you don't have to go ethel merman on the mic, but don't be sterile. I've seen crazy ass human dynamo vocalists suddenly stand with their arms at their sides because they were "recording a take". fuck that!

9) get comfortable. if you wanna hold the mic, hold the mic. lay down. turn off the lights, get under a blanket, whatever gets yr head in the right place.

Reading all of this between takes y'all

You are already distinguishing between "songs for self" and "songs for an audience" so we are in agreement, regardless of the difference between your audience (your friends) and my audience (my in-laws)

― you and me against the board (flamboyant goon tie included),

Nah, it isn't just crut's friends, there are subcultural aesthetic differences dude that aren't just "personal." I agree with what emil.y was saying about form and content in terms of production, and there is plenty of music that I probably would like better if it didn't come across as too smooth or slick-sounding

The post was made with a wink, I count myself among crut's fans.

aw <3

And yeah, slick and smooth are the worst. I do not know what you mean when you tell me there are subcultural aesthetic differences dude that aren't just "personal." I am not talking about my personal tastes when I say "a mix makes a record". I'm talking about making music for public consumption, public processing.

I'm talking about making music for public consumption, public processing.

that is what I am saying -- you are making generalizations, and consitituting the public as an undifferentiated mass, which it isn't. Certain production (or lack thereof) will be judged by a different aesthetic in certain subcultures. Making music for the noise underground or for black/doom metal audiences -- which is a "public" -- the expected sounds, the production aesthetic is gonna be different than something aspiring to Pitchfork praise

And you are assuming that I am not including noise and metal in my generalizations.

considering that your advice is about "pro-sounding" production techniques and an emphasis on mixing -- it seems like you are privileging music where the focus is on the production and mixing, like when you claim that there aren't shitty songs, which is pretty ridiculous. Granted, we can't all agree on what they are, but so much music, even on ilx, where there is a great interest in production technique, is discounted with "this is a bad song"

One of my main problems with the band Baroness is that I think their production on albums like Blue is totally shitty and doesn't do them any justice

Good production doesn't have to mean great mixing - it's whatever suits the song. Darkthrone would have sounded shit if they'd been produced in an expensive studio, but even the grittiest of black metal has had thought put into the production whether it was produced on an old C90 cassette or on pro studio equipment.

When I work with any client I am primarily interested in "what they want out of this recording" and often that is "top sales" and/or "good reviews", regardless of genre. That goes for noise records; Christ, ignoring my own bucolic records, I've acted as mixer on more noise recordings than any other genre. No metal records, tho :(

it seems like you are privileging music where the focus is on the production and mixing

This is exactly what I am doing-- except I am suggesting that this is what the public does, whether they know it or not. Great songs are hard to sink and rotten songs are hard to get flying. But plenty of neutral-bad songs find fame and fortune because they are well-mixed (Rhye and Ratatat immediately spring to mind) and plenty of neutral-good songs don't receive the mix they deserve and blow away upon release.

wrt my "advice about "pro-sounding" production" like my list of Fun With DAWs that was specifically for the other people posting in this thread about how hard it is to record vocals.

so you are basically modifying your stance that there aren't any shitty songs

less fighting, more tips for recording pls

I dunno sarahell this is not the first time that I feel you've read my posts through, well, whatever the opposite of rose-coloured glasses are. Death glasses.