audiot

and wondering where it’ll take me. i guess it’s about time for an update on the new audiot projects. as you guys already know, there’s music in the making which was supposed to end up on an album called “traitor”. this became more of a working title and then ideas came up like crazy  – so here’s what’s happening right now:

i’m up to 19 songs so far, 7 of them are awaiting vocals. it seems there won’t be any instrumentals this time, but one never knows. those 19 will have my voice on them. so i’m gonna do some vocal-recording and then 5 of the above mentioned 7 can be mixed and thrown out into the world. the other 2 will need maybe a solo and maybe some fills. i’ll do that after the vocals.

and it seems there will really be two albums, one in the style of “corner” and one with more “regular band stuff”. and once again there’s a lot of experimenting involved, lots of flaws left in there and again it kind of scares me what my mind comes up with. so if for me “corner” was like standing in a forest at sundown, peeking through some trees at a scary little cabin – this next one will be like stepping through the door and have a look at what’s inside. and i really don’t know if i’ll like what’s in there – but at least i’ll find out soon. fortune favors the bold, right?

before the albums are actually released i might put out some sneak peeks to let you know what’s coming. i thought about this a lot but am still not sure how to do this without spoiling the surprise – we’ll see about that. and still no making of video i’m afraid – getting into video-stuff would delay this whole thing even more….

so now you’re up to date and thanx for staying tuned. and even if i don’t know how this new stuff will sound once it’s finished, i can already say: if you liked “corner”, then you’ll love what’s coming. but if you didn’t like it, then you’ll love what’s coming. how’s that for a slogan? :-)

maybe i should post an update of what’s happening right now.

actually it’s lots of recording. in the last few days i have been working on “traitor” (the working title for my second album) and am now up to 11 songs – or should i say construction sites… well, a few of them are done so far, awaiting the vocals. the others are kind of idea-keepers. whenever i work on something and it’s not going too well – lack of ideas to continue on that song for instance – i start a new one. oddly enough, i can always come up with something new. the problems usually start when i’m about halfway through a song. maybe i should put out an album with just songparts on it, there’s hundreds…

so that’s where my time goes at the moment, all of it, and that’s what’s keeping my from writing more or even eating on a regular basis. i lost weight since i started this album, no kidding. hopefully there’ll be a few pounds left of me when it’s finished…

yeah, i stole this line from Billy Ward, an awesome drummer and producer – go check him out! his stuff’s unreal!

since i’ve just returned from an off-weekend and am already about to record some vocals, i have little time to write. when inspiration hits, you gotta run, so here’s just a quick tip for you guys.

microphones are NOT ears! sounds like a no-brainer, right? but it isn’t. we tend to believe that what gets in (and therefore out) of a microphone is the same as what our ears would hear. but that’s not the case. and i’m not even talking about the fact that lots of mics color the sound, so what goes in is not necessarily what comes out. mics work a lot different than our ears, so don’t be fooled by the fact that both pick up sound. there is a lot of trial-and-error involved before your mic spits out exactly what your ear would pick up – and to make matters worse, to your ear it might sound very unnatural at that moment. i hope i haven’t lost you – it’s a bit difficult to explain. imagine a gun that’s not perfectly “adjusted” and therefore shoots to the right. you could either set it right or aim to the left to hit your target. now, you can’t tweak a mic until it is an ear – but you can change your “aim” until you hit the right sound. and once you have, you might just think “hey, that’s exactly how it should not work at all” – but it does. like aiming to the left and still hit the middle.

so there is logic involved, but then again there isn’t. messing around might be as good as any other approach, but it surely helps to know a bit about mics and placement alternatives – as long as you keep in mind that mics are just stupid. good luck…

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• song no. 7 (audiot.eu)
• song no. 5 (audiot.eu)

there you go. because of the pauses in between here are the links to the original article as well as the first three parts of what i wrote about it. you may skip the link to part 1, because that was just me presenting the link to you:

• original article
• recording vocals (part 1)
• recording vocals (part 2)
• recording vocals (part 3)

ok, now what’s left are points 5, 6 and 7. and they are more or less about the image people seem to have of singers everywhere. i can’t say i blame them, singers often are a real pain. and that’s what makes things a little hard for the “normal” ones sometimes. on the other hand, sometimes it’s just necessary for a singer to stand his/her ground and demand things others might find weird or wrong. i’m not going to start a philosophical debate here, but let’s just say, the voice is a unique instrument because it’s a part of our body. it’s easily harmed or even destroyed and one needs to take great care of it in order to keep it functional at peak efficiency. now, instrumentalists often just don’t get it. if they have troubles, they can simply change the strings or the heads, a screw or whatever else to fix it. but this isn’t the case with the voice. so singers have to be a bit overprotective, while others need to understand why.

that being said, there is of course no use in singers being bitchy and behaving like little princesses and even i threw out singers myself because of this. by the way, there are guitarists out there, known to be quite bitchy themselves, but let’s not go there…

now, there is certainly nothing wrong with making the vocalist comfortable. so be sure to have some hookers and lots of pizza standing by :-) as for the extra people, don’t ever let someone in who has nothing to do with the recording. i don’t care how good a friend he/she is to you, do you go to work with your friends? sitting on their desk while they’re in their office? i thought so. you’re there to work, easy as that. so throw ‘em out. and this goes for every recording session, not just vocals. bringing extra people just screams out “i’m not taking this seriously at all!”

as a singer, i’m happy if the studio people have water etc. for me, but i always bring my own, because you can just not count on it. it’s the same as with the lyrics. make sure you bring everything you need yourself. if you don’t need it, fine. you can leave it in the car, but you can always get it should the need arise. there’s nothing worse than a cancelled session, or one with less than good results, because of nothing to drink or something similarly stupid. so just be prepared for everything. and to get back to the “be professional” aspect: be able to do your job no matter what the circumstances are. even if there are morons lurking around, you might just not be in the position to do anything about it – if you’re there as a hired gun for instance. so hope for the best, prepare for the worst.

the practice aspect is worth mentioning as well. a singer needs to warm up, for everything. no matter if it’s rehearsals, a live gig or a recording session, warming up is critical. not just to keep the voice healthy and intact but also to make it sound better on the recording. a warmed-up voice sounds different and can be controlled a lot better, so warming up is important. but don’t go over the top with this. it’s a warm up, nothing more. the actual performance is what you need to focus on, so don’t let the warming up eat up your resources. by the way, this is not the time to practice. you should know what you’re doing by now. and, again, be professional. time is of the essence here. depending on the singing-style and the genre of the music you might be able to sing for hours without any problem OR you might have only 15 minutes before the voice sounds less than perfect! so make the best of it, take breaks whenever necessary and drink a lot. you’ll regret it big time if you settle for a crappy take because there was not enough time and you couldn’t do it any better at that very moment.

wow, here’s my favorite: never give negative feedback to the singer. that’s bullsh!t, at least in my book. if your singer can’t handle feedback (that includes both positive and negative), get rid of him/her. that same thing goes for any other musician you’re dealing with. now, i know it’s not that easy, although it should be. chances are you’re stuck with li’l princess, so well, be diplomatic if you have to. you should know who you’re dealing with before the session – know your enemy :-) so be aware if this person can handle feedback or not. everyone involved in the recording process should be on the same side, so if the performance was not good, the performer should be able to hear about it, because it’s for the greater good (now you have to mumble “the greater good” – anyone seen “Hot Fuzz”?). can you imagine a bad sounding recording because noone told the singer he/she was off? there’s too much at stake here. so this goes out to all singers: be able to handle feedback, if it’s constructive of course. if you’re off, deal with it! know your limits, accept your mistakes and do it better next time. closing your eyes and ears won’t do anyone any good, especially yourself. but for the non-singers who are stuck with such an idiot: do what you have to, to get through this. but now might be a good time to start secretly plotting against your singer, so you can have a real one by the time the next session is at hand…

good luck

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• Background Vocals – Session Tips (datamusicata.com)
• Vocal Tips for Recording and Performing (datamusicata.com)

a little later than expected, but here it is. the next point mentioned in the article i’m referring to is about reverb. as for me, i don’t need any effects during recording. as i mentioned before, i try to be as easy to work with as possible and that includes being able to give a good performance under whatever circumstances you’re facing. so i made it a priority from my early days on to not be spoiled by anything, which means i can sing a good gig without even having monitors and i’m able to record in virtually every situation that might come up. this is in fact no big deal, just a matter of getting used to it. and it pays off – big time. do you know a singer that complained about anything? i do. i know legions of them and i dislike them as much as their bandmates do (or the guys that record them). don’t get me wrong, there are things that i’m expecting and i’m quite prepared to get them, believe me. but complaining about not having that second olive in my martini or that special silver plate to hold my chewing gum while i’m working my magic isn’t one of them. i’ll get to that later… so if having reverb in your headphones makes you more comfortable, so be it – i’m just saying you should be able to give a good performance without it, just in case… and whatever effects you’re using, make sure they’re set up properly and work the way they should before the actual session. how to set up the reverb right is explained in all detail in the article – just don’t forget, it’s not going to be on the recording, it’s just for your pleasure.

which brings us to the next point, although this is the same thing as mentioned a few times already. everything should be ready to go before the session starts. that includes the whole signal chain as well as the recording device of course. your cubase (or whatever else you’re using) project should be set up and saved with the correct parameters in the correct location. the playback should be prepared and playing without any problems. there should be enough free space to record plenty of takes – and enough processor power of course. you might want to create enough empty tracks with the correct settings (input, mono, bitrate etc.). if you’re not recording on a daw (digital audio workstation aka computer) but something else, it’s basically the same. you just have to check more cables, plugs, buttons etc. instead of windows on your screen. if you encounter noise, humming or anything like that, you’re in trouble. this may take a lot of time to fix it, so again: make absolutely sure everything works perfectly fine before the session begins! i guess one cannot mention this enough…

now i’ll skip points 5-7 because they’ll make part 4 of this little series.

no.8 is no big deal, it’s the same with the equipment. have the songs ready before the recording session – this is quite a no-brainer, right?

that’s it for now…

now here is a little more detail and insight from the singer’s point of view. the following thoughts were triggered by this article i linked to 2 days ago.

first, i’d like to say that i fully agree with those 8 points and think that they’re a good help in preparing for a vocal recording session. however, there are a few things that need to be added. memorizing lyrics is absolutely crucial, at least in my book. there’s nothing more lame than a singer who doesn’t know her/his words inside and out. i never went to a recording session without being perfectly prepared. and that’s simply because i believe one of the most important things about recording is being as professional as possible. that alone could be an entry in itself and i believe i already wrote a little about this every now and then. let’s just mention two things here: 1. you’re not alone in this world. so being professional is showing respect to the people who work with you (and not only because you want them to hire you again…). and 2. not being professional means a waste of the currency time and this will result in less motivation and higher costs. that being said, this depends of course on the fact that you need the lyrics and the song itself in advance with enough time to prepare yourself. but, as harsh as this may sound, being a singer not only means hookers & booze but also being able to get into a song really fast, being able to memorize lyrics really fast and being able to come up with some melody really fast. that doesn’t necessarily apply if you’re just some kind of a backyard screamer – but even then i would expect a certain amount of professionalism from you. if you don’t take yourself seriously – why should i? now, it still is important to have the lyrics printed out and there (plus an adequate stand to hold them in place where the singer can see them without turning around. i always go the extra mile and set this up, even if i do not look at it once. it’s just part of the deal and who knows, maybe you’re giving the performance of a lifetime and then being carried away so far that you lost the first word of the 3rd verse… so just have the lyrics there, will ya? and do not count on others to bring them for you. take care of everything that involves you yourself – well, at least of the things you’re able to take care of. by the way, if you like to make notes on your lyrics or wherever, bring a pen and some paper yourself. they should have it there, but bring it anyway – it’s not that much to ask, now is it?

now, the second point in the article is about setting the microphone up (including the rest of you signal chain) and have it all ready and working before the actual session starts. there’s not that much more to say about this except how important this is! remember the part about being professional? as much as i ask this from myself, i ask this from others as well. it sucks big time to show up on time and then sitting around for an hour or so waiting until everything’s ready. huge motivation-killer. and although i believe in being able to give a good performance anytime, the vibes just suffer from something like this. if i’m recording myself i usually set everything up the evening before, tweak all the knobs and run a quick test or two. then i go home and have a good night sleep, knowing that there won’t be any technical issues spoiling the performance to come. of course, there is another quick test necessary right before the actual recording, but it’s just a great feeling to go there, knowing everything’s ready to go. if you’re recording somewhere else, but with your gear, be sure to plan enough time for the setting up and a short break. i don’t need to mention that you should be able to set up your own equipment even in your sleep, do i? now, if you have nothing to do with the setting up, it’s really not up to you. so the only thing you can do here is being prepared to wait. or better: count on it and then be surprised positively if it’s not necessary…

wow, it seems this makes for at least one more part – so check back tomorrow…

ok, this will be a really short entry. to be exact, it’s just one link to a piece about recording vocals. a few tips on how to turn a vocal recording session into a success. go ahead, read it, think about it and i’ll elaborate aka give my 2 cents about it tomorrow:

preparing for a vocal session

ok, i gotta run – so here’s just a quick update on how the work on the new album is coming along. there are no lyrics whatsoever yet. but the intro is finished – i’m thinking about turning the intro into a whole song, though…

the music for one song is finished, except for the solo which i will track after i’ve done the vocals. and the music for 4 more songs is written. this takes that much longer than expected, but this whole internet stuff is stealing away lots of time (not talking about writing entries for this place…).

on the other hand, i’ve got one song almost finished (again except vocals) but it won’t be on “traitor” because it’s a completely different style, more bankjob-like. i tried to combine it with already existing traitor-stuff but it sounded…..cough, cough…..not that great. we’ll see where that goes…

babysteps once again – but at least steps. and they’re in the right direction…

woohoo! here it is. finally. about time. bankjob. yay!

the first song of the album “corner” and the one that plays by default when you click the play-button on the blue player to the upper right. and the one that made it to no.14 on the reverbnation-german-rock-charts – maybe i mentioned that already :-)

the funny thing about this tune is, it was never meant to be a real song, more like an intermezzo or something – if at all. i messed around trying to get a dirty but still defined sound that should go through the whole album. that was even before i started on any other song. just trying to figure out how the album should sound in general.  so i picked a drumset from the “vintage RDK”-refill (check out Peff’s website if you’re into Reason) and fell in love with the sound of the toms. messing around a little more, i came up with this tom-based drumbeat and recorded that for about 45 seconds. it sounds quite wacky if you listen to it closely – sometimes even off, but that’s what’s giving it this great feel and me the inspiration for the bassline, which is simply going up from one ‘c’ to the next and then down again – with very few variations. played with a cool acoustic bass-sound that matched the drums quite nicely, doubled by a saxophone and tripled by a harmonica. then i had the idea for this breathing sound on the ’1′ and the ’2&’ – i did this with a flute-sound transposed way down – giving the whole groove lots of drive. i was quite surprised how big a difference that flute makes. if you could listen to bass-sax-harmonica only, you would probably faint or throw up or maybe both. this is a timing-freak’s nightmare, sounds just horrible!

then there’s the saxophone playing this little melody at the beginning and the end. actually it does sound very real by itself – as a saxophone-player i was truly amazed. but i didn’t manage to get this very real sound into the final mix. for some reason it doesn’t sound that real to me anymore. i guess something else is stealing a few frequencies away – i didn’t find it though, so this was the best i could do.

as soon as i was done with this 45-second-piece, i knew this had to be a full song. so i came up with the break-part to make room for the voice. it would have been difficult to include vocals during the soundmess-section and those breaks seemed an appropriate and easy to do solution. so i played the drums for the rest of the song including the badass ending, played the other stuff as well – let’s be honest, it’s all just repeating itself over and over and over again, but it’s played NOT copy-and-pasted. and was done really quick. throughout this whole process, i thought about some old action-movie with cool car chases and gangsters and such. so it turned out to be a short briefing of the gang right before the job – lyricswise….

although the single parts of this song are, well, not really demanding :-) and poorly played without any correction whatsoever – it has this killing feel and it still blows me away every single time i listen to it. unbelievable – and i think rather incidental than on purpose but who cares?

oops, come to think of it, there was a correction. i had to clean up the snare-rolls at the end of the verse-sections because the midi-controller didn’t react as fast and precisely as i wanted it to….

that’s it! now you know all the dirty details about the creation of “corner”. i’m sorry if i destroyed your vision of me being a creative soundgod, i’m just stumbling around making weird noise that weird people seem to find….weird. yes, i guess that about sums it up :-)

and i’ll prove this to you. as you may know, the next album is in the making….

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• no harm done… (audiot.eu)

oops, i just noticed that i still owe you the rest of my singing-workout – sorry about that, i’ll finish it soon…

but now to the question above: “can i learn how to scream?” believe it or not, i get this one a lot - yesterday for example. but this is a special one because i need to give a different answer to you than to someone who asks me in person. so here’s the answer for you: yes, you can. but no, i won’t tell you how because this is one thing you’d definitely need a teacher for. trying to do this on your own is a really stupid thing to do because chances are you’ll damage your voice – maybe even permanently. don’t let anyone tell you, he/she could show you through the net or a book or something. it’s a lie! no, not even youtube. and maybe this is the right time to tell you: first you learn how to sing, then you can learn how to scream. there’s no reasonable way around it, no shortcut. screaming is not a separate thing, it’s more like a combination of techniques you’ll have to learn first – sorry.

now there are some other things to consider. first of all, you should know what you mean by ‘screaming’. i have no idea if there’s an official definition to this – i doubt it very much. by the way: as for official definitions, singing is quite a minefield! it never seizes to amaze me, how many terms are being thrown around that don’t even have a clear meaning. usually someone is just trying to get attention by using complicated sounding words – you know, like doctors do. then you should keep in mind that screaming only works if done at the right moment. you don’t want to go over the top with this, that’ll only reduce it’s meaning. and another thing: screaming, even if done properly, is not really the healthiest thing to do, voicewise – so now would be the time to decide if you really want to go through with this……….still there? ok, then i’ll give you my definition, or more like examples to check out for yourself.

for me, screaming is what the Manowar singer does all the time. yes, i know – you don’t have to like them. just listen to some of their songs and you’ll know what i mean. by the way, i liked this band a lot when i was younger, sometimes i still listen to them – it takes a certain mood :-) and make no mistake, the singer rocks – big time! you can also find a rather famous example in Deep Purple‘s “Child In Time”. this is what i call ‘screaming’, just to not mix up different things.

a lot of people asking that question mean something else, more like nickelback (nope, i refuse linking to them – ptui!) or similar stuff. but that is not screaming, it’s just singing with more power and a little ‘rawness’ in the voice. again, ask your local vocal teacher. now there’s some other guys who say ‘screaming’ but mean growling or whatever this is called. well, there really is a way to do this without hurting yourself, although it doesn’t give you the amount of control you might want. or you could just have lots of beer and grunt away – complete loss of your voice sooner or later along the way almost guaranteed. but in that case this might be considered a good thing…

hehehe, maybe i’ll tell you about the ‘growling-trick’ someday – but not right now.