audiot

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)
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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…

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

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.

hehehe, just did a little more ‘research’ on funny a capella vids and found this one. this time it’s real, the guy you see is really singing. the quality is not that great but who cares anyway. and again there’s a lesson, you need to watch this until the end though. if the whole thing sounds good, do the single parts really matter? first he does the bassline and it’s, well, let’s call it subperfect. then he adds the harmony and still it’s not really good, but you get an idea where it’s going. but as soon as the melody enters, it’s fine. even if the time’s off and some notes are as well, it’s still fine. so my question stands: if the finished product is good, do the single parts matter?

p.s. stuff like this is awesome vocal practice! lots and lots of notes, changing very fast. you need great precision to do that right. you get to practice bass- and harmony-lines and learn how they’re connected. and best of all: it’s a lot of fun!

hi there.

here is something i’m thinking about for quite a while now. there are vocal lessons online one can find through google or youtube, some of them good – some not. nothing fancy so far. but because i believe singing can only be really learned with a personal teacher and not through one-size-fits-all-clips, i’m gonna start an experiment. maybe there even is such a thing but i’ve never heard of one. so here’s the deal:

i’m gonna try to teach online. basically that means direct contact between the student and me via emails and sending audiofiles back and forth to have useful feedback and advice. no matter how much i thought about this, i simply can’t know if this could work until i launch kind of a beta-version. that’s what i’m doing now. the first people that are interested and willing to help me check it out will get free vocal teaching online (and i’m not talking about 1 or 2 lessons!). i have no idea yet how much time consuming this might become, so i can’t tell you how many students i can accept in this matter. but the offer stands – if you’re interested, drop me a line right here and we’ll work something out.

basically it will work similar to regular teaching. you will need the ability to record yourself, it doesn’t have to be perfect soundquality but i need to be able to hear subtle details – for quite obvious reasons. if you’re able to shoot some pictures as well or maybe even short videos, that would be perfect (if you’ve read through some of my singer’s faq entries you’ll know why). and besides, i’m going to ask you what you think about this way of teaching every once in a while and you’ll need to provide some feedback, because that’s what this offer is about. on the other hand, i will provide you with lessons, explanations, questions, answers and tasks – for example sending you some playback. you would then record yourself to it and send it back so i can laugh my butt off and spread it all around the net analyze it with you….

good idea? then don’t wait around. this sucks? then tell me why by commenting on this post.

have a great weekend…

sooooooo, where was i? it might be best to just write away for now and then provide some links and info on the music i like to use in an extra-entry….

in a nutshell, what we had so far was – i work on precision every day for the length of one album, because this is a priority. then i’m working on the built-in eq with about 4-5 songs. that’s daily routine. by the way, Lynyrd Skynyrd’s “Endangered Species” album is good for this as well.

and then about 3-4 times a week, i spend time working on other stuff. sometimes it’s power, sometimes height, sometimes agility. i don’t call it speed because this could be easily misunderstood. it’s about singing fast changes in words, tones or rhythm. check out the song “Twisted” sung by Annie Ross (especially the recording Woody Allen used as title for his film “Deconstructing Harry”) to see what i mean by this.

but most of the time i’m working on my voice i just mess around. this might sound weird but messing around is one of the most important and efficient ways to learn or practice something. you just go and see where it leads you – i use jazz for that (what else?), whatever i can lay my hands on…

that’s pretty much it. this might not give you the magic insight you expected. and you’re right, it’s nothing special – just what i do on a regular basis to stay in shape. and let’s not forget, this is only the practice-part. the actual singing on gigs, rehearsals or recording sessions is the other half.

to conclude this series of posts i’ll do a list of albums and songs that i’m using, including the ‘whys’ and ‘hows’….

Image by audiot.eu via Flickr

of course there is! but since that had to be a personal workout for every single guy, i can only make this up for my students, or at least for someone whose voice is familiar to me. what a bummer, right?

ok, i’ll give you a different answer: of course there is! just make one up for yourself :-) here are some tips on how to do this right. first of all, you are the one who knows your voice best, so act accordingly. a workout is something that should fit you, meaning always keep in mind what you can and cannot do. it’s supposed to bring you forward, so it should 1. enhance or improve the skills you already have and 2. broaden your horizon or push your boundaries in order to develop new skills. that sounds a bit technical, i know. the point is, repeating something you already can do over and over and over again (as lots and lots of people do), is boring and inefficient – at least to your brain (your learning-organ). to your ego it’s pretty cool for it gives you reassurance about how great you are. but you want to learn something or get better (yes, that’s possible), so it’s important to focus on something that can be improved or newly achieved.

that being said, it’s of course wrong to set your goals too high – that would become frustrating pretty fast. so where to begin? it’s easy, just take a record that you’re familiar with. you should know the songs including lyrics. because a workout should keep you motivated, it makes sense to use a whole album instead of just one song. there will be parts that you like and don’t like, parts that are easy and parts that are harder to do – that’s perfect. i have a bunch of albums that i know inside out, meaning i can sing the whole cd from the first to the last word without pause and – if it’s live – even the passages in between songs. this makes it easy to dive-in and be less distracted.

but if you shouldn’t choose something that you already can do? how can that…i mean….ain’t that a contradiction? no. for two reasons. one, practicability: i find it important for my workouts to be usable everywhere, especially (for me) in the car. that means sheets i’d have to look at, lines i’d have to think hard about to even remember, melodies or passage orders i’m not certain about are k.o. criteria. you’d only need to listen to this record more often to achieve those things, that has nothing to do with a workout. and the second reason is: you take that, what you already can do, only as a starting point to begin your workout with. then go from there in terms of concentrating on an aspect you want to improve/learn and try to push yourself in that direction.

to be continued…