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Post by Martin John Butler on Apr 17, 2015 22:01:41 GMT -6
I heard around two minutes of this on my friends power book today, and holy $hit he sounds great. I'm gonna order the vinyl tomorrow. Now THAT'S a benchmark vocal sound. If it sounds incredible on some crappy little computer speakers, I can only imagine what the record will sound like. I'm glad he's back.
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Post by Martin John Butler on Apr 18, 2015 7:50:25 GMT -6
I'd be curious to know the signal chain that was used for the record. Anyone have a clue?
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Post by Randge on Apr 18, 2015 8:47:28 GMT -6
So much vocal delay...
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Post by Martin John Butler on Apr 18, 2015 17:06:23 GMT -6
I couldn't really make it out from my friend's computer, I'm sure you're right Randge. I used to use a little Lexicon delay on almost every vocal when I was analogue, but the smallest amount possible. Somehow with plugs, it's so easy to get carried away, I rarely use delay now.
Yoakam's voice just seemed so clean and powerful. I'd been feeling a little blue that my vocals have become too gritty, but just the other night my friend posted this and it made me feel better. There's a real grip in Sinatra's voice, and although I'm not a baritone, I felt that I'm doing something similar, and I'm fine with it now.
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Post by Martin John Butler on Apr 18, 2015 17:18:01 GMT -6
I mean, how's the vocal sound on your end on this track of mine? Too much?
https%3A//soundcloud.com/martin-john-butler/somethings-coming-tc-mix
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Post by Martin John Butler on Apr 18, 2015 17:26:50 GMT -6
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Post by Randge on Apr 18, 2015 17:33:29 GMT -6
I just hear the t's, k's and s sounds as a little harsh for my taste. The grit is very cool. A good example are the words "it's taken all" in the first verse. The s on "it's" spits and the t sound punches too hard. If you go through that track and chop them(and the other areas that do the same thing) and pull them down a few db, I think you are golden. I am all about a natural sibilance sound that sounds like the singer in the room talking and singing next to you. I detest de-essers as they take away too much of the surrounding frequencies and I always hear them working. For my taste, that doesn't fly. What really tears my ears up is hearing a vocal that way come over the radio that has been squashed once again. They really jump then and its time for me to change the station.
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Post by Randge on Apr 18, 2015 17:38:23 GMT -6
I couldn't really make it out from my friend's computer, I'm sure you're right Randge. I used to use a little Lexicon delay on almost every vocal when I was analogue, but the smallest amount possible. Somehow with plugs, it's so easy to get carried away, I rarely use delay now. Yoakam's voice just seemed so clean and powerful. I'd been feeling a little blue that my vocals have become too gritty, but just the other night my friend posted this and it made me feel better. There's a real grip in Sinatra's voice, and although I'm not a baritone, I felt that I'm doing something similar, and I'm fine with it now. BTW, look at how far he is from that mic. That takes a stout mic pre to be that far away. I am sure they boosted gain with a top shelf comp as well but both had to be pretty dang low noise. Distance sure helps sibilance issues go away 99% of the time. |
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Post by Johnkenn on Apr 18, 2015 20:33:39 GMT -6
"Hurts So Good"
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Post by Johnkenn on Apr 18, 2015 20:37:20 GMT -6
This is my first time listening (I'm typing as I'm listening)...I love Dwight - I have a feeling I'm gonna like this a lot more the more I hear it - sometimes I don't get things on the first listen...that being said, I'm not crazy about the song. I actually like the delay. I'm just listening on a laptop right not, so I can't hear what's really going on sonically, but I like that it's wet. I've been all about dryish vocals, but I'm wanting to hear something different lately...
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Post by Martin John Butler on Apr 18, 2015 21:04:47 GMT -6
Thanks so much for taking the time to lend an ear Randge. I think part of my vocal issues are I think I would be better suited to a U47. My mic is great on female vocals, and is a dead ringer for an M49, but just a little thin to me on male vocals, so I just get up too close to compensate. It could also be the preamp, I'm just not sure. I wouldn't mind a Heritage 73' preamp to try, but can't afford that luxury right now.
I'll try to tame the edges on that vocal a little and see how it goes.
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Post by mobeach on Apr 19, 2015 7:51:54 GMT -6
For some reason it reminded me of Eddie and the Cruisers, good voice though! I'd like to hear Man of Constant Sorrow, I know Union Station didn't write it but I love their version.
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Post by jcoutu1 on Apr 19, 2015 18:20:55 GMT -6
Great video. Cool to see the conductor and full band laying it down. They don't make em like they used to. |
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Post by Ward on Apr 19, 2015 19:17:30 GMT -6
I can find NO FAULT whatsoever in what I'm hearing. That vocal is PERFECT. And you can tell there was a little bit of "let's go for that Sun Records Vocal Sound" going on in the production meetings.
Man, this is just bee-you-tea-full!
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Post by Martin John Butler on Apr 19, 2015 20:32:15 GMT -6
My ears perked right up when that vocal came in. Guy's just a great singer. He sounds like he's got some skin in the game on this one.
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Post by Martin John Butler on Apr 20, 2015 6:54:55 GMT -6
Glad you enjoyed the video jcoutou, it's a great reminder of what it takes to get a great vocal sound, and reminds me I've got to work harder to get my own vocals to a better place. All the tricks of the trade can make you lazy, ( vocal tuning, compressors, etc.), and I'm guilty as charged.
I must say that after working hard on pitch correction on many of my tracks, I settled on using none at all, it just sounded weird to me after a while.
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