You know, this thing about the key guys, this is just a tip that, that you should write down. Okay. Before you record whoever is gonna be singing the, on the demo or the, the record, okay? Have them sing it in the key that they think it is, then take it down a semitone, then take it down another semitone, and experiment with two or three semitone below the key that you think you’re in. And then two or three above it, or it might be more, and see the difference, because sometimes you can just get that little bit more passion if someone’s right on the break Yeah.
Of their voice. Where thinking, ah, you know, mine’s a like a, an F sharp or a g. is is pretty much where I’m, I’ve got the passion in Some, somehow it, sorry to interrupt, but sometimes you write a song and then suddenly you put it a different key and it feels like it’s more at home, almost like emotionally it feels like it connects a little bit more. So, what one thing I’m very careful of is in the studio, especially when I’m working with an artist, is that even this scratch mic, I’m trying to record it.
So let’s say suddenly they sing the best version of the song it’s ever gonna be, then I’ve captured that. So I’ll try and some, I’ll, I’ll have the speakers on, but they won’t be too loud. And if they’re recording in the room, sometimes singers are so relaxed when they don’t think they’re being recorded as the final thing that actually quite a lot of the recordings I’ve done with artists, I think with Tom Walker and with Maisie Peters, a lot of those recordings that made the record are the actual first time they’ve ever sung the song because it, there’s some emotional connection that’s there.
So yeah, the, the very basic thing is trying to get the key right and trying to get the tempo right. Obviously these things can be changed after even the vocals. There’s so much technology these days to, to, you know, to change the key and change the tempo. But I just feel as though it, it is one thing I’m very conscious of in a writing situation is like, okay, let, let’s spend 10 minutes trying it a little bit higher, a little bit lower, a little bit faster, a little bit slower.
It takes no time at all. And when you’re spending three or two or three days producing a track, those 10 minutes can save you a lot of time later on. Oh My god, they can save you so much production