Song they you for the things you said and it, but that’s song, just don’t you? I got problems than, Okay.
So sorry about the Crasher. Roonie sounds like Z last. Now that’s really nice. She’s a great singer. She was in the studio, vocal a trek about a month ago, and I was just so blown away with her vocals.
This actually is, a singer who’s a writer called, Sarah, and she’s really, really great. I think, her A Tone is really cool. It’s very, very modern sounding vocal. let’s see if we can get, play a little bit more of the chorus and see if this works. You and I got problems worse than I lay my down on the fly because it’s over, baby.
The ones winning. Anyway, the way we, Okay, so, this is probably my, I think my favorite song that I wrote on this last trip to la This was written with Jamie Hartman, who wrote A Human for Dragon Bowman, and that’s written a whole bunch of great songs, and with, Sarah Barrios, who’s, kind of quite a new writer in a way, but she’s really good.
So this came from this backing track that I’d done, that basically helped us write the song, which is like one of the LA Star ideas.
Yes, the Widley sound. So shall we go through this? A lit look, track by track and you can have a little listen to how I’ve, how I’ve done this. okay. No, not, not Sarah. No, Sarah Barrios not, s slightly different. So, so yes, let’s, let’s take it bit by bit.
So this is a stripped version of the song. There is a version of the song that has like drums and stuff on there, which we actually did the vocal too, but then I stripped everything off, which, which was kind of, because I just thought the song felt more emotional without anything on. So basically let’s, let’s talk about the vocals because I know everyone here is very interested in getting the best vocal sound they can.
so this is what I’ve done. I’ve treated, this is called Molting Out the vocals. A lot of producers do this, and it’s a really useful way of changing the style and the eq and the compression settings between different sections of the song. So there’s not a lot going on in this song. There’s not a lot of parts, but you can see that there’s a ver there’s huge amount of plugins on the vocal.
we’ve got Melaine, which is helping with the tuning. we’ve got a dsr, we’ve got this Maserati vocal plugin, which I like, which was actually just on in the basic, the basic tracking and we kept it on. Then we got a multi-band compressor and what that is doing is taking some of the harshness out, the vocal between four and 5K, where a lot of vocals sound a little bit raspy and Sarah’s vocals was no exception to that.
so then we’ve got an amazing plugin, which Greg Wells told me about, which is called Soothe, and it’s also multi-band compressor basically, but it’s specifically designed to take in the harsh now of vocals.
I dunno if any of you else find this is a problem, but what I find is that to get the vocals bright but not harsh is one of the biggest challenges of, of getting a nice vocal sound. So you want them to be bright and airy and grab the listener’s attention, but you don’t want them to be too raspy, and too gritty sounding ’cause it, it’s, it’s hard on the ears.
So what this does is it takes, takes some of that sound out of the vocals. then after that I’ve got a UAD 1176, which is a compressor, which isn’t doing very much. And then I’ve got a Tic eq, which is adding some bottom end weight to the vocal and cussing a little bit of the mid out.
Then this is unusual. I’ve basically got a tiny bit of a room on there, which is just making the vocal a little bit wider and just giving it a tiny little bit of space. Strange to put it this early in the chain, but it seems to work. So I like, I’m always experimenting and finding. Then I’m cussing a little bit of the bottom, end out the vocal and then I’ve got a little bit EQ dipping a little bit more out.
And then I’ve got little plate by UAD, which is a beautiful plate bugging, which as you can see, tiny, tiny amount in the vocal. Not much. The verse vocal is pretty dry, which I think makes it kind of sound cool and modern and in your face as well. So, you can hear how dry it is if I solo it.
It’s good to see your face again, Pretty dry. Certainly seems dry in the track, but it seems drier in the track than actually is It’s going see your face again. Okay, so obviously challenging as well to, you can hear a bit of his there, I’m not so worried about his oasis is first record.
A great example of this doesn’t really matter. A good song matters.
