Need some Vocal production tracking examples.

[glamacchia]

Vocal tracking examples.


I need some input and if you could sight some examples of the end result on tracking comping producing vocals from another producers / engineers point of view.


Can anyone name some female artists, in the rock, new alternative venue they have worked with whose final vocal track is a meticulously punched in, tweak and punch each word or sentence verses as an example the vocal only take of David Lee Roth of Running with the Devil circulating on the web. That is more the extreme opposite. Live with a punch or two during the solo.


I don’t mean cite a postproduction technique of a track like Chad Kroeger where the mid EQ is automated to give that subtle edge on certain words. I need to hear a finished vocal track that has more pieces than a Big Ben jigsaw puzzle but to my ears sounds like a conducive flowing performance that works.

FYI
I typically don’t work on a single track as punch! Stop! do it again.. Nope.. do IT again.. Nope accent only the T in do iT again.


Be Well

[MIDI Life Crisis]

You might also want to post in the recording AND the post production sections for a better response from the members.

RECORDING FORUM

POST PRODUCTION FORUM

[newrigel]

Interesting... hit record and go. If you have to punch over and over on something, maybe just staying in the practice room a bit longer till it's gelling might work if it's a completed work.
I can see if your just ad-libbing and writing as you go but if it's a completed piece of work... practice as much as you can and hit record.

[glamacchia]

Thanx for the input -

FYI this may be more of a mid life crisis for me perhaps trying to confirm what I know to be true. No body cuts vocals like this anymore. .. do they? My 'doubt' stems from an older artist in the studio who swears this is how her producer did her vocals in the 80's. Sing one line, one phrase rewind, hear it punch in, do the next.

FYI my mode of operatus - I leave, tell them to warm up while I grab a coffee.. OK I'm back let's hear one before I print. Now I have two complete tracks they don't even know I recorded.


Be Well

[MIDI Life Crisis]

Sing one line, one phrase rewind, hear it punch in, do the next.

Oh man, that is so ripe for musical and sexual jokes! Not to mention the most un-musical way of working I've ever heard of. Well, close anyway...

[FMiguelez]

...punch! Stop! do it again.. Nope.. do IT again.. Nope accent only the T in do iT again.

My 'doubt' stems from an older artist in the studio who swears this is how her producer did her vocals in the 80's. Sing one line, one phrase rewind, hear it punch in, do the next.

I'd be embarrassed to admit that, if I were her.

It's doable, I suppose, but what a HORRIBLE and boring way to work!

If I were a good singer, I wouldn't allow anyone to micro-manage how I sing like that...

And if I had a singer that required such a way of working, I'd thank him for nothing and politely ask him to leave. He/she would have no business being in the recording studio.

Sometimes I work with the singers at the phrase level at certain sections, to really have them give me a particular intention that I want... but working in little word-blocks like that, like building a little Lego house... no thanks!

Your described way of working is SO MUCH better!

[newrigel]

I have had times where I wasn't well rehearsed or I just couldn't click with it... punching sounded even worse because I didn't know what I wanted to do from the get go so each punch sounded like a totally different singer! The formants didn't jell, the inflection and character was all over the place. I find that when I just sing to the tune in my car or with a band loosing 2 quarts of water sweating, I seem to just find where I need to be in the material. Vocals are one of those things that you could be on one day and the next... well.

[sdemott]

I did something similar to that with a young, female pop "singer". The producer insisted on recording chunk by chunk and then assembling it later. I thought he was kidding...but he wasn't. It was mind numbingly boring. I never got a feel for the vocal track...even after hearing each phrase about 30 times.

Of course, the flip side of that was another young, female pop singer hopeful who was doing a demo EP. We did her tracks as complete takes. So much better all around. Of course, she was actually a good vocalist...which helps the cause in so many ways.

Sometimes I think some producers do more to screw up the vibe than to help the music really come alive.

[Frodo]

Sometimes I think some producers do more to screw up the vibe than to help the music really come alive.

Oh man. What you just said.

[Dan Walsh]

So, So, So, True.