Tips For Recording Vocals

Sound and Recording
B. Thomas Cooper
Editor

When it comes to recording vocals, misconceptions abound. So many talented singers, so little dependable information. We are all instantly capable of recognizing a strong vocal performance, but what goes into capturing that performance usually isn't so obvious.



It all starts with a good singer and a good song. From there, choose a reliable microphone. Many engineers prefer using large diaphragm condenser microphones, but I have no preference. After thirty years of intensive studio experience I have learned to rely on the vocalist, not the microphone. While working as a staff producer at the world famous Power Station Studios, I had at my disposal nearly every quality microphone imaginable. One quickly learns not every vocal should be captured with an expensive condenser or ribbon mic. Think hard about what it is you're trying to accomplish. Feel free to experiment.

Remember, good microphone technique and proper singing habits will profoundly effect your vocal performance. A microphone can only capture what you produce. Once the performance has been captured, it can be enhanced through various means, including reverb, compression, etc. but all the reverb in the world will not drown out a bad performance.

Singers tend to be a finicky lot, a fact I can personally attest to. Still, no two vocalists are alike. Do whatever it takes to make the singer comfortable and confident. A good headphone mix is crucial. If you can't hear what your doing, you stand little chance of doing it well. I can honestly say the Power Station had the best headphone systems I have ever experienced. It is little wonder to me why the studio produced so many hit records.

From here, things get somewhat slippery. A producer like Terry Date will not approach a vocal for the Deftones in the same manner Jim Steinman might approach a Meat Loaf recording. Even at the highest levels of the industry, approach can be radically different.




Depending on the vocalist, an engineer may determine it necessary to use a ‘pop screen’ or ‘wind screen’. The purpose of this device is to soften the ‘sibilance’ or hissing noises associated with singing. It might also prevent you from spitting into an expensive microphone. The distance one should sing from the microphone depends on a number of variables. Again, think it through, and don’t be afraid to experiment.

Unless all indications suggest to the contrary, go with the flow. In other words, don't rock the boat. Become a part of the process. Learn all you can about recording, and keep an open mind. A strong vocal track can make or break an otherwise average recording. It is our goal to recognize the difference.

Submitting Your Demo to a Record Company or Producer

Sound and Recording
B. Thomas Cooper
Editor

It's the dream of every aspiring musician. Whether one is a member of the hardest working club band in town or the next fresh face on American Idol, rest assured they long for a crack at that mythical pot of gold, the recording contract.

But what exactly is a recording contract? If you just shrugged your shoulders you answered correctly. You see, there are as many types of recording contracts as the mind can imagine.



As a staff producer for Power Station Records, one of my duties was finding and developing new talent for the label. In the music industry this is usually referred to as A&R, or Artist Development. The larger record labels may have several persons working A&R. None of them think alike and thus each may specialize in a specific genre. Furthermore, just because one guy in the office hates your new demo doesn't mean everyone else in the room feels the same.

A motivated musician learns quickly to become a resourceful musician. The old clich that one gets but a single chance in this business was not true twenty years ago and it's not true now. If you really want it bad enough, you will do whatever is necessary to bring your talent to the attention of the industry.

Although some might wish you to believe otherwise, record companies are not magical entities controlled by super-humans. They may sometimes appear larger than life but behind the curtain the man pushing the buttons needs you as bad as you need him. Believe me; if records companies thought they could make their millions without developing new talent, they would have attempted it long ago. Without you, the talent, the entire faade that is the music business, would crash to the ground.

Try not to feel intimidated by the scope of your endeavor. Surround yourself with equally talented people and learn everything you can about your craft. When approaching a record company or a producer with your demo be confident and be prepared. No-one expects you to hand them a finished record, but if you don't take your craft seriously, why would you think these individuals would take you seriously? Be sure you present yourself in a professional manner. Hire a reputable photographer and be prepared to hate every single photo. Like it or not, repeat the afore-mentioned process until the desired results are obtained. Having a friend or family member shoot your photos is generally not a good idea, unless of course this person happens to be a photographer.

Find some-one to write a bio that doesn't read like a bad book report. You really only need three or four paragraphs. Go light on the clichs, stuff like talent shows and battles of the bands. Be sure to have your contact information at the top of the page and be absolutely certain your contact number appears on the actual cd itself, as it is not uncommon for the cd to become separated from the jewel case.

Here comes the fun part.

Once you have your package organized and ready for presentation, I want you to pay a visit to your neighborhood office supply. Ask an employee to escort you over to the 91/2 X 121/2 clasp envelopes.
Select the most brilliant solid color available, like bright green or orange.

You see, somewhere within three point range of the A&R persons desk is a large cardboard box or plastic bin filled to the brim with demo packages, many which get neglected for no better reason than because it's lost in the pile. I always recommend you contact the person you are sending the package to, and let some-one know it's on the way. You should always follow up with a phone call as well. E-mail is nifty, but in this instance, it's apt to be ineffectual. Don't ever assume anyone on the receiving end will have any idea where your package went. This is where the large, brightly colored envelope pays off in spades. It's infinitely easier to pick out of the pile.

It is true that many of the larger record companies don't accept 'unsolicited materiel' but what does that mean, really? Truthfully, it makes good business sense for these behemoth companies to adapt such policies, as it limits possible copyright disputes. Don't let this minor little speed-bump deter you. Fear not, brave heart, there are limitless avenues one can pursue. Once again, I implore you to take yourself and your craft seriously. The best advice I can offer is to do your homework and do it well. Don't focus your energy on landing a record deal. Instead, I suggest you prepare yourself to be ready when opportunity comes knocking.

Go Session Cat, Go!

Sound and Recording
B. Thomas Cooper
Editor

So you want to be a session cat'.
Way cool, daddy-O! After all, those cats just may be the coolest musicians you'll ever work with, even cooler than the big stars themselves.



What's so cool about being a session cat, you ask? Well for starters, good old fashioned professionalism goes along way in this business. It's not about how many notes, or how many decibels, or even how agro' you may look with that new tattoo on your forehead. Being a session player requires a disciplined attitude toward your craft, and a level of musicality usually not appreciated by the average player. It means showing up early and being well prepared. It means listening to the ideas of the artist or the producer. Most importantly, it means learning to listen to music in a whole new way.

A great session player always plays what is right for the song. A drummer plays for the pocket and the bass player lays down the groove. I can't stress how important it is to build upon a theme, not on top' of it. As a staff producer for the legendary Power Station Studios I was fortunate to work alongside some of the most sought after session players in the industry. I needed only a few minutes to understand why they were the go-to guys,
because they had earned it.

Ego is the killer of all good ideas, and seems to prey hard on musicians. When at all possible, leave yours at home. Instead, show up at the session with an open mind. A bad attitude will not impress the producer, nor will drugs or the like enhance your playing. Show up ready to work. Making music should be fun, but business is business. Stay focused. Learn all you can about your craft, and by all means, enjoy the experience.

Taking Song Lyrics Literally

Sound and Recording
B. Thomas Cooper
Editor

Other than love, music may be the closest thing to real magic most people will ever experience. A song can lift us up or bring us down, inspire us, or maybe just help us fall to sleep at night. Music can be a very personal experience, or shared by thousands.

As a professional musician and songwriter, I find that my opinion often falls from the fray, as I neither adhere to, nor do I encourage reliance on a formulaic approach to lyrics. Instead, I prefer to concentrate on the essence of my song-craft with the understanding that the lyrics are an integral aspect.

Cryptic messages or entendre hidden within song lyrics are certainly nothing new. For centuries, many found this to be the safest way to express political or religious dissent. The Mother Goose Rhymes are a classic example. Some lyrics rely on the nonsensical turn of a phrase. A particular rhyme scheme should be guided by the muse, and little else.

Of course, each song should be approached individually. If your goal is to write a hit song, the rules begin to get slippery. Obviously, the lyrics for a dance number should reflect the spirit of the mood. One can't be afraid to "get down and boogie oogie oogie" when that is what the song calls for. By the same token, one shouldn't ignore the value behind lyrics like the overtly pedantic "The Wreck of the Edmond Fitzgerald".

When writing for myself, I always write what I feel, and for me, the little twists and turns are all part of the puzzle. This of course, explains why you have probably never heard my records. Legendary record producer Tony Bongiovi likes to describe hit songs as "Cheeseburger Music", easy to identify with, and easy to digest. The more twists and turns you throw in, the less your chance of connecting on a grand scale.

Still, where would we be without lyrics like "I am the Walrus" or "Gabba Gabba Hey"? Both, although seriously stilted, represent delicious song-craft. There are no rules that can't be broken. Don't be afraid to challenge yourself.

I am by no means suggesting you find a way to excuse bad ideas. Settling for less than your best will not bring lasting satisfaction. Push those lyrics hard, and then push them a little harder. Be brave and be diligent. Make those words count.

Learning to Avoid Damage to Your Voice

Sound and Recording
B. Thomas Cooper
Editor

The human voice is a unique and complex musical instrument. It is my principle instrument, and one I have spent years learning to master. Although I play many instruments, it was always my voice people wanted hear. Try as I might to establish myself as a respectable instrumentalist, there was always someone with better guitar chops, but a strong vocalist was and remains a rare commodity.

I love to sing. I cannot calculate how many hours I have spent singing. I sing on stage, I sing in the studio, rehearsal and yes, sometimes I sing in the shower. (try that with your electric guitar). It seems obvious then that I would want to learn everything available about my instrument and my craft, don't you agree?

Sadly, many young singers overlook the value of learning more about themselves. Many singers, especially those in the rock or punk genres, fear such information will somehow taint the authenticity of their art form. Oh contraire, ye of bruised larynx. In the event your new snare drum should take a nasty fall down a flight of stairs, it can usually be replaced with little difficulty. Your voice, on the other hand, cannot be replaced so easily.
Damage your throat and you risk your dream.

Don't think I'm not aware of the nerd quotient. I realize how ridiculous those ads look, the ones touting vocal technique. I get queasy every time I see one. Here's my advise get over it.

Mozart took piano lessons and Michelangelo took drawing lessons. There are no good reasons why a singer shouldn't seek out professional vocal training. I can't stress how important this is to anyone considering a career as a singer.

Submitting Your Demo to a Record Company or Producer

Sound and Recording

B. Thomas Cooper
Editor

It's the dream of every aspiring musician. Whether one is a member of the hardest working club band in town or the next fresh face on American Idol, rest assured they long for a crack at that mythical pot of gold, the recording contract.

But what exactly is a recording contract? If you just shrugged your shoulders you answered correctly. You see, there are as many types of recording contracts as the mind can imagine.

As a staff producer for Power Station Records, one of my duties was finding and developing new talent for the label. In the music industry this is usually referred to as A&R, or Artist Development. The larger record labels may have several persons working A&R. None of them think alike and thus each may specialize in a specific genre. Furthermore, just because one guy in the office hates your new demo doesn't mean everyone else in the room feels the same.

A motivated musician learns quickly to become a resourceful musician. The old clich that one gets but a single chance in this business was not true twenty years ago and it's not true now. If you really want it bad enough, you will do whatever is necessary to bring your talent to the attention of the industry.

Although some might wish you to believe otherwise, record companies are not magical entities controlled by super-humans. They may sometimes appear larger than life but behind the curtain the man pushing the buttons needs you as bad as you need him. Believe me; if records companies thought they could make their millions without developing new talent, they would have attempted it long ago. Without you, the talent, the entire faade that is the music business, would crash to the ground.

Try not to feel intimidated by the scope of your endeavor. Surround yourself with equally talented people and learn everything you can about your craft. When approaching a record company or a producer with your demo be confident and be prepared. No-one expects you to hand them a finished record, but if you don't take your craft seriously, why would you think these individuals would take you seriously? Be sure you present yourself in a professional manner. Hire a reputable photographer and be prepared to hate every single photo. Like it or not, repeat the afore-mentioned process until the desired results are obtained. Having a friend or family member shoot your photos is generally not a good idea, unless of course this person happens to be a photographer.

Find some-one to write a bio that doesn't read like a bad book report. You really only need three or four paragraphs. Go light on the clichs, stuff like talent shows and battles of the bands. Be sure to have your contact information at the top of the page and be absolutely certain your contact number appears on the actual cd itself, as it is not uncommon for the cd to become separated from the jewel case.

Here comes the fun part.

Once you have your package organized and ready for presentation, I want you to pay a visit to your neighborhood office supply. Ask an employee to escort you over to the 91/2 X 121/2 clasp envelopes.
Select the most brilliant solid color available, like bright green or orange.

You see, somewhere within three point range of the A&R persons desk is a large cardboard box or plastic bin filled to the brim with demo packages, many which get neglected for no better reason than because it's lost in the pile. I always recommend you contact the person you are sending the package to, and let some-one know it's on the way. You should always follow up with a phone call as well. E-mail is nifty, but in this instance, it's apt to be ineffectual. Don't ever assume anyone on the receiving end will have any idea where your package went. This is where the large, brightly colored envelope pays off in spades. It's infinitely easier to pick out of the pile.

It is true that many of the larger record companies don't accept 'unsolicited materiel' but what does that mean, really? Truthfully, it makes good business sense for these behemoth companies to adapt such policies, as it limits possible copyright disputes. Don't let this minor little speed-bump deter you. Fear not, brave heart, there are limitless avenues one can pursue. Once again, I implore you to take yourself and your craft seriously. The best advice I can offer is to do your homework and do it well. Don't focus your energy on landing a record deal. Instead, I suggest you prepare yourself to be ready when opportunity comes knocking.

How To Copyright Your Songs

Sound and Recording
B. Thomas Cooper
Editor

For some inexplicable reason, many musicians are anxious about copyrighting their musical compositions. Anxiety is fear of the unknown, and indeed, it's amazing how little the average musician knows about the subject. Here's the low-down, my friends it's really not that scary.

Copyright forms can be obtained free of charge from the US Copyright Office, located in the Library of Congress. Needless to say, but I will anyway, they also have a website, and the last I knew the forms could be downloaded for free. You don't need to write out the notes or any of that tedious stuff. That went out way back in the seventies. Now all you do is fill out a simple form identifying the song and the composer(s), place a cd of the song into an envelope along with the form, and mail it to the Copyright Office. Oh, and there is a nominal application fee of $45.00 (payable to the copyright office), but don't let that stop you. It's worthy every penny.



Now I know none of you really want to hear this, but I strongly suggest you not rely on the so-called poor man's copyright', as it turns out to be more folklore than fact. Having worked on the inside of the industry for many years, I am not aware of a single example of where a poor man's copyright held up in a court of law. It is generally just a myth. Furthermore, I doubt very seriously you are so poor you can't afford a few bucks to protect your writing.

Send your package to:
Library of Congress
Copyright Office
101 Independence Avenue, S.E.
Washington, D.C. 20559-6000

Here is the website address for the US Copyright Office:
http://www.copyright.gov/

Sound and Recording - Achieving a Brighter Vocal

Sound and Recording
B. Thomas Cooper
Editor

Let me guess,
Your lead singer doesn't seem bright enough. Chances are, he isn't.

Don't be too hard on him. It may be no fault of his own. Try as he might, his vocals simply won't cut through the dense fog rolling from the rhythm section. It's a common problem, and one I'll attempt to address, although I'll readily admit a little trepidation.

Much is dependent on the sound pressure levels in respect to the timber and projection abilities of the vocalist. Obviously, a live performance presents a considerably different set of variables than that of a studio recording. The two are as different as they are the same.

A brighter' vocal sound can be achieved a number of ways. Start by choosing an appropriate microphone. Unfortunately, what may seem the right mic tonight may not seem right tomorrow. When changes occur, even subtle ones, it often becomes necessary to switch microphones. An aware engineer may even determine to swap microphones from one song to the next.

Good microphone technique and proper singing habits will profoundly effect your vocal performance. A mic can only capture what you produce. Once the performance has been captured, it can be enhanced through various means, including reverbs, compression, etc. but all the reverb in the world will not drown out a bad performance.

A bright' vocal will tend to cut through the mix, like a megaphone, or the p.a. system at the racetrack. However, it is worth noting that a bright' vocal risks becoming strident, or worse a shrill distraction, plagued by incessant feedback. Sound familiar?

The cure requires patience and practice. Learn all you can about your craft,
and don't assume you know all the answers. Just keep plugging away, and before you know it, you'll be performing to sold out crowds of adoring fans, at which point you may conclude your vocalist seems a little brighter than usual.

Welcome to Sound & Recording

Welcome to Sound & Recording

The blog starts now.
Join us as we navigate the seas of sound and the realities of recording in an ever changing environment. We hope to keep it real, and we hope you find us useful as you grow with us…
Musically speaking, of course.


Dial us in from time to time, and please tell a friend. An informed musician is a happy musician.

Chow for now,
Brad