Songs and Sonics

Yes, Songs and Sonics is still on hiatus. It’ll be on hiatus for quite some time.

However, the idea tank is being refilled. That is, I’m making notes of the tricks, techniques, and gadgets which have been helpful while making The Simple Carnival’s second album. The plan is to share those things with you once the album is done.

In the meantime, there’s kind of a mini blog over on The Simple Carnival’s Facebook page. I’ve been providing short, regular updates about writing and recording the new album. It’s the closest thing I have to an active blog at the moment.

If you’re not a Facebook user, you can still view and bookmark the page. If you are a Facebook user, won’t you be a fan?

Hope to see you there.

Despite the fact I haven’t posted anything here since last December — and the possibility that I won’t be posting anything here again until next December — Songs and Sonics is not dead. It’s asleep.

Long story short: I’ve been occupied with a multitude of non-music-oriented things (aka “real life”). Not only that, but I’ve been using the one or two hours of free time I have every day to work on the next Simple Carnival album. Blogging just doesn’t fit into the equation right now.

My apologies go to the couple of artists whose interviews are still unpublished. Your interviews will be on this site — eventually.

In the meantime, if you’ve just discovered Songs and Sonics, be sure to check out the well-stocked archive of interviews and articles. Thanks for reading!

“In a lot of ways, everything is sort of judged by the voice.” -Kevin Barnes from Of Montreal

Want to capture better-sounding vocal performances in the studio? (OK, that’s a dumb question. Who doesn’t?)

In this article, I’ll share three tricks I’ve discovered for singing solid lead and background vocal overdubs. These tricks use simple psychoacoustics to coax the best performance out of a vocalist.

Note that I’m not going to talk about vocal technique, microphone placement, or anything like that. I assume you already have a basic understanding of these things. In fact, I’m going to assume all of the following:

You’re working with a singer who can generally sing in tune, and that singer might very well be you.

You’re capable of capturing decent-sounding vocals onto your tape recorder or DAW.

You’re serious enough about recording vocals to own a pop filter.

You have a hardware mixer.

You know what an aux send is and you’re not afraid to use it.

You despise AutoTune and would rather capture a good performance in front of the mic instead of manufacturing one at a later date.

You don’t have to be Stevie Wonder to use these tricks. In fact, these techniques work best with “average” singers.

I’ll be the first to admit I’m no Stevie Wonder. I’ve used these tricks on just about every Simple Carnival song with (I think) pretty good results. Try them on your voice to see if it doesn’t put your vocal tracks in a better light than usual.

This trick is for lead vocals.

I won’t go into the specific implementation of this trick, as it will depend on the gear you own. But this is where you want to go.

First, get a mono mix happening for all of the instruments in the song. That way, when you listen to it through headphones, it’s happening in “the middle of your head” and sounds incredibly bland. Even the reverbs and chorusing effects in the song need to be in mono.

Sing into the mic, but find a way to split the signal. Take one feed and send that into your tape recorder/DAW. Take the other feed and find a way to put big, spacious stereo reverb on it — way more reverb than you’d ever use in the final mix, but not so much that you can’t comprehend what’s going on.

Don’t have any noticeable predelay on the reverb. This rules out using most native DAW software-based reverbs, which typically add some latency to a live signal. So in most setups, the reverb should come from an external hardware unit.

No matter where you get your reverb from, be careful that it’s not adding a subtle chorus-like effect, as that will give the singer slightly incorrect pitch information.

This trick does a couple of things. One, because your instrument mix is in mono, you’re not distracted by mix elements that are panned in the stereo field. This allows you to hear the reverb clearly, because it is very much in stereo.

Two, because you have a long reverb, you can listen to the end of your phrases when you sing and determine how “on” you were. This is important.

I’ve found that if a vocalist’s pitch is a bit off at the beginning or in the middle of a phrase, the listener will usually overlook that. But if the vocalist is flat at the end of a phrase…. ugh. The listener then perceives that phrase as being out of tune. (Disclaimers: This is dependent on the style of music you’re recording, it doesn’t apply if you’re Bob Dylan, etc.)

This trick is for background vocals. Again, I won’t go into the specific implementation, just where you need to end up.

First, get the mono mix happening for all of the instruments on your song, just like Trick #1.

Now record your first background vocal exactly like how you would record a lead vocal using Trick #1.

After you get a performance you’re happy with, take that first background vocal and pan it all the way to the left. (Or right, it doesn’t matter.) Don’t put any reverb on it. Have it up loud enough so you can anticipate your breaths and syllables.

Record your next vocal, using Trick #1 (heavy stereo reverb on the vocal you’re singing).

You can continue stacking duplicate background voices this way. I typically use three voices for each part of a harmony, because three voices are the minimum for masking slight intonation problems.

Why three?

It’s the same reason orchestral arrangers tend to use three or more violins to play a single melodic line. Two well-performed violins playing the same note will often create a flanging sound; three or more and your ear becomes “confused” in a good way. Your ear only perceives a pleasant, natural “chorusing” sound. (Not that two violins/voices aren’t useful — they are! But it’s a different sound. I’ll often record lead vocals with just two voices.)

Don’t take my word for it — try it for yourself and see which your ear prefers for background vocals.

But when it comes time to sing another part of the harmony…

…it helps to keep all the “old” harmony takes in one ear and the “new” harmony takes in the other ear. And lower the volume of the combined earlier harmony part.

This technique, like Trick #1, allows you to clearly hear your pitch because of the reverb. But because you have a previous good vocal tickling one of your ears, it’s easy to be in sync with your previous performance, and it’s easy to tell when your pitch is “on” and blending well.

Some days, everything in the studio happens efforlessly. You’re in a state of flow. You’re in the zone.

On other days, nothing goes right. That’s when it’s time to pull out Trick #3. This trick almost never yields results as good as a day spent in the zone, but it’s better than accomplishing nothing at all.

Use Trick #1 and “Frankenstein” a lead vocal part together. When I say “Frankenstein,” I mean do whatever you have to do to get an acceptable performance: sing one line at a time, punch in individual words, or use — gasp!!! — Autotune.

Once you have your technically OK but uninspired lead vocal part, use Trick #2 and pretend like you’re recording a background vocal part. That is, let the Frankenstein part be your security blanket. Follow along with your breaths and syllables. Once you do Trick #2 enough, nailing a lead vocal like this is easy — it’s like being on autopilot.

When you finally have an acceptable performance, delete the Frankenstein track.

I did a vocal session recently where I used Trick #1 and Trick #2 extensively. I also did some variations to these tricks, like recording a keyboard part to help learn a harmony line. Here is a mp3 illustrating Trick #1 and Trick #2 in action.

This mp3 contains the following excerpts from the session, recorded directly from my headphone feed:

1. The first vocal overdub of the first harmony part, using Trick #1. Note the large amount of reverb to help discern pitch information.

2. The second vocal overdub of the first harmony part, Trick #2. Note how the first take is panned far left and is completely dry.

3. Three vocal overdubs for the first harmony part panned far left and completely dry. A Casio keyboard guide part is being recorded through the vocal mic to help learn the second vocal overdub part.

4. The first vocal overdub of the second harmony part. All three overdubs of the first harmony part are panned far left, are completely dry, and are lowered in volume. (Actually, they’re a little too low — I was recording quickly and didn’t feel like correcting it.) The Casio keyboard guide part is panned far right.

5. The second vocal overdub of the second harmony part. The first harmony overdubs are still panned far left. The first overdub of the second harmony part is panned far right, along with the Casio keyboard guide part.

6. Three harmony parts with three vocal overdubs each panned dead center with no effects, no EQ, and no compression.

And what is the “preamp test for Songs and Sonics?” Stay tuned…!

Four months ago, I announced a remix contest for my song Really Really Weird. The original multitracks were put online, and I encouraged remixers to mangle things to their heart’s content.

The entry ranked the highest by a panel of seven judges and myself would win the grand prize — one of the keyboards I used on the song, a circuit-bent Casio SK-1. Three runner-ups would win a Girls Aliens Food CD and a Girls Aliens Food t-shirt.

Well, something kind of funny happened along the way. Y’see, there were a lot of interesting remixes, and there was at least one thing I liked about each remix. So everybody who submitted a remix — but who didn’t end up in the top four slots — was given a free digital download of the Girls Aliens Food album.

Thanks to the judges (Mathieu Bournazel, Rob Gibson, Pea Hix, Missy Kulik & Raoul De La Cruz, Mike Langlie, and Matt Williams) and to everyone who sent in their mixes. It was fun to hear new interpretations of a song that I was very familiar with; hope everyone else had fun too.

So without further ado — the remixes!

And everyone else… (Don’t let the fact they don’t have a contest ranking next to their name throw you — there’s some good stuff in here!)

Note to podcasters: All of these tracks are released under the Creative Commons Attribution-Noncommercial 3.0 United States License, which means you’re free to use them in your podcast as long as you give proper credit.

Just wanted to let you know that there will be fewer updates on Songs and Sonics for the next month or so.

No, I haven’t lost interest in blogging — in fact, I’m working on some extremely cool things that I can’t wait to tell you about.

What’s going on is, well, I’ve got this little debut album called Girls Aliens Food which will be released on October 1st. My internet time is being (happily) sucked up by getting things in place for the release and interacting with the radio/podcast/press people who will hopefully spread the word about the album.

I’ll be updating The Simple Carnival’s MySpace page, MySpace blog, and web site often, since that’s where my attention will be. Also, the Really Really Weird remix contest is in full swing (you can check out the latest entries here).

But I’m not going to let Songs and Sonics rot. It’s just going to take a short nap. It’ll be back — with a vengeance — when things are a little less busy around the Boller household.

If you want to be updated when something new is posted here, please sign up for the mailing list (look in the right hand column — you might need to scroll down to see it).

In the meantime, thank you for your patience… And don’t forget to order your very own personally autographed copy of Girls Aliens Food! (Sorry — I’m permanently stuck in marketing mode this month…)

Well, it’s taken multiple crazy web server issues and wild goose chases to locate old backup DVDs, but it’s finally here — the Really Really Weird Remix Contest!

Almost everything you need to know about the contest can be found on this page:

Note that there are some new tidbits on that page, like what criteria will be used for judging your remix. And here’s where you can download the raw multitracks.

However… once you download the tracks, there’s some additional information you ought to know about the tracks themselves.

The files that are part of the second mix have the prefix “midsection_”. It’s recommended that, at least until you’re familiar with the tracks, you make two different mix sessions and work with each half separately.

In the Girls Aliens Food version of the song, the main song mix is interrupted at around the 2:57 mark with the midsection mix. When the midsection mix ends, the song cuts back into the main song mix, at the main song mix’s 3:17 mark.

The “door slam” file is tacked on to the ending of the album mix. The door slam is not meant to go at the beginning of the mix, as it would be if you imported all of these tracks into a DAW; it’s meant to be inserted wherever the song ends.

Naturally, you are not expected to stay true to the original mix (in fact, it is encouraged that you don’t) — but this information is meant to help make sense of how the tracks were constructed, should you want to use the original mix structure as a starting point.

Most of the tracks are mono, though a few are in stereo. The tracks in stereo are marked with the word “(stereo)” at the end of the name.

What is the BPM for this song? Good question. The Me and My Arrow EP and Girls Aliens Food album are the first Simple Carnival releases where I used a click track. However, I didn’t want to make things sound too slick — I wanted to keep a connection with the lo-fi sound that was established with the previous EPs. So I varied the tempo of the click track very, very slightly, speeding up or slowing down things in the way a conductor might lead an orchestra.

So what does this mean?

It means your job as a remixer just got a lot trickier. Although these tracks line up with one another in a DAW, they don’t collectively line up with a steady tempo grid. And I have been unable to locate the original Pro Tools session that I used for recording the song, so I can’t tell you the initial BPM. By the time I imported the tracks into Reaper for mixing, I paid no attention to the BPM or grid anyway.

If you have any questions about the files, please post them as a comments on the Really Really Weird Remix Contest page or as a comment at the bottom of this post.

Good luck with your remix!