Tag: Vocals

  • Touch In The Studio

    Touch In The Studio

    Come in the studio with me as I work with George Leger III at his Utopia Parkway studio to record the final vocals on my upcoming new single “Touch”. Get a sneak peek of what it’s like in the studio and working with a good friend from Canada who helps create some awesome magic.

    Find out who I got one of the guitars used on the song from. Figure out a particular guitar riff I play while waiting for George. Hint, it’s from an amazing guitarist out of Texas.

    Enjoy the video:

    YouTube player
    Transcript:
    We’re in Los Angeles. Taking off in a moment in the car. To get over to the studio. Time to start recording some vocals.
    Ok, here’s the humor. I’ve just rolled up to the parking lot of the studio where I’m recording with George Leger, over here, the third. He’s got sore feet. So, we’re walking in. About to get started with doing some recording and having some fun. Of course I’ve got to have some tea before I start yodeling out of my mouth. [yodel yodel] But it will be an awesome day of having fun in the studio. Enjoy. See you soon.
    Currently we’re working through some issues that George has with playing the mix back, before we get into the concept of me actually opening my mouth and making some more vocals. That are not just demo vocals.
    Bonus points to YouTubers who can figure out where that riff comes from.
    We got the mics all set up and what we’re gonna do is we’re gonna test out this particular setup to make sure it sounds, fucking brilliant. [fucking brilliant].
    Turn back the click on?
    Don’t you love that? That’s George’s dyslexia in action, right there.
    That’s Canadian speak isn’t it?
    Canadian speak, ha ha ha.
    Eh?
    Just for those out in YouTube land. This is a Parker Fly guitar.
    Yes, very nice guitar. Wish I had one actually.
    It was given to me by somebody that is very big in the independent music world. Or at least was at one point in time. He’s now kind of retired. His name is Mr. Derek Sivers.
    Derek Sivers, thank you very much for your contribution to this song. That we’re using with your Parker Fly, that is, well apparently it’s now my Parker Fly.
    We’re doing a little production work at this point. We’ve decided to nix the pre chorus, which you’ve already found out. And we’ve decided to nix some vocals in the chorus there were, uh, filling too many holes. After we do a bit more production work, we’re going to ad some ad libbers. Ad libbies. No? We’re not, we’re not doing any? Oh, cause there’s not enough holes. Not enough room. So much for ad libs.
    You know what they say about ad libs? Fuck ad libs.
    You say you want to try another octave higher. I’m not sure that’ll be overkill, but I’m certainly willing to try.
    Well then, shall I double the other choruses first?
    Ah, no. I’m just going to use this part for all of them.
    No, no, no.
    Yes, yes, yes.
    No, no, no.
    Yes, yes, yes.
    I don’t like cut and paste.
    Dude. I don’t care. This is not really that important.
    It is.
    fuckin prima donnas.
    I don’t feel like a prima donna, but thank you.
    You’re a fucking leo, what are you talking about.
    That doesn’t make me a prima donna.
    Yes it does.
    No, it just makes me king of the jungle. Or my jungle anyway.
    It has been an awesome trip. The vocals are done. It’s time to do the mix. Back to the studio. So long LA, it’s been fun being back. It feels like a slice of home. See ya on the flip side.
  • Pachinko Games Am I

    Pachinko Games Am I

    In the matter of getting the talent out and into the world, I have a little news about something I’ve done recently. I was asked to sing on a game soundtrack. I can’t tell you the name of the game, if I did, I’d have to kill you, then they’d kill me. Very James Bond 007 type of stuff. I can say it’s a game out of Japan and it’s the type known as Pachinko. Though I’ve never see a Pachinko game, I can say Pachinko games am I. Or at least my voice is.

    Oddly enough I’m getting known for doing vocals for games in that part of the world. It’s interesting. It’s fun. It can also be rough on the voice.

    The amazing march of technology allows the composers in Japan to Skype in to my studio. Where they can ask, watch, listen, and request for things as we’re recording the tracks. Going international thanks to video chatting!

    I will say the music for this game is a bit heavier than most of the music I’m known for. Plus it’s very much in the heavy video game style of borderline metal mixed with dub.

    When I’m allowed to give out the name of the game, I’ll happily post an update. Speaking of which, there is another game that I sang on a while back where I’m due to be getting the CD of the music very soon. When I get it in big hands, I’ll post about that one.

  • Finally Song Eighteen Is "I Miss"

    Finally Song Eighteen Is "I Miss"

    Doling out the news… That’s what’s happening. Since the last post about song seventeen, I’m now on the final leg of the preproduction stage. That’s the word finally song eighteen is “I Miss”.

    The song underwent a bit of a transformation. I changed the rhythm of the piano part. In a way it’s a bit more simplified. It also changes it from feeling too much like a song from the 80’s in it’s rhythmic value on the piano.

    Lyrically it has stayed the same. I’m positive they were right the first time.

    Vocally is where the most change happened. I’ve added an insane amount of vocal harmony. Think Queen, if you’re familiar with them. It’s going to be vocally HUGE. It will be interesting to see how it vibes out in the studio with extra singers on it. I’m thinking it will have somewhere in the neighborhood of 160 tracks of vocal harmonies. Big big big.

    There it is. The last song on the list for the new CD/release. Song eighteen is called “I Miss”. Now it’s a matter of hunting down that investor money. Once that happens, I’ll be heading into the studio and pumping out these tracks with pure awesomeness.

    Stay tuned for another update in a few days.