chris liepe here with rob zombie isolated vocals and more we're gonna be talking a lot
about vocal performance and vocal production a lot of what you really love about this song
and what i've loved about this song for years and years is the vocal production
taking vocals that are really quite basic but have a lot of attitude and making them sound
really good but before we get into the isolated vocals i want to play a snippet from a live
performance that rob zombie does of this song so you can get a sense for his very everyman approach
what you hear in this video and what we go through and what i start demonstrating in
terms of production and evaluating his tones and textures should really encourage you if
rob zombie can do it i can do it you can do it it's not difficult you just have to know
how to balance certain things i guarantee you you'll be able to do this stuff with your voice
dig through the ditches this is basic lifting something heavy high placed vocal distortion
compression based vocal distortion dig through the ditches and burn through the
and we can practice placing it in different places to get different textures out of it
that's really all he's doing he's talking like this hey hey listen a little bit more
bringing it up like that now he doesn't even do that as much in the studio recording
but bringing up the the pitch while relying more and more on his compression-based
false card engagement now there's this aspect of vocal break that he brings in
in certain parts as well this isn't just dragula that's a little too tame drag you
dragula dragulo hear my voice cracking a little bit as i play with that vocal break
we can add more compression to eliminate those cracks as we're dialing in the airflow balance
and our false chord squeeze psy dracula dracula and we can bring in that sort of extra grit here
and there now let's go to the isolated vocals remember this is this is pretty one-dimensional
there's not a lot of range there's not a lot going on other than what i just said
the real magic is what the production and layering does that we uncover in these isolated vocals
if you'd like more help dialing in some of these things with your voice
click the link below and join my free course and yes i work with people with vocal production and
recording the voice as well now listen dad i am the pool training from the fool we can't want
you need nowhere as you bleed huh there's lots of doubles listening on and there's slightly
different textures going on there's panning going on dead i am the rat feast upon the cat
dead i am the rat dead i am the rat he's got this ah almost lane staley sort of approach
with extra grit going on i am dead i am dead i am the rat feast upon the cat tinder is the fur dying
what i'm hearing in that section is we've got a center guy and we've got a group maybe doubled
on both sides or maybe just one here one here one here gives it a wide
approach a wide sound and he's also able to vary his performance very slightly very his
tone very slightly listen again here dead i am the rat feast upon the cat tender
he's got that and then out here i hear it a little cleaner dead i am the rat dad
i am the rat dead i am the rat dude i am the red in the center and then a little bit more
nasal and a little bit cleaner out i may change my mind as we listen a little bit more to this
but i definitely hear different textures going on in different places okay now listen right here
we introduce lower layers to a gruffer sounding chorus voice it's this gang of vocalists
listen his posture there do it baby
do it baby much more nasal he he just got done with burn through
interesting that even though he's a pretty static
performer in terms of vocal tone it's not just the effect that's on there that's a different approach
that he's using right there dig through the ditches and burn through the witches and slam
in the back of my dracula through the ditches and burn through the witches and slam in the back of
my dragoon notice a little bit darker and beefier on that second one dig through the ditches and
dig through the ditches and burn through the witches
do it baby do it baby
dig through the ditches and burn through the witches and slam in the back of my drag do it baby
do it baby you see get the right attitude and the right approach over a very limited amount of notes
you can create textures and place things in slightly different ways and vary your attitude
vary your approach in slightly different ways each track and it creates this wonderfully aggressive
produced yet raw sound that's what we love about this era of recording and the simplicity of this
song now what i was doing wasn't exactly like what he was doing but it's pretty close and it
opens up all sorts of inspired things that i can try on other songs and other performances
and other vocal production projects by going through this type of examination and an exercise
there
burn whiney the witches and slam in the back of my drag your lap dig through the ditches and learn
through the witches and slam in the back of my jaguar
like how they band limited that at the end that's cool hopefully you enjoyed my tinkering
singing and analysis leave more comments let me know what other videos you'd like me to do
join my free course if you haven't already we'll see you for more