[MUSIC]
All right.
We're going to look at the first verse.
Okay.
We're going to get a little bit more introspective with this.
Look at the articulation,
look at places where we can sculpt the syllable a little bit,
maybe crunch the syllable,
pulsing glottal tones, [NOISE] that type of thing.
If we want to hear it moving into another section,
we can always refer to the scratch vocal,
like if you want to hear your vocal leading into another section.
But I think it'll be good for us just to focus on the verse.
Yeah. That sounds good.
Do you want us to start the song from the beginning or be like two bars before?
Maybe the first time,
start it at the beginning and then two bars for all the additional [OVERLAPPING]
That's what I was thinking also. Great call.
So this first pass, we'll start at the very beginning.
He'll start singing. Then after that, we'll start from bar eight.
Great. Ready?
Are you ready?
Yeah.
Here we go.
[MUSIC]
Good.
Back off with the mic about a half of an inch.
Okay.
Just to get you a little bit clearer.
You sound great.
I like your pitch.
I like your intention.
Let's try to crunch a little bit,
a few more syllables.
Okay.
I can hear what you were thinking about them,
and let's just try to look for a few more.
Okay.
Here we go. We're going to go from,
yes, playlist that. We're going to go from bar eight.
Okay.
[MUSIC]
Playlist it. Great. That's awesome.
Then next take, I need all those crunches,
and I need you to not rush the syllables.
Lay back. So I know that it's getting complicated now. [LAUGHTER]
Can I get that click a little bit louder? [NOISE]
They sound awesome. The takes sound awesome.
Thank you.
In editing, we can move things wherever we want to move them.
But it would be great if you could just lay back and give me that intention.
Yeah. So same emotion,
then lay back on the beat?
Yeah. You're swelling in to some syllables which is good.
I want to hear more [NOISE] like of a crunchy sound also.
Okay.
Not just a swelling sound but a crunchy sound on some syllables.
Okay. Cool.
Can we check click playback level?
We're going to check the click playback level for a second.
Sure.
[MUSIC]
Louder?
It's good.
That's good?
Okay. Here we go. From bar eight.
[MUSIC]
Stop. See how you did sitting?
Yeah.
That's how I want the first thing to sound.
Okay.
Let me see. Do the "do like that".
Even more, and overemphasize that [NOISE]
[MUSIC]
Yeah. Do it one more time. Yeah. You created another syllable here, "do".
But it's doing what I'm listening for, so I like it.
Okay. Cool.
Here we go.
[MUSIC]
Cool.
Good. Playlist that. All right. Do it again.
So now that you've got all the commands in your head,
just relax and emote them as they occur.
Okay.
You don't have to be really tight and focus on them.
I'm throwing a lot of it at you,
but just try to get through them.
Okay.
Here we go.
Are you hearing his M's pop?
[MUSIC]
Nice. Okay. So now you're over-articulating and over-emphasizing.
Right.
But it's good because now we know where that emotional level is.
So pull it back a little bit.
Step back from the mic about another half-inch. Yeah.
Okay.
Because we're just getting a few pops here and there.
[MUSIC]
Man, there's so much good stuff in that take.
Let me listen to that.
[MUSIC]
That's fast. Stop. "You were so wound up,
I was so concerned," the way that sounds is what
I'm really trying to get the font of the composition to sound like.
Okay.
Play it from bar 13.
[MUSIC]
Those lines,
that's the intention.
So keep playing it from bar 13.
[MUSIC]
So actually you can lay back a little bit.
It's a little bit less than what you're giving me most of the time.
Okay.
But there's some really great energy there.
Then focus on doing something really interesting with that last line.
We're going to start punching in a second and keeping things
and punching around the track and try to come up with a great master take.
Yeah.
Then maybe we'll listen to the master take and try to redo the master take.
But try to do it one more time for me.
Can I hear the "do you remember" part one more time?
Yeah. Play from bar 15.
Here we go.
[MUSIC]
Right.
That type of thing.
Yeah.
As much of that as we can get from line to line would be awesome.
Okay. Cool.
Bar eight. You playlisted that track?
Yes.
What was the number of that track?
2.05.
Okay. Great.
Can I get a little bit more of a pick up,
too? Maybe a four-bar?
Okay. Cool. So play from bar six. Here we go.
[MUSIC]
Nice.
Now that I've got you doing this emotive thing,
one line that you're over-emoting is kissing in your car.
Okay.
I want the kissing to be gentle.
Okay.
You're over-emoting the kissing.
Okay.
Do it one more time.
[MUSIC]
I like that a lot.
Maybe the first two lines, well, let's listen.
Okay. Cool.
[MUSIC]
So I love it.
It's those first two lines.
I think you can pull way back on those first lines.
Okay.
I think the way you're doing it, it's almost as if you're already in mid-thought,
and I need it to sound like,
"Oh, by the way, I want to say something."
Okay.
So you can really start it out with the energy down a lot more.
Okay.
Here we go.
[MUSIC]
I really like that last line.
That's great. We have enough for the first verse.
We will do a comp later on,
or maybe even we'll play around with one before we get to the pre. But let's listen.
Cool.
[MUSIC]
Timing.
I really love
that last line from that take.
That's good. So we'll do the comp, but before that,
for the purposes of what we're doing today,
we're going to move forward and look at the pre-section.
Okay. Cool.
[MUSIC]