hey chris liepe here static x wayne static the song push it isolated vocal analysis and
a study on how to sing like wayne static there's a lot of cool things going on with his
his rangy grit he's got the scream he's got the grit and he's got the growl all happening kind of
not at the same time but very in close quarters it's really fun to break down this style and it's
always important when listening to isolated vocals to make note of certain production aspects that
affect how the vocal is textured and and sounds to us because of the layering and effects not
necessarily because of the vocal performance that's one of the reasons isolated vocals are
so cool is we can isolate the performance from the production so keep that in mind as we keep
working through this particular piece if you like more help developing things like compression grit
screaming girth uh distortion in your voice the best place to start with me believe it or not
is by clicking the link below and joining my free voice course there's lots of ways that we can work
together specifically tailored to your needs from there but that's the best place to start
all right here we go corrosive tainted by my sin i'm spilling bloody and i can't
hardly contain it corrosive hollowing your hands defender eat away eat eating through
the surface yeah you push it yeah you push it yeah you push it okay let's talk about his
basic tone and approach here let's isolate one of these lines because it's fairly static uh
in this section in terms of how he's approaching his his uh singing let's take eden to the surface
eat eat into the surface eat eat there's your basic note now this is classic
lifting something heavy compression adjust your larynx it's not that eat eat
eat eat eat ease this is happening above my voice box it is not making me choke it is not tickling
my throat it is it is something i could do for a very long time as long as it's placed high
and it's gonna be fine i'll be able to talk afterward and everything you'll know if you're
doing it wrong if you're doing it wrong you will choke you will have tickliness you will have this
premature dryness your eyes might start watering none of those things are happening to me which
means i've placed the grit high okay now with that in mind eat eat into the surface eat eat eat eat
into the surface eat into the surface yeah it can be harder to be agile with your voice and hit the
right pitches so when you first start doing this just practice talking eating recite the lyrics
maybe corrosive tainted by my sin i'm spilling blood and i can't hardly contain it and you start
to notice after a while that your ear takes over and guides you to the [ __ ] and you get
into character because you're holding back the air right yeah this is how it works and you should be
able to do it for a long time without there being any sort of audible or sensational effects to
your normal speaking voice yeah you push it yeah you push it yeah now live they throw these vocal
textures around quite a bit we've got one guy down here and even the you know we've got the yeah
you push it yeah we've got all these things going on and they're they're different people on stage
different band members contributing these these background bubbles or these call and answers so
it doesn't necessarily matter that they're different people from our vantage point we can
still uh put these different techniques in our own voice just realize that they're getting this sound
if it's wayne doing more of these parts in the studio i don't know um but know that it's
different takes different tracks happening that's getting this coherent sound that's
part of what makes this production so good and part of what we need to realize as a vocalist
that it's not just one person one take one track there's there's a lot going into this
you can hear a little overlap there right he could totally sing that in one thing but we've got yeah
you push it yeah yeah it's a little brighter and it's on one track and then you push it you push it
lower larynx yeah is a little bit higher in in larynx position
don't let anybody tell you that your larynx must be static or fixed
i'm going to use static a lot in this yeah you push it yeah you push it so even if we're
if we're going to assume doing this at the same time we can still assume that that character
contrast yeah you push it yeah you push it yeah good to go back and forth there you go
this is is awesome he's dialed up the contrast you can hear again that there is this job
i think well it's either i know it's an automated delay over that
yep that's up there and then there's this delay thing going on but then we've got this
let's talk about that low growl sound we can get there by going we start by sighing
and getting in touch with a fry
and then we hold back air while we sigh you might start sounding like an old man
a little bit but still direct the sensation we don't want to be low in the larynx old
man we want to be high in the larynx old man hear the difference hi and then psy
homer simpson's dad then we go like this
we add more air and we create more of a sigh like
and let your voice crack as you're dialing it in and feeling this
you're going to feel the sense as you crack of like air coming up and hitting your soft palate
that's good then we want to think more compression
and then there's this sense that we are tripping we want to be low low want to be low
and we also want it to be side this takes a lot of air it's okay to run out of breath
it's okay to feel a bit lightheaded when you're dialing this in low growls take
a lot of air you shouldn't be able to do as much in terms of holding things out on growls
or lower sort of side distortion as you should be up here on these
you can scream this for a really long time
but when you go down here you
those are very different postures very different uses of airflow practice him
at the same time if you want he certainly did this live stream
exclusive and now consuming throbbing straight to the circle so a huge production aspect here is the
the ability to sort of separate those two different characters on what sounds like multiple
takes uh and then having the delay automated in on on the higher part and then here on
on this section explicit move on reaction slow it down a slow it there's doubling and there's
reverb going on which smooths out the sound of this the natural spoken kind of compression
move and reaction slow it down and slow it down down down down down you push it
listen what happens as i subtly layer two mildly different performances together
it starts to sound a lot closer to the vibe we get here down down down down down you push it yeah
down down down
notice you get a smoothing of the distortion and a variety of texturing that happens as i was more
it's almost more old managed and clean on this track and a bit more like this down down down
and down down down on that second track so when you layer those together and you have that little
bit of reverb and subtle delay on there you get a nice almost comb filtering soothing
sound to complement the gruffness of the voice down down down down down you push it
especially here at the end
as it breaks up slightly differently each time it creates a a smoothness it's really really neat
i see it i need it i see it i need it listen to the doubles right we've got this
i need it that's not sung but we've got the i need it spoken i'm and i need it
creating this neat spoken pitch discrepancy which is so cool
love this part and this part live is definitely handled by wayne himself
going those those massive differences in how he approaches it
get it clean first i see it and then choose some arbitrary thing to go down to for though
let yourself do that first and then
how the breath takes takes the place of the the growl it's so cool
now let yourself break into this compression and
vulnerability embrace what comes as you go back and forth to these different characters
he's inhaled growling almost adding some resistance with his false chords
to get that that same sort of
and then allowing himself to engage in that higher broken up node this is really fun to practice with
as long as you make sure you you are free enough with it and don't try to sound too much like him
embrace the techniques and go back and forth get into the groove a little bit i need it
play with it have fun with it that's what he's doing get animated with it be relaxed with it
accept the sound that comes as you embrace the sensations
that result as you pursue it based on inspiration not imitation
my mind
is on the same time as the words which is so cool it creates this sort of trippy um
well is it delayed and then when he stops speaking you i mean you know it's delayed but
it's it's just neat how the tempo is is the same so you almost have this group of vocalists around
the primary vocalist that are repeating the same things on the same times really neat sounding
set up so that it's in a quarter note and i just have it quarter note 150
that's the tempo basically of this song or you could look at it as eighth note
uh get 75. it doesn't really matter the point is the pacing of the vocals and the delay are
the same and so if i if we look at this phrase my eyes are explosive and we we put the delay on
my eyes
there's
super fun to interact with effects like that and see how it informs your performance
yeah you push it yeah you push it
same delay thing going on there super cool thanks for hanging out with me as i broke down
static x wayne static push it it's always fun to get into all these different textures and and
really study what it means for our own voice hope you enjoyed the little production tidbits as well
be sure to check out a lot of other artists on the channel i've done this kind of thing for
tons of artists in this genre especially and if you'd like more help with your own voice make
sure you have clicked that link below and have joined my free voice course we'll see you for more