hey chris liepe here we've got some isolated vocals for tim mcelrath rise against the song
savior lots of cool stuff going on here from a production standpoint
also just the vocals are killer his grit his the way that he layers his voice does lots of
different arrangements with it within the context of all the other things going on in the music
we get to really peel back the layers here and dive in because of these isolated
vocals if you'd like more help with your own vocals and with your recording in production
the best place to start with me is by clicking the link below and joining my free voice course
once you've done that and gone through that material there's lots of different ways that we
can work together from there all right let's get into this it kills me not to know this
but i've all but just forgotten what the color of her eyes were and her scars are how she got them
what really stands out in this part of his singing is how little he's opening his mouth
um and letting his nasal energy carry this in this lower range how she got them
how she got them how she got them but he's also very forward in his placement this
isn't how she got them no how she got them how she got them how she got them
somewhere in the middle there through the valleys of an aging face that this world has forgotten
i like these held out notes even in his lower range here
you get a sense for the kind of compression he's using
you can hear just a little bit of grit there gotta know got in gotten
very very subtle he's he's compressing just enough to be on that edge of grit
okay and there is no reconciliation that will put me in my place and there is no time like a present
now here he's opening his mouth a lot more um you can hear him enunciating and there is no
reconciliation there is no reconciliation there is no reconce he was closing his mouth before
he's using more air he's compressing more but he's pronouncing a lot more oh it's time like a present
to drink these training seconds but sell them to this one's being true when i'm constantly failing
you well we just can't break through until it disappears so tell me now now this is his grit is
so cool because it's so consistently inconsistent but sell them to this one's being true when i'm
constantly failing you listen to seldom but sell them to the this isn't but sell but sell
no there's this desperation there's this melting that's kind of going on
with his type of grit and i'm going to exaggerate it
quite a bit so we get the point but it'd be very easy to kind of miss the point here and sing
with sort of my normal you know chris cornelian compression here and go but sell them to this
one's being true when i'm constantly failing you seldom do these words ring true that's not
what he's doing he's he's actually further he's not quite as forward and as aggressive
it's more of this desperation so if i'm gonna exaggerate this it's not gonna sound anything
like it in the beginning but sell them to but seldom no but sir let's sell them but seldom
seldom do these ordering true that's closer to what he's doing seldom do these words ring true
hear how more hear how it's more inconsistent it's not but seldom knew these words ring true no
it's like he's sighing this very subtle sigh that's happening seldom do these words ring true
put a pin in that and let's keep listening we'll dial it in more as we go when i'm constantly
failing you well also we just can't break through until it disappears you tell me listen here i
throw until it disappears it's he goes from clean to like really broken up really quickly well also
we just can't break through and see can't break through we can't break through walls walls walls
walls walls walls walls that we just can't break through walls that we just can't break through
see how i'm kind of moderating that i'm using more traditional distortion
with a little bit of that sighing in and out of my vocal break and it's a teetery thing because
you don't want to overdo it you don't want to sound like you're just cracking the whole time
but he's got a really unique balance with his grit well we just can't break
through and can't break through can't break through walls we just can't break through
that's closer really hard to get but i like messing with my voice this way because it
doesn't hurt if you're if you're teetering around your vocal break and combining that
with a more standard compression like he's doing it doesn't tire out your voice
what does tire out your voice is if you try to just go harder and harder there's this constant
sense of abandon and melting like i've been saying listening on through until it disappears
super clean accurate background vocals there
this type of approach that he has with his his vocals
works really well doubled i hate you boy want to save you
cause the the the breakup is inconsistent so it creates this chorusing of breakup
very unique sounding i hate you boy i just want to save you while there's still something left to
say and i love here we're not we're not doing this still something left to say left to save
it's much more conversational he doesn't go right up to that pitch on two still something left to
left to save let me try to abandon into that a bit more like he's doing well he's two it's not
toe left two to say there there notice that it was under pitch and it was really gritty left
to say as opposed to left to say that's more like 80s rocker and this is more desperate modern rock
so much more in the vibe of of this style now i'm going to double myself over this line using
this method of grit and you're going to see how neat it sounds with that that inconsistent
kind of way he does it boy i just want to save you while there's still something left to save
boy i just want to save you while there's still something left to say left still save left to save
left to save left to save left tail save hear how i'm getting those balances very very difficult but
he does it so naturally he's likely just well that's just how i sing probably doesn't think
about it so much but part of it is he has this sort of relaxed vibe that you can hear
even in his lower notes and he kind of he kind of takes that up into this area so it's kind of like
i'm just going to sing and if i crack a little it's okay as opposed to being really like
i really don't want to crack and i want to be really consistent and then i sound different
that's kind of a cool sound but it's not what he does listening on i hope you're getting the
subtlety even though my voice doesn't sound like his i hope you're getting what i'm delivering here
lots of neat doubling going on there and you can hear hear this the answer
for the questions that you still have that lower harmony is helping ground his wayward
upper vocals and then also there's that nice slap delay going on the answer for the questions that
you still have boy i just want to save you while there's still something left to say i just want to
save you while there's still something left to say now with some delay eq and compression and
adding that that lower harmony there you can hear how the layers come together in a really neat way
and how his grit supports that boy i just want to save you while there's still something left to say
in the imperfection and in that abandon some really neat stuff going on
now there he's super clean and he's doubled or tripled or quadrupled that
super accurate he's not abandoning that that's not wow
he's super tight it's neat to be able to go back and forth and in and out of that and then say
press on like crushing weights for no man does it ever wait black now there listen to how he
he used the more conventional sort of gritty false chord squeeze there come and say press on
like what press on press on versus crossing weights for no man doesn't ever wait like
right here no man's up no man no man he's doing that versus
but he's so good at being subtle with it apple weight like memories of zion's days that
definitely can totally hear it there zion days that deafen us like hurricanes space and flames we
held the browns uncle ugh faith in flames bathed in flames not bathed in flames bathed in flames
as we held the brown done curl the fingers in your hand press into the flesh like sound now
do you understand so tell me now now right here stand stand stand just take that and
just take stand and practice that stan no stan stand hear that stand stan there's
use the more conventional compression there so tell me now for saying love then how
the placement of those
listen to how those are panned out and everything else is panned in to the center
i'm not the
you answer
have you still know you still have you still you still you still have you still have there took me
a minute it's gonna take me a while i don't sing like this i have aspects of this in my voice but i
don't go in and out of it as seamlessly as he does i'll tend to choose a section where i'm like yeah
and then i'll do the more conventional stuff but he goes in and out of it constantly
1 000 miles away there's nothing left to say there's so much left that i
just taking a pitch effect and with delay
so smooth but listen to those listen to those breakups
right but it's not hey chill
it's very clean with that abandony break up
and that neat delay is helping too i don't hate you
i don't notice he's not going yo i don't hate you hey what he is doing hey i don't hate you
there it is not perfect
you can go really extreme with it but i had it dialed in there for a minute
experiment experiment with your own voice see what kind of tonalities and
the way you can shape your grit and tone that balance between your vocal break
and traditional compression lots more in this uh with this stuff in my courses
i love how he captures the clean in there too that desperate sounding distortion
while there's still something left to say i like that he doesn't left chow
not only does he not hit that pitch intentionally he kind of gets right under it but he clearly says
two not toe i swear i love you girl but i'm not the answer for the questions
that you still have and still not still still really a big part of the the delivery of this
again the the nice difference in placement there between the whoa stuff is really neat
those little subtleties are fun to experiment with too breaking
things up with an h i didn't hear him do that anywhere else just at the end
now believe it or not this is really related to what he did or what he does with his distortion
because it starts with a sigh
where you disengage those chords it's
similar to breaking between your head voice and your chest voice
so get that sensation if and and and play with it if if that helps sighing in and out of notes
there's a little bit of head voice in there if this is tough for you if this
doesn't make a lot of sense to you click that link below join my course
i'll help you with it thanks for hanging out with me going over some rise against isolated vocals
thank you for requesting this over and over again that's why this video got made i'm glad
i finally did it leave lots of comments below like it subscribe to the channel we'll see you for more