This is a multi-entry blog regarding the setting of levels for studio monitor mixes. Part 1 is a discussion of the vocal mic.

In the studio, there can be dozens of variables to contend with, each one a discreet part of the mix that gets to your headphones. As a vocalist, I want my voice to sit just where I want it ... << MORE >>

Formal ear training is a skill that musicians (and particularly vocalists required to sing backing vocals) must use constantly.  In summary, what I'm talking about here is the ability to hear and recognize the intervals between one note and another.  This can be melodic or harmonic.

In regards to melody, as one note follows another, whether your melody goes up or down, there are specific intervals between each successive note.  For example, in 'Somewhere Over the Rainbow', the first two notes are on the two syllables of the word 'Some-where'.  These notes are an octave apart.

Harmonically, this is when two vocals are present singing together but singing two different notes.  This is heard very frequently in many forms of music, but is really distinctive and easy to hear in Bluegrass.  Often, the melody is sandwiched between a lower and higher part, all sung together in what would be called close harmonies.  What that means is that every vocal harmony is singing the next available chord tone either above or below the melody.  So, if the melody is on a 'c' in C Major the upper harmony part would be on an 'e' and the harmony part below it would be on a 'g'.

It's important to note here, that harmonies need not be close all the time, and even in one song can change from close to open voicing.

Getting back to my post title though  As vocalists, we can be called upon to sing harmony parts with little or no notice, and developing the skills to do so make us ever more valuable as sidemen, or improve our abilities to harmonize with ourselves when tracking vocals in the studio.  That brings me to the link that I found online a few weeks back.

Ricci Adams has put together the website www.musictheory.net and has graciously allowed me to include the url here in my post.  His website puts together both written theory and aural skills exercises that when practiced can greatly improve one's ability to create harmonies or understand what another artist is doing so that one might be able to make use of that idea in the future.  Practicing just a few minutes a day on either the interval trainer or chord trainer has had dramatic improvements on my own ability to hear and recognize chords on the fly, which is a skill that is a must have for any working musician.

In summary, a little bit of music theory and aural skills practice goes a long way, and Ricci Adams' website offers a great way to get some practice in.  Best of all, it's totally free!

As always, I hope that helps!

Jeff

Melisma: Succinctly defined: onesyllable of a word, with more than one note to be sung on it.

This offers a unique challenge to vocalists, as ourinstrument has no keys, and we must seamlessly slide from pitch to pitch, allthe while watching for accuracy and consistency of tone. Often, in an effort to ‘hold on to’ theline or make sure we’re accurate, we can unconsciously add ‘h’s’ in the middlesof these phrases, breaking them up and defeating the smooth melodic nature ofthe passage. If you’reencountering these in ...<< MORE >>

This isn't so much instruction for vocalists as it is for all of us who endeavor to bring our A game to the stage and studio each time we perform.  Much as we practice and work towards honing our expressive qualities, intonation, and writing, there's no greater litmus test than a recorder, and I think it particularly shines when used in conjunction with a live performance.

As the vocalist, either on your own or in your band, you're in control of an amazing melodic instrument, your voice.  As a songwriter, I used to get lost in the words of what I was singing, and the melodies of my songs suffered because of it.  Now, as a vocal coach (and songwriter too) I find that I can't emphasize enough the importance that you play as the vocal representative on stage.  It's your job to articulate the words so the message gets through, and in addition, the melody and hooks that the song has.

Many voice instructors are quick to talk about support, or 'belly breathing' or some other such concept regarding where the air that you sing with comes from. Many methods discuss diaphragmatic breathing, the diaphragm being this large band of muscle which is below your lungs, and above your intestines, separating the two. The problem here, is that the diaphragm is an involuntary muscle. It's part of the support system that keeps you alive if you should fall unconscious, insuring that you'll continue to breathe. << MORE >>

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This is a little warmup exercise I often use to help people open their mouths a bit and get their tongues moving. Check it out! ...<< MORE >>

The choosing of a vocal mic for your studio is perhaps one of the most important decisions that you'll make as a singer/songwriter or vocal recording artist. If you're a studio owner, or building a studio of your own, this is an equally important decision that will need to be made within the context of the clientele you work with. You'll also need flexibility, as every mic doesn't work with every voice. So let's begin. << MORE >>

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