Studio Vocal Technique: How To Put That Great Live Vocal On Tape or CD

By Jamie Whiting

Although many rock singers treat their studio performance the same way they do a live one, there are several main differences that you should consider when trying to achieve that perfect vocal in the studio. The cue mix, the sound that's pumped into your headphones, can be adjusted to perfectly suit your
needs. You have the ability to turn your vocal up as loud as you desire, or to bury it in the mix if you like. I prefer to have my mix consist of mostly vocal; I find that I can control my pitch and emotion much better when my voice is prevalent and the music track is down low. Others, however, like a more realistic mix in their phones. You will have to experiment to see what's most comfortable for you. Do take the time, however, to make sure your headphone mix is the best it can be. You don't need to be distracted while you're trying to create a great performance.

Always do a couple of run-throughs before you focus on the perfect vocal. Have the engineer record these practice runs, though, in case you want to hear back some of it. It can sometimes give you a better perspective by listening to some of one of your takes; it also can relax you and get you over the fear of hearing yourself on tape. On these practice runs, focus on hitting the pitches. Once you "tune" yourself up, it will be easier to sing on key without focusing on that aspect of your performance. When you start going for a keeper, you should be focusing on one thing: feeling. Whether the song you're singing is a ballad or a
high energy rock tune, you have to deliver the correct emotion intensively. Normally, two run-throughs are sufficient to lock you in.

Another thing to consider when singing in the studio is microphone technique. It takes practice to learn how to work the mic to your advantage. It not only levels out your performance, thereby making it easier for the engineer to even out the vocal later on; it also helps keep the extraneous noises, such as vocal
pops, clicks and misplaced breaths to a minimum. Most of the time simply turning your head slightly at the right time can achieve this purpose. Sometimes, however, you'll need to physically back away from the microphone during a loud vocal passage to keep the mic level even.

The subject of breathing properly is the next one I'll talk about. It is important to breathe silently whenever possible. Taking a breath just before singing a phrase can often sound like a gasp, and it's very hard to eliminate later on when you mix. The solution is to take a breath evenly after the previous phrase. Always wait until the end of a phrase to take your breath. I've known singers that have taken breaths between words and even within a word! Proper breathing will sound better and make your engineer happy.

It always helps me to sing a song in the studio phrase by phrase, not stopping between them, but focusing on each one at it goes by. If you focus on nailing each line, breathe, tackle the next line, etc., it can sometimes help you deliver a better overall performance. Focus on the meaning of each phrase; the rest should follow naturally. If you believe it, it will show in your voice and make believers out of your audience. Be sure to sing the complete song, top to bottom, without stopping after every mistake. Your mistakes can be corrected later, and the vocal will flow better. As far as pitch is concerned, sometimes
focusing only on nailing the first note in a phrase can "tune you up" for the rest of the phrase.

The bottom line: keep all of these things in mind while singing your two run-throughs, but focus on one one thing during your keeper performance. Feeling. That's what's going to sell you and your song to your listeners.

Jamey Whiting is a long time studio musician in the Nashville area. In his twenty years in the music business he has recorded over 500 albums, including projects with such artists as Ken Mellons, Bobby Bare, Charlie Daniels, Waylon Jennings, Mel Tillis, Jerry Reed, George Strait, Hank Thompson, and many others. He is also an active songwriter, and has had songs cut by Ronnie Milsap, Gene Watson, and Ray Price among others. He has a CD out in Europe on the blues-folk label Brambus, and has toured five continents. He is working on his second project. He can be reached through his personal E-Mail at MusicNash@aol.com.