I’ve Accidentally Invented A New Game…? “And No, It’s Not auto-tune.”

I’ve been a fairly well oriented “early-adopter” of many ideas and even technologies (though I’m essentially not technical at all). One of those many items was call/text features for web-pages which in my case, have only recently after years of implementation, begun to bring in new communications from Music-listeners and even general Blog-readers. I say “even” because I’d never considered the Blog as its own non-partial entertainment-hub but some people that ‘rightfully’ don’t enjoy every audio-creation sometimes say, “I think you’re hilarious regardless!”

And that’s, great…

(No, F*CK you, buy my MUSIC!) 😛

But all that aside, one of the ‘it gets old’ but newer things has been people listening to a song or clip and attempting to ‘call me out’ per the use (or non-use) of none other than, auto-tune.

So rather than go on some nonsensical tirade regarding that, let’s just have some fun and analyze one of my songs, vocally…


I have this new track that’s pretty much, ‘out of character’ per my typical onslaught; it’s literally something that’s either a by-product of recent-events or, I’ve just finally lost my mind. Despite any of that, this brings me to a couple of peeves, in particular, aside from auto-tune, there’s things I don’t like and won’t do vocal-wise on sound-recordings and those are:

Masking (alternating various takes by either myself or with a secondary singer’s performance. This technique can be heard ad-nauseam on recordings by Avril Lavigne, and with auto-tune unfortunately)

Punch in/out (where you get all parts accept certain words or phrases right and just clip them in until you get a perfect “composite” vocal)

Tuning via effect-tailing (which is a less complicated process of using a heavily warbling or panning style effect behind a single vox-stripe, creating a bulky ‘seemingly’ in-tune cascade but, it’s not and don’t get it twisted because I do like this effect in New Wave, Punk, and similar styles, just not the kind of Music where you’d expect the singers to be better)

So what does this all mean?

Well, in my case, for whatever reasons, I’m one of those “leftovers” from a Golden-era where performances were either perfected straight through on take-one or, we rehearsed the Hell out of every part to where whether we broke it up by verse/chorus/bridge or chorus/bridge/verse etc., we all could essentially just nail it and create melodic and inventive variations on-command.

It’s how I preferred it then and a part of my self-expectations and expectation of others, still.

So this new-track; here is a clip of the vocals which then transitions into the full-mix:

So some numb-nut heard it and immediately cried, “Foul!” — I don’t care, but hears what you’re hearing, (just because)…

The Song needed a “neutral” sound, both vocally and in a ‘travelling’ sense. Sometimes, it’s not until after you record a song through that you can sing it exactly how you wanted to in the studio. I stand by my stuff no matter the facts or opinions and in the case of this production, I’d decided to make layers that were as closely matched as “Humanly” possible. So the doubling is imperfect per some vibratos but match in nearly every other instance.

I like that sound.

Below are a few famous recordings that were recorded similarly:

Anyhow, I thought it’d be fun to post a little insight for no reason really, but maybe just to take some minds off the inevitable? — I think I’m going to dedicate this track to the President of ASCAP and Jack Conte over at Patreon. Why…? Because; f*ck them!!

(We Don’t Know) “Where The Freedom Rings”

Click-Here if you can’t see the image above *

And Ja, the female singing backups in the chorus is Kat.

(Sekrett Scilensce)