A Quote by Hans-Peter Lindstrøm
Working on my own vocals is something I've been avoiding. But, I'm constantly thinking of ways to be able to include my own vocals without getting embarrassed. Even John Lennon wasn't comfortable on hearing his voice.
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I don't think my vocals demand effects. I like reverb to a certain extent, but I don't want to hide my voice. I like stripped-down vocals, but I also like crazy, powerful, doubled vocals like in dance or electronic music.
Lennon's was one of the first voices I emulated when I began to sing. When we held tryouts in my pal's dad's living room for the singer in our band, I sang a Beatles song that Lennon sang. There is something about the timbre of his voice, something that it conveys, that still gets to me. The quality and the poetry of his lyrics. The wry sense of humor. And the boyishness, in the beginning. There are a great many things that touch me about him... Lennon was, to put it in his own words, a 'working-class hero.'
I'm always saying in the studio, 'My vocals are too loud!' or 'My vocals have too much effect on them!' I like some of it, but I'm not a fan of loading effects onto my voice.
The thing that separates Sophie from the music I do for other people is that it's 100% written by me. In the past, I've written my songs and then asked friends if they could record the vocals. I didn't want to use my own voice, because other people have much better voices. I was hearing the music with a voice that I don't have.
Before getting on 'The Voice,' I was very critical and judgmental of people's vocals. After getting on the show, I was so nervous, I realized my low notes were gone, so nerves do take a big toll on your voice.
I don't even like to sing in front of my own band members so it's easier for me if they send me the music and I record my vocals in my own studio.
In the past, I've written my songs and then asked friends if they could record the vocals. I didn't want to use my own voice, because other people have much better voices. I was hearing the music with a voice that I don't have. It was a case of pulling whatever resources I had to get the sound I wanted, but that doesn't take anything away from the authorship. They are songs written by me that sound the way I want them to sound. Whether it's my voice or someone else's doesn't make a difference to the music.
My son is in a band, and he’s a singer, and his vocals … they’re screaming-growling stuff … and he’s got a pretty reasonable voice. Yet he practices really hard to get the screaming-growling thing without losing that voice every five minutes. So I’m, like, “Hats off to you.”
My son is in a band, and he's a singer, and his vocals... they're screaming-growling stuff... and he's got a pretty reasonable voice. Yet he practices really hard to get the screaming-growling thing without losing that voice every five minutes. So I'm, like, 'Hats off to you.'
Getting comfortable again and being in a vocal booth on the opposite end of the spectrum, when you're normally the one tracking the vocals, is kind of scary.
It's a particular skill, I think, doing backing vocals. You're blending the vocals between the gaps, between the music.
The vocals are the very last thing I do. So, it's kinda the opposite: with country. it's singing and guitar first, but with rock, I worry about the riff and music, vocals last.
I was able to apply ukulele to whatever I'm trying to write. It's become part of songwriting for me, the knowledge I gained from hearing the melodies come out, and then applying that to guitar or vocals.
For any producer I've ever worked with, their toughest job is to convince me to not to obscure my vocals. A lot of people don't like the sound of their own voice on, like, cassette tape or something. It's like that for me, and other songwriters I know. Like, "Oh God, that's what I sound like?"
There are a lot of people using technology that are playing to a click with backing vocals already stuck in there on some computerized thing that runs along in time to the show so they have these amazing vocals that are only partly the guys on stage producing them at the time.
Clearly the hardest thing for the working artist is to create his own conception and follow it, unafraid of the strictures it imposes, however rigid these may be... I see it as the clearest evidence of genius when an artist follows his conception, his idea, his principle, so unswervingly that he has this truth of his constantly in his control, never letting go of it even for the sake of his own enjoyment of his work.
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