A Quote by PartyNextDoor

I treat my vocals as an instrument. — © PartyNextDoor
I treat my vocals as an instrument.
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.
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.
When I go back to seek inspiration - whether it be from Chuck Berry, Howlin' Wolf, the Beatles, Hank Williams, Ray Charles or Bob Dylan - it's from the performance. Those artists are in the studio playing their instrument and singing. There's no going back and redoing the vocals.
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.
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.
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.
The basic idea of a hyper instrument is where the technology is built right into the instrument so that the instrument knows how its being played - literally what the expression is, what the meaning is, what the direction of the music is.
I used to put the vocals on top and piece it together. Now I start with the vocals and the string parts I write; the drums are kind of an afterthought. And who knows, maybe that will get boring, but right now that's the most interesting way for me.
As far as favorite 'overall package' record of all time, I'd have to say 'My Girl' by The Temptations. I like everything about it, not only the composition - but the arrangement, the production, the lead vocals, the background vocals, the horns, the strings. That one I listen to over and over again.
I have a saying - 'You treat me good, I'll treat you better. You treat me bad, I'll treat you worse. And when in doubt, knock 'em out.'
Essentially, your voice is an instrument; it's a muscle, and you have to treat it like a muscle, and so you have to work it.
Our body is our instrument so it's really important for us to treat it right.
Essentially, your voice is an instrument; its a muscle, and you have to treat it like a muscle, and so you have to work it.
It's no longer necessary to slave over the vocals. I don't sing the lyrics until I write them, and singing is the very last thing I do. I record the entire track, and then I worry about lyrics and vocals. The music will suggest where the words are going to a certain extent.
A lot of my approach to the instrument, especially as I've gotten older, is to treat the piano in ways that are not very pianistic - to consider the sounds I'm after first, and to deal with technical considerations later.
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