Mother Recording Part 3 Vocals:

Click on One of the following links to see the different parts of the recording process.

Part 1: Drums

Part 2: Guitar and Bass

Part 4: Mixing


Now that all the instrumental parts of my Arrangement of Mother had been recorded It was time to record the vocals.IMG_0816

Again I chose to record the vocals in the same room as I had done for the drums and the guitars, as though initially I had thought that it would of been a bad idea to record in an open room, through the use of a cardioid type microphone and facing the vocalist again a set of diffusers mounted on the walls, It would absorb some of the reflections in the recording space.


IMG_0819For vocals I chose to use a RODE NT2a, as it frequency response would fit the sort of range my vocalist would be singing in, and favoured against the use of a pop-shield, as I made sure the vocalist stood far enough back so that the more aggressive syllables wouldn’t be as prominently picked up.

I set up talk back so I could communicate, and then got him to sing to both the instrumental tracks and the click track together, this way he could keep in time as well as get a “feel for the music.” I recorded these tracks into a playlist, and even though the song was quiet repetitive, except for the verses, I encouraged my vocalist to try different, subtle variations each time he sang the chorus, emphasizing certain words more or creating more dynamics with his voice.

After I had the bulk of the song recorded, I got my vocalist to do some harmonies with himself, as this was a trademark Mutt-Lange feature, as well as giving the vocalist some creative license by recording him listening back to a mix which contained both his original take, and the instrumentation, to give me some more textures to work with.



I also rounded up some of my fellow engineers to do some gang vocals, doing a phonetic version of the main guitar progression, which fitted the more Pop-Punk style that my song was being record in, which will appear toward the end of the song. I then seperated this playlist into 2 full vocal takes, which I could fade in and out as I saw fit, a Harmony track, and a miscellaneous track with the gang vocals and my vocalists creative licenses. All these where then sent to an auxillary input so I could adjust the levels and modify them individually but could control their overall level in the mix.

I also had to warp some of the harmonies to keep them the same length as the original, (article here on warping) adding more sustain so they harmonised for longer, as well as some vocal deliveries being too slow, so I lined up some of the syllables.



Finally It was now time to move on to mix and creating the finished track.



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