Gneetapp

Sometimes, when I am stuck on a chord change, I literally go to the circle of fifths to pick the next chord to see if that breaks me out of a rut or provides an interval that fits what the melody had in mind.
 

I probably do something like that but more on a subconscious level. Its almost a rule that im going to go off key in the solo or bridge section. So I just work backwards. Like if the song is in E minor and im going to come back in on a prechorus on a C chord...then for the solo I might go to whatever chords but I end on a G7 to go to that prechorus C and im back in my original key. Even the G7 alone is "out of key" compared to the original key of e minor because G7 has that F note. So the solo could even be fmaj7th, G7th which would be a nice change from the eminor key but the g7th goes to the C which goes back in key
 
We dont have to look far for an example. Look above at Minnesota Mama lol. Song is E. So it goes to a little bridge in E but then for the solo it goes F#7, A7, B7....of course the B7 goes right back to the original key of E
going up 2 frets for the solo is pretty easy to do and gives a nice change in feel
Another cool thing for a solo or bridge is to go to the relative major but make it minor. For instance if the song is in eminor you could always go to the relative major of G for a solo....but to make it more interesting you could go to G MINOR
ive stumbled upon some ideas like that but now I have to work backwards and try to learn how to do at least SOME standard stuff lol

haha, I just happen to be listening to Still of the Night as I read your reply.
 
one issue about doing the whole "light verse, build, huge chorus" thing is that after a while u r just writing the same song over and over. Yeah, it works for that quick emotional hit but after hearing 5 in a row from, say, Shinedown....even that formula gets old
A song like Still of the Night, or Emotional Rescue from the Stones....they are more like little acid trips as opposed to formulas
 
U dig Blue Murder and Badlands too?

To quote Waylon Jennings, "I don't think Hank done it this-a-way." But it would be very close, as if this were a modern recording but the same sound voice some what. I like your version better. The problem with Hank's recordings was not just tech limits it was his full on nasal sound that was okay in small doses but grew to be overbearing very quickly. Whereas, you have a pleasing voice for a southern gentleman.
So, what would have caused you to move from Ole Miss to So Cal? School? Affairs of the heart? Extradition policies? 

no I didnt say that I actually changed chords after writing a melody...but one CAN do that. I would generally be waaaay too lazy to do that lol. I have only done that when goofing off BUT its a legit way to do stuff. Same thing can easily be done in a guitar solo. U can solo over plain Jane chords and then go back and redo some of the chords and u could get some wierd and interesting plot twists going on.
Im gonna write today and I think ill try what you mention...just write the melody first and sort of plan out the way it builds etc...then go back and work out chords.
I remember writing the whole bass guitar line out first one time and thinking id never be able to put any cool guitar over it but it worked out good anyway
In a way though its still a learning process because your ear is still your ear. Like I got a friend who writes but he ONLY writes sort of primitive rootsy blues rock with the emphasis on the blues aspect. So if he is in the key of A its either going to be 1,4,5 chords or maybe A,C,D. Thats all thats on his color palette...so whether he does chords first or melody first he still aint gonna come up with, say, a Randy Rhoads/Yngwie diminished chord sequence because its just not in him.

I think everyone has his own way of recording, but I do what most of people do: get a backing track (instrumental with no vocals, or with backing vocals for harmonies) load it on your DAW as a track; create a track for lead vocals; set to record; use headphones to listen to the track (and maybe your vocals); and record. After that you can go back and re-record parts that you were not happy with, record other vocals to thicken the lead vocals (double/triple tracking); use EQ and effects; mix down everything; Master the song (more effects); and convert to mp3 and upload the song. I know that some people record vocals without the headphones, using monitors, but I think the volume must be low to not be recorded with the vocals or generate feedback, which can also be avoided turning off the output signal of the vocals. There are a few nice tutorials on home recording in the General Vocal Gear page. Good luck and keep on rocking!

I find it really interesting the way you build your songs, changing the chords after vocals are recorded. I might try it someday. I know that some people start composing a song with the melody (lead vocals), than chords (accompaniment) and lyrics. This way you actually have way more freedom with the melody, without worrying about key or modes (major vs minor). However, I never been able to do this way so far. But maybe I was lacking the vocal skills, better pitch control, or who knows. Anyways, very nice work, and thank you for sharing your techniques. Cheers and keep on rocking

Hi Collin, I think your voice suits this song well. However, it would sound much better, and also be easier for the guys to analyze it, if you recorded with a backing track. I think there is a link to a website where you can purchase backing tracks with a great variety of songs and styles. Cheers and keep on rocking!

My current process is along these lines:
1) Drums- Ez Drummer2
2) Chords/riffs
3) vocals
 
Thats why in the unfinished state there are often 8 bar "gaps" in my demos. Thats because I programmed in 8 bars on the drums, like in the song intro....I put in chords, but I never put in a vocal parts of guitar licks or whatever.
On this particular song I WAS going for a Beatles thing but not as far as the vocal intro lol. I was actually going for that Beatles/Byrds jangly guitar thing. But I NEVER get what I go for...I just use something like "Beatles vibe" or "Skynyrd vibe" in my thought process. Once I start recording I just let whatever happens happen. If I have 8 hours on an off day I cant spend 4 of those trying to find an elusive gtr tone etc.
So like on this one I put in the verse and chorus vx but then I had that "gap" where I had programmed that drum intro...so I filled it with those sort of abstract "ahhhh" vocals and almost non-sensical chords.
 
Its always "chords first" then melody although on occasion I have sort of done it the other way. To me, how can u come up with an interesting melody without chords? You dont have a framework for the melody etc. So I do chords first and I almost ALWAYS sort of switch keys or borrow chords from other keys or just put in "off" chords but not in a way where its really dissonant.
if u check the backing track to this birthday song, u hear that it goes in an out of key at least 3 times. The intro is sort of not in a really defined key, then the verse is A,G,D in the key of A (so its A mixolydian really)....then the chorus is A major (A,E,D if I remember correctly but probably inverted like A, E/G#, D/F#. One good/bad point with me is that I hardly ever follow strict convention.
Then the bridge is back to A mixolydian, something like G/A, A7 or maybe G, A7. Then the solo goes to A MINOR after the whole song has been in A MAJOR
Happy Birthday Sugarboo backing track https://clyp.it/knt05ks3
 
So thats a way by which I add variety as far as the chords vs melody idea. If I just lay down chords, say, strictly in a major key....then I sing a strictly major melody...how interesting is that going to be? So just by habit I tend to throw in more interesting chords. U can sing a boring melody over interesting chords and all of a sudden the boring melody sounds interesting or even exotic.
Even for me to use A,E,D on the birthday song was a departure for me lol. Im trying to become more conventional though, at least on the chorus...so I can write singable hooks etc. Some of my fave bands like Cheap Trick can take 3 regular chords and make a killer chorus hook. I learned some of my stuff from them I guess like in "If you want my love" where the intro is in E major (or is it A major? I forget)....so they do the Major intro with nice harmony vocals etc and then when the actual verse starts they just abruptly change to MINOR but in the same key lol. I love it
Its almost guaranteed in my songs that the bridge or solo section or both will introduce a new tonality
 
You CAN also play around with the chords AFTER you lay down the melody...which is called reharmonization. Lets say you lay down basic chords in A major. You lay down your melody. Now you go back and mute those chords and you experiment with putting different chords under the existing melody. Thats one way to add to the amount of stuff you can hear because you will come up with combinations of chord/melody which you never could hear in your head without some experimenting.
I did it with the Star Spangled Banner a long time ago on guitar. Keep the melody but change the underlying chords. Very fun. I did it with guitar solos too. I worked out a solo in B minor over chords in B minor. Then I kept the solo in place but played them over an A to G progression. So now my same exact solo was in A mixolydian...which is the same notes as B minor. Though its the exact same solo...it sounds TOTALLY different over those chords. If I would have done chords in pure D major it would have been yet a third sound for that same solo
 
Frank Zappa had a thing he called Xenochromy...where he'd take a solo or part off of one song, in whatever key and whatever tempo.....then he'd drop it in on another song, maybe in a different key and tempo. Maybe the songs were originally played years apart lol. DAWs make stuff like that easy

cool, I have 2 fans now. (u and my mother)
Im not too sure where u thought the melody was going to go higher. In these sort of Rolling Stonesish songs I dont picture them having really wide ranging melodies.
And Im not making excuses, but this and the other one (and virtually all that I do) are one day wonders lol. That means that when I stand to the mic I generally have most of the lyrics written...BUT NO MELODY. And as u say im just starting to bridge registers etc and struggling to even sing in ONE register.....so I doubt ill have too many soaring melodies anytime soon. The closest I may come to that would be as in the other song where it may build from section to section.
on that note though, sometimes the prechorus is actually a higher melody than the chorus
 
So far I havent taken time to work out any BG vox either. Its all a bit much to be honest....and I totally suck at going back and adding to songs. Im one of those people who is ready to start the next project rather than tidy up the previous one. Especially if it only got a lukewarm reception anyway....is adding a tambourine and BGV to the chorus going to all of a sudden make a producer beat down my door???
The whole BGV thing is hard for me to envision at this point anyway. I need to do some woodshedding. for instance lets say I can hit a squeeky B4. So maybe a G4 or G#4 is about my best sung note. Well if I sing that in the melody then what am I going to do for BGV a third higher or whatever?
So it almost seems id have to plan out the whole thing in advance. Pick the right key and start off pretty low and keep the main melody somewhat low in order to leave comfortable singing room to add higher harmonies. Trust me...im the type that could get into a Queen/Yes kind of thing if I were in the right mood. I DO have a short gregorian chant thing posted somewhere lol.
 
there is this evil thing that holds me back and limits my musical progress and sucks the life out of me...its called a JOB lol
 
There is a very low level of reward for even posting these songs anyway lol. You work all day etc and no matter what u put out it will get poopoo'ed.
Even if I took a solid week and polished them to the best I currently can....not a lot would change. If people dont hear a pro production they'll say the whole thing is worthless
 
here is one from 3 weeks ago. (pre bridging) Birthday song for a girl im in love with....who probably didnt even hear the song. Yep, it got savaged too..this sucked, that sucked, this isnt right, that could be better etc etc....at least mom liked it
https://clyp.it/2chj11qz

Hey JonJon, this is only the 2nd original song I listened from you, and I got to tell you that I really dig your songs man! I could get the Jagger feel you mentioned, but I don't think it sounded as an imitation, more like a little influence. Well done. Regarding the sung melody, I had a feeling that you were singing a mix of lead and harmony vocals. Maybe because my brain was tricked to expect higher pitched vocals when you started to go higher. But then you went back down. I understand that you just recently managed to bridge registers, and it was probably the reason why you didn't stay higher. If I may humbly suggest (or request) you to play around with higher harmonies, at least as backing vocals. Nevertheless, it sounds really good already. You just got another fan...

Hi JonJon, I really liked your song man! The INTRO, the guitar work, the VERSES with the low energy vibe and nice guitar arpeggios. Considering it took you one whole day to do it, I would say it is AWESOME. However, now that you had a great start you can improve it, take it to the next level. I agree with MDEW regarding the PRE-CHORUS sounding a bit out of key, BTW good job on setting the mood for the CHORUS by increasing the energy level. It could be the apparent complexity of this section that it is making us project a different melody, or just wanting a different melody. Now, in my opinion, after you done an excellent job with the dynamics of the PRE-CHORUS when you get to the most important part, the CHORUS, it lacks energy. Maybe I'm missing a stronger bass, or vocals sung a bit different, I don't know. I thought the lyrics were suitable for this style of music. Great job overall.
Regarding the Coverdale sound, if I may suggest, you could try to add a bit of cry, especially in the higher parts. You already started adding the creaking/vocal fry. You just need the cry, and some lows too. Keep rocking!

as a 22 yr old who looks 12, critiquing the work of a 48 yr old, u r fighting an uphill battle lol. (you'll understand that when you r twice as old as u r now)
that being said, any and all feedback is what it is...one should take it for what it's worth. Even if its framed in a douchey way, there may still be some truth to it lol
 
Im sort of at the point in my singing and songwriting where I like about 30% of what I am putting out. In other words I have a lonnnngggg way to go before I really impress MYSELF. So I am not too surprised that others arent too impressed either.
If u take it that I like the singing of Lenny Wolf, Robert Plant, C Cornell, L Staley then u can see I have a ways to go.
And musically I love stuff like old vanHalen, Blue Murder, BulletBoys....yet my vibe so far isnt even in that universe....so I have a ways to go to get nearer the sound that I am after.
Just struggling to find the right drum track is like an endless thing. That in itself determines like 80% of the vibe
 
lastly, production is a HUGE subject...a lot of bland stuff can be made to sound epic and a lot of good songs can sound sucky all due to production. So in addition to singing, writing, and playing the instruments, when you hear one of my originals you are also hearing the production. It's a long uphill slog lol
So a song like this one, conceived, written, recorded, produced all in one day...it aint gonna be perfect lol

Perhaps I was just projecting my own melody choice. I think you are correct and that is a G#4 on Gotta. The more I listen to it the more I like it.

btw, on the verse was going for Coverdale again lol...hard to get his style down. I did learn some stuff on this one though about being close or farther from the mic. Getting right up on the mic helped on some parts

Twang happens when the area above the vocal folds is decreased or the epiglottis is tilted/engaged.... The epiglottis is made of cartilage and covers the wind pipe when swallowing helping to keep food out of the wind pipe. In the picture below, see those muscles arranged in an X those close the epiglottis, some of those fibers continue and are part of the vocal cords. That is how engaging TWANG helps close the vocal cords. Whether you want to view it as Twanging the epiglottis or engaging the aryepiglottic sphincter, or narrowing above the vocal folds It does not matter, that is where TWANG happens. It also helps to close the vocal cords.
 

for me its the opposite. What I am feeling as "quack" (really mega duck sounding) is related more to a choking/squeezing feeling where I was using twang to try to squeeze out a note higher and higher but it just gets too tight and thats that. Its the feeling I get when near the top of my headvoice.
 
Today at work I had a pretty solid breakthrough related to hitting higher notes and connecting better etc to do with feeling the connection and resonance more in the soft palate as opposed to just trying to squeeze harder and harder. I got a great feeling of squeezing the gut and having a good hard connection of air pressure all the way from the diaphragm up to the soft palate....and was picturing the sound coming off and bouncing forward off of the soft palate. That really helped me to avoid squeezing/choking when trying to get higher notes.
All in all in the last 3 days or so my whole level of singing technique has taken huge steps. Its pretty exciting. Now I need to do some study to be able to identify exactly WHAT I am doing lol

Jon, to really do a song right, you have to get a sheet of lyrics and pick each word apart and see the vowel(s) in each word like I had shown in "Ready for love."
You sing on the vowels, because vowels enable breath flow, where consonants inhibit breath flow and or close down the throat.
The notes you admire are tuned vowels ......
The vowel changes with the pitch.  The higher the notes, the more you have to be concerned with vowel choices.
Pronunciation and intelligibility erodes as you sing higher...

Lowering of volume was a poor choice........... But I did mean to keep from over powering the folds and causing them to blow open. Beginning the process of Training, finding the correct vowel(Throat shape) to do what you want is also a part of the  process.
            Things like vocal fold mass(amount of cord vibrating) and sub glottal pressure is not inherent  in the vowel itself, it may lead to certain vowel choices or shades but the vowel does not dictate the amount of mass and pressure, The amount of mass and pressure may dictate the vowel choices.
 Yeah, I know I confuse myself also when I type things like that.

 "Singing lighter is about shedding vocal cord weight and reducing sound volume."
M, You do not have to reduce sound volume.  You do not have to lighten up anything.  You can keep a constant flow of air and intensity, regardless of volume. This shedding weight is accomplished by the vowel...(the throat shape). The vowel choice you design for yourself (no one else) is the thing that let's you up.
Do you really want to be training or singing and having to say to yourself "I'm going up high, time to cut back my voice?"
What does lowering volume accomplish?  All you end up doing is underpowering and loosing connection.
Whether you begin light or heavy you need to still play the instrument.  The voice has to get requistite breath energy at any volume.
 
 

Hey Aravindmadis!
Sounds really cool man! Production is awsome, you've really found the timbre for the song and it seems like you can do it for a long time  The only thing I would work on is making sure the pitch becomes correct even with that kind of timbre. Right now you are attacking the chorus a little flat but I think it's just a matter of attention to detail.
Great work man, keep the covers coming!

Holly Cheese Aravind!!! I am speechless my friend! Your voice sounded so professional, that I could swear you were all this time pretending to be a vocal student, and you actually wrote this song! But the video needs to be synced with audio. Other than that, A.W.E.S.O.M.E. timbre!

Hi Folks, 
It has been a while since my last post.  This time I wanted to do something that is quite different from my last song(s).  I have always wanted to do distortion at lower ranges.  I just could not find the right support mechanism and way to do this without hurting myself.  I have understood how to do this safely without injuring myself.  
Sometimes when I am not yet sufficiently warmed up I get a itchy feeling when I try to distort.  If I am careful, it goes away after a while.  I am assuming that I am not doing anything wrong because I can sing like this for more than an hour and I don't feel any effects later in the day or the next day.  
All in all, quite a fun song to sing with an epic sounding F#5 to finish it.  I wish I could get some grit on this note, but for the time being happy with where I am!  
 

So, if you need help to get the equipments you should check the The Vocal Gear Store http://astore.amazon.com/thevocastudin-20
And if you need more technical info (it seems that you do) on how to put everything together you should check this post about Home Recording 
 
Good luck man!