Turn Any Vocal To Something Amazing! 😎
- Thread starter MikeOst
- Start date
LazerBeakShiek
Well-known member
You add white noise behind the vocal. White nose sounds like blowing and rushing air and has no pitch. Specially if a singer is weak and doesnt blow it out good. It is necessary to blend a hiss track. Think of a microphone as a motor...cause it is one..The fuel is the air blown across the diaphragm..If you cant blow hard enough, the motor doesnt have enough fuel to operate properly.
Another way is to grab a voice sample from the online databases. Use the vowels and runs. Play the sample voice on your keyboard to get it in key. Instant background singers.
If you are not practiced in singing..The beginning and endings of words might sound poorly. First sung parts are consonants. not a held note ..The trick...use a gate on the vocal track. Let the gate open and release to make the consonants even for you.
Another way is to grab a voice sample from the online databases. Use the vowels and runs. Play the sample voice on your keyboard to get it in key. Instant background singers.
If you are not practiced in singing..The beginning and endings of words might sound poorly. First sung parts are consonants. not a held note ..The trick...use a gate on the vocal track. Let the gate open and release to make the consonants even for you.
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rob aylestone
Well-known member
A hiss track was mentioned in the 70s. Thank god it never caught on. Then somebody mentioned it again every ten years. I’d love to know which piece of well known popular music featured it? It’s a totally misused idea that has some science behind it in psychoacoustics but a poor voice cannot be made better with white noise. Just look at a waveform with noise present, it’s simply a mask of things quieter!
You can gate out long notes that a singer cannot support but the music is the key. If they cannot sustain you write a song that doesn’t need it.
It’s dangerous advice to promote this as good technique because it’s simply not. Maybe to be tried when absolutely everything else has been no good and you are desperate.
You can gate out long notes that a singer cannot support but the music is the key. If they cannot sustain you write a song that doesn’t need it.
It’s dangerous advice to promote this as good technique because it’s simply not. Maybe to be tried when absolutely everything else has been no good and you are desperate.
LazerBeakShiek
Well-known member
I disagree. His video demonstrates the addition of 'vocal atmosphere'. And it sounds better, more produced..
1:40 is the hiss
2:00 blended with vocal
1:40 is the hiss
2:00 blended with vocal
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LazerBeakShiek
Well-known member
I want more static in a higher resolution. Clearer more detailed static white noise. Thats that next level shit.
masks are great to hide behind
masks are great to hide behind
TalismanRich
Well-known member
Yeah, mask your crappy vocals with noise! That's the ticket to success. It almost sounds like he's trying to do something from the past.....
rob aylestone
Well-known member
I've listened to that video carefully. That is NOT adding white noise to a vocal, as you described. That's an impulse sort of reverb. You take an event and create lots of separate reflections from it. It is very common as an effect - and I don;t have edison, with blur - but that kind of effect is usually a preset in most reverb packages - I've used it myself to make pads for years. I've no idea where you got the idea it is hiss? Adding hiss to a sound distorts it and is absolutely not what we hear in that video. I think it is a perfectly valid effect - but adding hiss is just wrong - but it doesn't matter, because that isn't what is being done. Most reverbs from the early springs would take off when you turned them up too much, and the output was returned to the input - a sort of reverb feedback, that Rich recognised in the 10cc song. Static is impulses - so clicks, ticks, cracks, and hiss is well, er, hiss - and hiss is not static. hiss is a range of frequencies from low to high all with equal amplitude - and infinite number of frequencies from one frequency to another, but that is not static - which is usually a single short transient spike of different amplitude - happening spread out in time.
Smithers XKR
Well-known member
Clever use of Vocoder or what was that analogue sampling type tape keyboard
machine called back in the day, Emulator? No not that ... what the hell was it? Senior moment
Smithers XKR
Well-known member
There was this thing that used tape loops within a keyboard to create real analogue samples that was created in the 60s and used by Wakeman and Banks in the 70's before the Emulator. It was the first sort of sampling machine. It was huge and hopelessly unreliable. What the hell was it called??? I think I am in the first stages Doh!
Smithers XKR
Well-known member
MELLOTRON !!!!
Smithers XKR
Well-known member
Not Alzheimers just yet
Smithers XKR
Well-known member
Did 10CC use a Mellotron on this track?
Smithers XKR
Well-known member
Those reactive electronic toms going "boo" were all the rage with cheesy Disco music in the late 70's. Whatever happened to them Rob? I reckon with all the retro fashion now they are well due a comeback mate 🥰🥰🥲🤣🤣🤣
A lovely slice of pure Stilton from 79 🥰
Its actually a very well crafted and well played song. I just love how the drummer is so camp. He was probably thinking ... well I have done loads of sessions for a few quid here and there but this is a big payday so I dont care about what people think.... I would too 😅😅😅
Smithers XKR
Well-known member
Smithers XKR
Well-known member
You can have all the the modern tech you like and that it is great.
But there is only one thing that holds true in this modern age.
GIGO