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Three voices around the mic were a bit distracting. But remember I was trying to cover the fact that I was having trouble singing in the Key of C. I'll Be Seeing You - Key of D I think this sounds better. Still aways to go, but moving the tune up to D was certainly easier for me to sing. 
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This key suits you much better; also I can hear that you are starting to take charge of the vocal. You are definitely on the right track. Now all you have to do is let it flow with more of that new confidence I am hearing in this recording than I did in the first. Especially between mark 1:04 - 1:30 it seems you are finding your stride, and all that is my friend is confidence.
I think you will be amazed at how much better your vocals will become after you harness that confidence, and of course the correct key.
Later,
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Dan,
A couple of things to try to get a more authentic sound out of this tune:
1. Don't put the piano solo in the left channel while comping is going on that is in the center. Sounds like two piano players which is almost certainly never going to happen in a jazz combo.
2. To rescue the vocal track - comp the best parts of your two tracks into a single track. Doubling is almost never part of a jazz combo recording. In fact, I can't say I've ever heard it before in a jazz combo. Also, high pass that vocal at around 250 Hz or so and much of the popping will disappear.
3. Delete the count-in.
4. When you track the vox next time, step back away from the mic - after getting your pop-filter or making one yourself with the classic women's nylons over a needlepoint hoop/bent coat hanger, etc.
D does seem to be better for you. Try sliding into and out of the notes somewhat; relax. Dance a little while you're recording - feel the song while you are singing it - it will show up in the recording as feeling less stiff.
-Scott
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Dan,
I've just been listening to the key of D version. This is a whole heap better than the previous version! Your voice is really suited to this style. The beauty of jazz is that it doesn't needs perfection, it needs "soul" and I can hear that when you sing. Can I suggest that before you sing the vocals, have a drink of room-temperature water. Doing so really eases the vocal chords.
Excellent work.
Noel
MY SONGS...Audiophile BIAB 2026
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Quote:
This key suits you much better; also I can hear that you are starting to take charge of the vocal. You are definitely on the right track. Now all you have to do is let it flow with more of that new confidence I am hearing in this recording than I did in the first. Especially between mark 1:04 - 1:30 it seems you are finding your stride, and all that is my friend is confidence.
I think you will be amazed at how much better your vocals will become after you harness that confidence, and of course the correct key.
Later,
Thank you Danny, I appreciate the encouragement. This tune was a great learning experience for me. First it was one of the great world war II lyrical ballads and I love revisiting this type of material (...way before my time  ):
Song Credits
Second, it was a great workout between BIAB, RB and REAPER. And finally, I love the idea that I may be able to find my voice someday and also a way to combine it with my music. 
Cheer,
Dan
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Quote:
Dan,
A couple of things to try to get a more authentic sound out of this tune:
1. Don't put the piano solo in the left channel while comping is going on that is in the center. Sounds like two piano players which is almost certainly never going to happen in a jazz combo.
2. To rescue the vocal track - comp the best parts of your two tracks into a single track. Doubling is almost never part of a jazz combo recording. In fact, I can't say I've ever heard it before in a jazz combo. Also, high pass that vocal at around 250 Hz or so and much of the popping will disappear.
3. Delete the count-in.
4. When you track the vox next time, step back away from the mic - after getting your pop-filter or making one yourself with the classic women's nylons over a needlepoint hoop/bent coat hanger, etc.
D does seem to be better for you. Try sliding into and out of the notes somewhat; relax. Dance a little while you're recording - feel the song while you are singing it - it will show up in the recording as feeling less stiff.
-Scott
As a “music critic” you certainly have a well tuned ear  . And didn’t you once hail from Flint?
You are correct I did have dual pianos in the mix. At first I wanted to replace the “comping” piano and just do this myself on guitar. But the guy is so good I hated to lose him. And I definitely wanted the “soloist” piano because I love what he does. So I just mixed it all up. This is exactly what I meant when I first described the piece as busy. Your suggestion is good. I will move both pianos to one side and then not have them playing at the same time. Then during the solo section I’ll have only my guitar comping. It will be more real!
I have had a lot of suggestions on the EQ of the vocal. Unfortunately I am somewhat at a loss for doing this since I have no real knowledge of how all that works. I have lots of tools, just don’t have a good enough ear to “hear” the subtle differences working with things like verb-compression-EQ filters. 
No more pops - $24 at Sam Ash Music down on the corner.
Scott, thanks for the suggestions.
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Quote:
Dan,
I've just been listening to the key of D version. This is a whole heap better than the previous version! Your voice is really suited to this style. The beauty of jazz is that it doesn't needs perfection, it needs "soul" and I can hear that when you sing. Can I suggest that before you sing the vocals, have a drink of water at room temperature. Doing so really eases the vocal chords.
Excellent work.
Noel
Thanks Noel,
Reminds me of something I have seen recently in the forum, “..don’t look at the singer you will only encourage him” Original had a trombone in it , but same idea. 
Good suggestion. I have been know to step into the backroon before a gig to soak my left hand in hot water. It does indeed losen things up. We should put together a listing of things to do to prepare for a vocal performance.
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Hey Dan,
D suits you. Single voice is also much better.
You have a nice voice. Don't be afraid to use it!
Nice jazz lounge act!
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didn’t you once hail from Flint?
I went to Engineering school at GMI Engineering & Management Institute in Flint, now it's Kettering University. I have many friends there. Moved to Colorado earlier this year.
Quote:
I have had a lot of suggestions on the EQ of the vocal. Unfortunately I am somewhat at a loss for doing this since I have no real knowledge of how all that works. I have lots of tools, just don’t have a good enough ear to “hear” the subtle differences working with things like verb-compression-EQ filters.
No need to be confused. Here's the signal chain you will want to go for to start with:
1. EQ. Put the PG 5 or 10 band EQ in place, and slide the sliders all the way down from 250 Hz and below. I can't remember if PG includes a High Pass filter as a plugin. If so, use that, if not use the graphic EQ. Give that a try first and listen to what happens to the pops, you might not need the rest of the chain but in case you do...
2. Compression. I rarely use compression on a vocal track as I will usually edit the impulses individually. If you do use compression, there are many guidelines out there. I will suggest you pick up this free compressor from GVST simply because it shows you what the compressor is doing to your audio signal with a waveform display, as well as a graphic depiction of the ratio, knee, etc. You can get a copy here: http://www.gvst.co.uk/gcomp.htm This isn't to say the compressor from PG is not good, it's just that as you learn how to use compression, this particular plugin goes a long way to show you what is actually happening with the signal.
3. Reverb - use sparingly.
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Much better, Dan! Keep at it with the vocals - the more you record it, the more you will feel it and swing with it. Keep each take and then you can cobble the bits together that work best at each part to create a finished whole with all the best pieces. Also you will become more and more familiar with the song.
Also, (in RB) try using the Male Vocal FX on the track - just right click on the track label and you will find them there. A lot of the time, they work very well without any tweaking whatsoever.
As to the warm water, I prefer a drink myself!
Follow That Dream Sam Karaoke King -------------------- Turning that corner again - I have to keep following that dream, no matter what
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Citaat:
Can I suggest that before you sing the vocals, have a drink of room-temperature water. Doing so really eases the vocal chords.
That is very good advice indeed. In fact, here's an article why a singer should do that. here's an article
As for the song: Rockstar-not just about sums it all up.
I think you made very good attempt here. Definatly has a nice, laid back feel to it. Good job.
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I like to drink warm green tea with a touch of honey when recording vocals it seems to sooth the voice and hey it taste good too!
HP Win 11 12 gig ram, Mac mini Sonoma with 16 gig of ram, BiaB/RB 2026, Reaper 7, Harrison Mixbus 11 , Presonus Audiobox USB96
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Tea and water are good. Pop soda (burp) isn't. Neither are Coffee and alcohol, for these both withdraw moisture from your body . You can imagine what happens if you drank milk before singing.
Personally I stick with water. On a gig I start with coffee (on arrival) and then switch to water. On a typical 4-hour gig I drink some 5 liters of it (no ice!).
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Quote:
Quote:
Can I suggest that before you sing the vocals, have a drink of room-temperature water. Doing so really eases the vocal chords.
That is very good advice indeed. In fact, here's an article why a singer should do that. here's an article
As for the song: Rockstar-not just about sums it all up.
I think you made very good attempt here. Definatly has a nice, laid back feel to it. Good job.
Mike, thank you for weighing in. It is the comments from the vocalists here in the forum that I especially appreciate on this piece. And boy have I gotten some good advice. As always, you guys are great.
Thanks for the article. I will make a bottle of room temp water a pre-requisite for my next vocal project.
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Here's another one . . . before a gig I always dissolve one Honey Lemon Hall's Mentholcpus (I think I spelled that correctly) cough drops in my mouth. 1st break I drop the second.
Later,
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