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Recording can be like singing in a comfortable cave. No audience, no emotional connection with an audience and sometimes no emotional feedback at all. We deal with this problem mostly in pre-production: teaching the artist how to sing from feel with little or no feedback. I have heard the best producers in the industry, such as, Celo Green: tell the singers to feel it more! This of course is excellent advice.
However, it seems that very few artists respond directly to this advice. We find that they start focusing on the request, instead of the feeling. We provide the artist; the ability to feel the lyric or story whether it be with an audience or recording session. If you enjoyed our info, please like us at: www.facebook.com/singfromfeelstudio for more.

SingFromFeelStudio wrote:Recording can be like singing in a comfortable cave. No audience, no emotional connection with an audience and sometimes no emotional feedback at all. We deal with this problem mostly in pre-production: teaching the artist how to sing from feel with little or no feedback. I have heard the best producers in the industry, such as, Celo Green: tell the singers to feel it more! This of course is excellent advice.
However, it seems that very few artists respond directly to this advice. We find that they start focusing on the request, instead of the feeling. We provide the artist; the ability to feel the lyric or story whether it be with an audience or recording session. If you enjoyed our info, please like us at: www.facebook.com/singfromfeelstudio for more.

Haven't we been through this already ?

PaperDog wrote:

SingFromFeelStudio wrote:Recording can be like singing in a comfortable cave. No audience, no emotional connection with an audience and sometimes no emotional feedback at all. We deal with this problem mostly in pre-production: teaching the artist how to sing from feel with little or no feedback. I have heard the best producers in the industry, such as, Celo Green: tell the singers to feel it more! This of course is excellent advice.
However, it seems that very few artists respond directly to this advice. We find that they start focusing on the request, instead of the feeling. We provide the artist; the ability to feel the lyric or story whether it be with an audience or recording session. If you enjoyed our info, please like us at: www.facebook.com/singfromfeelstudio for more.

Haven't we been through this already ?

nope

The problem I've found in the studio is that some singers and instrumentalists try and do everything too "perfect." In their minds they have to sing everything exactly on time, play every note perfect. I brought up the clicktrack question before. Some people feel they have to record with one. IMO it makes a recording too sterile, too mechanical. In the studio there is often paralysis by analysis. People can't get out of their own way. Some tunes are mixed to death until there's no "feel". It's just mechanical. To me the best recordings have a live feel. I want to hear a singer growl, cry, produce whatever emotion is appropriate for the tune/genre.

fisherman bob wrote:The problem I've found in the studio is that some singers and instrumentalists try and do everything too "perfect." In their minds they have to sing everything exactly on time, play every note perfect. I brought up the clicktrack question before. Some people feel they have to record with one. IMO it makes a recording too sterile, too mechanical. In the studio there is often paralysis by analysis. People can't get out of their own way. Some tunes are mixed to death until there's no "feel". It's just mechanical. To me the best recordings have a live feel. I want to hear a singer growl, cry, produce whatever emotion is appropriate for the tune/genre.

What if the singer wants to fry some bacon and eggs...?

fisherman bob wrote:The problem I've found in the studio is that some singers and instrumentalists try and do everything too "perfect." In their minds they have to sing everything exactly on time, play every note perfect. I brought up the clicktrack question before. Some people feel they have to record with one. IMO it makes a recording too sterile, too mechanical. In the studio there is often paralysis by analysis. People can't get out of their own way. Some tunes are mixed to death until there's no "feel". It's just mechanical. To me the best recordings have a live feel. I want to hear a singer growl, cry, produce whatever emotion is appropriate for the tune/genre.

Yea, that's exactly what I am writing about. I am having great success with singers and producers making this problem disappear and improving the feel greatly.
Thanx for your response

Let 'em.

PaperDog wrote:

fisherman bob wrote:The problem I've found in the studio is that some singers and instrumentalists try and do everything too "perfect." In their minds they have to sing everything exactly on time, play every note perfect. I brought up the clicktrack question before. Some people feel they have to record with one. IMO it makes a recording too sterile, too mechanical. In the studio there is often paralysis by analysis. People can't get out of their own way. Some tunes are mixed to death until there's no "feel". It's just mechanical. To me the best recordings have a live feel. I want to hear a singer growl, cry, produce whatever emotion is appropriate for the tune/genre.

What if the singer wants to fry some bacon and eggs...?

Fry bacon and eggs that is.....

cheri d wrote:Let 'em.

PaperDog wrote:

fisherman bob wrote:The problem I've found in the studio is that some singers and instrumentalists try and do everything too "perfect." In their minds they have to sing everything exactly on time, play every note perfect. I brought up the clicktrack question before. Some people feel they have to record with one. IMO it makes a recording too sterile, too mechanical. In the studio there is often paralysis by analysis. People can't get out of their own way. Some tunes are mixed to death until there's no "feel". It's just mechanical. To me the best recordings have a live feel. I want to hear a singer growl, cry, produce whatever emotion is appropriate for the tune/genre.

What if the singer wants to fry some bacon and eggs...?

The sound of frying bacon and eggs is preferable to the sound of some singers' voices...

SingFromFeelStudio wrote:Recording can be like singing in a comfortable cave. No audience, no emotional connection with an audience and sometimes no emotional feedback at all. We deal with this problem mostly in pre-production: teaching the artist how to sing from feel with little or no feedback. I have heard the best producers in the industry, such as, Celo Green: tell the singers to feel it more! This of course is excellent advice.
However, it seems that very few artists respond directly to this advice. We find that they start focusing on the request, instead of the feeling. We provide the artist; the ability to feel the lyric or story whether it be with an audience or recording session. If you enjoyed our info, please like us at: www.facebook.com/singfromfeelstudio for more.

you can provide the artist ability... ?
so what's the point of the artist again?

I on the other hand, can supply the artist some finger puppets! Then the artist will have an audience they can connect to while singing! sing to your favorite celebrity, only 5.99 a puppet.

I get told to feel more when I sing in front of people. That I have a good, solid voice. It has the potential to be awesome, but I'm holding back. Then I found out that I am singing from my throat instead of using my diaphragm. So now I am trying to teach myself how to sing from my diaphragm but have no clue how to tell I am doing it, versus singing using my throat O.O Hmph. Any suggestions?

This is my Take...

On the surface, the voice is construed as a dynamic instrument. I say that is an understatement. It's feature is truly the ability to match; melodically and harmonically; any musical postulate that can ever be presented to an ear.

There is one very special attribute that a voice has, over all other instruments. It is the only instrument, (that with discipline and practice), can interpret thought and emotion with spot-on precision.

You can make a horn cry, a guitar wail, and a clarinet laugh, But their best can only yield out as a reflection of thought and emotion. Whereas, with voice, it can produce reflection AND compel a 'projection' thereof.

No instrument can leverage a 'message' as well as the voice, because no other instrument can articulate both the grandest and the finest detail as the voice does...Its the power of spoken word, transposed to a poetic verbal flow.

When we talk about singing with feel. IMHO There are simply two rules to accomplish the feel...

1) Honesty behind the expression: (This clears the channels of the heart and mind to allow true, compelling cases to be vocalized. We never want to substitute rage with melancholy and so on...)

2) Have or create a compelling case (story) to express: People tend to sing better when they believe in what they are singing about.

From there on, your job is to simply craft a story that is acceptable to the ears of the consumers of music.

april88 wrote:I get told to feel more when I sing in front of people. That I have a good, solid voice. It has the potential to be awesome, but I'm holding back. Then I found out that I am singing from my throat instead of using my diaphragm. So now I am trying to teach myself how to sing from my diaphragm but have no clue how to tell I am doing it, versus singing using my throat O.O Hmph. Any suggestions?

You will need constant feedback from a excellent voice teacher to get it right.

PaperDog wrote:This is my Take...

On the surface, the voice is construed as a dynamic instrument. I say that is an understatement. It's feature is truly the ability to match; melodically and harmonically; any musical postulate that can ever be presented to an ear.

There is one very special attribute that a voice has, over all other instruments. It is the only instrument, (that with discipline and practice), can interpret thought and emotion with spot-on precision.

You can make a horn cry, a guitar wail, and a clarinet laugh, But their best can only yield out as a reflection of thought and emotion. Whereas, with voice, it can produce reflection AND compel a 'projection' thereof.

No instrument can leverage a 'message' as well as the voice, because no other instrument can articulate both the grandest and the finest detail as the voice does...Its the power of spoken word, transposed to a poetic verbal flow.

When we talk about singing with feel. IMHO There are simply two rules to accomplish the feel...

1) Honesty behind the expression: (This clears the channels of the heart and mind to allow true, compelling cases to be vocalized. We never want to substitute rage with melancholy and so on...)

2) Have or create a compelling case (story) to express: People tend to sing better when they believe in what they are singing about.

From there on, your job is to simply craft a story that is acceptable to the ears of the consumers of music.

Nice job on this one!

april88 wrote:I get told to feel more when I sing in front of people. That I have a good, solid voice. It has the potential to be awesome, but I'm holding back. Then I found out that I am singing from my throat instead of using my diaphragm. So now I am trying to teach myself how to sing from my diaphragm but have no clue how to tell I am doing it, versus singing using my throat O.O Hmph. Any suggestions?

By the way I am a voice teacher.