You can imagine the number of Emails I get with questions about songwriting, recording and production.  Sadly, I find 95% of the guys rooted in the past, so that title above is very apt for this week.  One guy [he is now hugely successful in Germany after taking the 'How To Make A $Million' course] asked me guitar recording questions then told me he likes ancient gear....WHAAAAAT?

I advised him about 'today' techniques - he said:

"I do notice a large difference in my results these days. Thanks to who? Dat Dec over dere in England.

I want nothing more than to record with a real Marshall. I love them too. Maybe a JMP-1 is in order. I know what you mean about the sound. Boss effects sound dated, and cheap. Bring on the valves!!!"

His B/V's were straight out of the ark....I explained about having a proper vocal arrangement that 'stands up on it's own without any music'.

"I must be more picky with the Vocal arrangement. Spank me again!!!  I am doing the 3 track unison on each harmony but I will try the hard left/right spread with echo and chorus. Gotcha!!!

Also, why does my vocal seem to lack in clarity and punch? I record with good levels and don't overdo the compression or effects but it never seems to cut through to my satisfaction. Something to do with frequencies, I'm sure, but how to remedy it?

Also, pre-delay.
When affecting a vocal track with reverb, I followed your instructions about dividing the BPM by 60.
But if the track runs at 120 and I divide by 60 I get 2. Help!!!!!

Here is my reply....you may get good help from this:

Boss effects went out with the Do-Do's. I sold mine too long ago to remember...although the old Boss guitar compressor was a dynamite bit of kit...as was the delay. My guitar sound in concert last night was 'HUGE'. That is with Marshall JMP1 rack, Digitech Effects....all midi pedal controlled from centre stage [the rack is on side of stage out of site]....long midi lead plus long, high quality, guitar lead.... stereo 'speaker simulator' output to the main stadium PA and a 'Marshall Valvestate' rack mounted amplifier driving a wedge speaker in front of me...just for me to hear.  Perfect live guitar - and the exact same gear gives me my sound in the studio with no hassle or wasted time.

You said: "and don't overdo the compression or effects but it never seems to cut through to my satisfaction"....that is the reason why your vocals haven't got edge...you don't use quarter the amount of compression you should. You must compress to get a sound - not compress to even out. Too much compression just softens and eliminates attack. But enough compression to bring out the 'edge and breath' then boosted on the compression unit will give you total 'in yer face' 'hard on the ears' vocal sound...and this is what we aim for today. The 'output gain' is the most important knob on a compressor. But be careful of compressor inherent noise. I trust you are using a proper outboard compressor and not a digital 'card' type...they are useless.

You have the 'timing' completely wrong. Divide the BPM INTO 60....that gives the milliseconds per beat or crotchet. Then divide by two or four to give eights or sixteens, whichever effect you want to create. Sixteens from an echo effect is what we call: 'slapback'. On a predelay patch with very short, bright reverb will give 'vocal enhancement'.

And always remember it is the 'performance' that creates the excitement and not the effects. Production only makes a good performance great, and can do nothing for a mediocre performance. That is why I concentrate so much on the 'aping' exercises...which again, I know that NO ONE does ....have you? [grin]. The successful ones do! If you are 'self producing' your vocals, then you haven't a hope in h*ll of a great performance. "Never go near a studio without the best producer you can afford". You cannot be on both sides of the glass at the same time...many have tried...ALL have failed. I keep hammering this message home but I know that NO ONE listens....The great, successful performers know this logic from day one. I have spent my whole career being produced by 'the best'.

On the track you sent me, The male vocal performance is 'adequate' but nowhere near what is required in a 'today' production. No 'interest', no 'vocal tricks', no 'movement', no 'today technique'...just a nice unabtrusive voice...the type kids would say 'so what?' to. Think about it! Put on that track, then put on Craig David, Robbie, Eric Benet...and don't say it's not the same genre...there are no genres in POP music...there are either Hits or Flops. Robbie has minimum 4/5 vocal tricks per line....has that track? I'm not being evil here..just constructive. It's these points that make 'great' records. You are so close! But the extra mile is what sorts out the men from the boys.

NOTE:

In 'How To Make A $Million' I give chapter and verse on a stunning technique for achieving a 'today' vocal performance....Ian has followed it and now has phenomenal results.  I developed this unique technique which has changed performer's voices beyond all recognition.  I have never, ever seen or heard anyone else who knows this technique.

Ian wrote that Email to me yonks ago .... he has followed all the points above and more since.  He is now highly respected and successful producing in Germany....his latest stuff is, what can I say?  WOW!  Of course he has been a Member of The Serious Writers Guild now for some two years and concluded the intial 'How to Make A $Million' course and the 'Master Class'.  He also calls me from Germany and Emails me with queries and questions and help on career matters.