In this chapter I will apply the nine analyzed techniques to the production of my own music. For my first album „Through The Night“ I produced nine original songs so far and used the techniques in various places.
This process combines the conscious application of the techniques and also reveals my intuition and where I might have used them in the past before consciously researching Jacob Collier and Jamie Cullum’s music in this regard. I will reflect if and to which extend I could make use of my findings from the analysis and critically look at the techniques within the context of my personal productions to find out why they work for me or if they do not work why that might be the case.
The analyzed and applied techniques are:
#1: Upfront vocals
#2: Own voice stacks
#3: Vocal pyramids
#4: Strong structures in vocal voicings
#5: Formant shifting in backing vocals
#6: Dead drums
#7: Sub-bass
#8: Layering sounds
#9: Earcandy and other real world noise
#1: Upfront vocals
My Song „Some Kind Of Dark Blue“
This song is about missing someone and wishing to be next to that person, which is only possible in another world. This feeling of being lonely is being represented by the sparseness of the whole mix which allows the vocal to easily be comparably louder than the rest. It makes sense in that regard that the song is a ballad that starts inly with vocals and piano. I compressed the vocals and gave them a very little reverb because it felt unnatural without a room but only as much that you do not notice it and it does not interfere with the vocal itself. The texture of the vocal and its placement in the mix help to create the same kind of intimacy that Jamie Cullum and Jacob Collier convey in their productions and I had in mind when writing the song, because the lyrics are a personal conversation with another person.
My Song „Spacewalk „
„Spacewalk“ is a love song and in its purest form meant to be played alone at the piano while the other person listens. I used the technique of upfront vocals to create this situation of an intimate conversation in the listener. This setting gets reflected in the detail and warmth of the voice.
Conclusion upfront vocals:
The technique of placing the vocals infront of the mix, compressing it and giving it some low frequency saturation had the effect I desired when producing the song and I think that it can be considered as a gernerally working technique that gives consistently the same result when used with the same intention.
In my case both songs are piano ballads in the first place which naturally offer more space than a denser Pop song for example, but the application in another stylistic realm would be a case for further research.
Also the use of saturation/distortion added warmth to my voice but when used too much it covered my natural voice sound too much. Saturation is a quite powerful tool when used carefully.
#2: Own voice stacks
My Song „Break Through The Walls“
Isolated vocals:
The song „Break Through The Walls“ is an energetic Pop-song about having the courage to break the chains we carry from our past in order to change for the better by being brave.
The intention for the backing vocals was to build tension towards the refrain and have a driving and full support for the lead vocal that even lifts again for the repetition of the refrain. I used stacks of my own voice throughout the pre-chorus and the choruses. I think a vocal stack consisting of only my own voice worked well in this context because if it would be a choir of different people it might sound to different and distracting from the main voice possibly interfering with the sound of the main voice making it more stressful to listen to especially because the mix is already quite full.
A stack of only my own voice lays down the harmony while keeping a consistent voice color that thickens the sound in an organic manner but leaves room for the other instruments to breathe.
It makes the backings sound more organic, homogenous and personalized and less like a standard anonymous backing choir which in my case worked out quite well.
I think a choir or other voices can also be a good choice and sound good together especially when used to stress certain words or phrases like Jamie Cullum does it but in the context of a very full vocal arrangement like Jacob Collier tends to do it using your own voice can be a bit more unobtrusive and potentially easier on the ears but that can be topic of further research.
My Song „Earworm“
My song „Earworm“ starts with a vocal intro accompanied by a barely hearable piano. The idea was to have a homogenous wall of sound in the beginning as an effect. I like that by using stacks of my own voice the vocal line becomes richer and more colorful but remains personal to me.
Conclusion own voice stacks:
When using own voice stacks it is possible to add harmonic context and richness to a vocal line and at the same time keep the intimacy to a certain degree because although multiple voices are audible they are all the same belonging to only one person. These kind of backings seem to work well when conceptually a more intimate conversation or a monologue is desired. If vocals stacks consisting of only one person’s voice is the better choice compares to a more divers sounding choir depends on the intention of the song and the intention behind it meaning is the message conveyed more personal or meant in a context of society and solidarity with other people.
#3: Vocal pyramids
My Song „Earworm“
In my song „Earworm“ I used an ascending 8th note vocal pyramid in the intro as backing vocals. It represents the lyrics „disappear from love“ by creating an open space of ascending notes that „fly away into the sky“ and using a wide spread chord Fm11 chord (from bottom to top: F-C-G-Ab-Eb-Bb) which has a warm and rich color and two stable fifth on the bottom and on top separated by a dissonant half step that symbolizes the pain of loss within the world of love and stability. The pyramid contrasts the previous harmony which is stacked in uniform and feels more like a wall in a way that it breaks the texture and creates movement while staying on one chord.
Isolated vocal pyramid:
Conclusion vocal pyramid:
I only used the vocal pyramid in one song and the context of an intro, but it has the expected effect creating movement in a certain direction that supports the lyrics or the song and it helps to fill in the space in-between the vocal lines where the listener might get bored and keeps the attention. I can imagine that vocal pyramids can lose their effect when used too much and too often. The technique worked in my context and had the desired effect.
#4: Strong structures in vocal voicings
My Song „Again“
Isolated vocals:
In my song „Again“ I used a backing vocal line that creates diatonic thirds with the main voice. It adds fullness to the part of the song without grabbing too much harmonic attention. The used major and minor thirds are one of the simplest but a very effective way to strengthen a lead vocal where the effect should be perceptible but unobtrusive. Harmonizing a melody in thirds can get really cheesy if overused but in my context it thickens the voice and outlines only the harmonies in the refrain when appropriate.
My Song „Break Through The Walls“
Isolated vocals:
In my song „Break Through The Walls“ I used strong structures like triads and stacked thirds to harmonize the melody in the refrain where the focus lies in the groove and the overall energy. The backing vocals are meant to support the main hook in the refrain by strengthening the harmonic context. The chord structures need to be strong because this feeling of stability is what carries the meaning of the song – if you want to feel the strength to „break through the walls“ you also need strong voicings. Dissonant and less stable structures could be used as a contrasting stylistic device but it would not fit in the context of an uplifting and empowering popsong.
Since the pre chorus consists of a stable repeating note while the other notes in the voicings rise consistently the created dissonance of the dominant chord before the chorus results in tension and energy that gets released in the chorus itself where the voicings move more in relative motion.
My Song „Remember“
Isolated vocals:
In my song „Remember“ where the overall atmosphere is dreamy, nostalgic and uncertain the used strong structures in the backing vocals which are functioning as a pad sound convey a certain feeling of consistency, hope and reassurance in the situation of a heartbreak. The ascending basic triads layed out in a spread voicing give room to shine and have a soothing effect. Because of the used vocal registers the chords feels at the same time grounded and a little like wind which helps to convey the intense emotion.
The counterline in the repetition of the chorus symbolizes the internal pulsating and hurting heartbeat but because the stable interval of diatonic thirds are being used it also has a stabilizing effect.
Conclusion strong structures:
Because strong structures in backing vocals have an itself carrying effect they can stabilize almost every situation where a little more harmonic confirmation or context is needed. These types of chords and intervals are easy on the ear and apply therefore very well in a Pop and Gospel context where they are used a lot. For some cases where the goal is to create instability or where more dissonant jazzy colors are desired these structures can potentially be a bit boring but also there as part of an upper structure for example can help to stabilize the sound in an harmonic more dissonant situation.
#5: Formant shifting in backing vocals
My Song „Spacewalk“
In the bridge of my song „Spacewalk“ I used formant shifting in the backing vocals to create a bigger choir like situation with a sparkling high end to match the epic atmosphere of this section.
In the bridge there are different kinds of backing vocals:
The doublings of the melody and the pad-like harmony.
In the doublings I pitches two in the stereo field spread voices an active up which changed the formant of the voice creating the impression of different people singing.
In the second half of the bridge the harmony part the highest vocals of the backings are also pitches up and sound alienated:
In this context it creates contrast to the first half of the bridge and it opens up the sound adding a shining effect to the athmosphere making it almost cinematic.
My Song „Holding You“
In the bridge of my song „Holding You“ which is also the climax of the song I used formant shifting on the top voice of my vocal arrangement which makes it sound alienated but it adds just the right amount of energy in the higher frequencies to cut through the mix and match the general energy in this section of the song.
Conclusion formant shifting in backing vocals:
I used the effect of formant shifting in my songs mostly in a specific way by pitching up the highest note in my backing vocals to gain some top end range-wise but also regarding color. It would be interesting to see how the technique applies in other contexts and when pitches down instead of up, but in my productions I found the presented way of use appropriate for my situation. I needed a tool to make my backings shine more and cut through a dense mix and pitching up the top line of my backings were a working solution for my problems.
To fully grasp the potential of formant changing and get a picture of its full range of applications further research is needed.
#6: Dead drums
My Song „Spacewalk“
My song „Spacewalk“ is an intimate love song, a Pop ballad with an overall cosy atmosphere. The drums only have a very small reverb to blend in with the piano but still it sounds dry in the mix and the general sound of the drums is quite warm. In order to achieve this „dead“ sound I also applied a high-cut-filter which reduced the high frequencies above 8kHz. It feels almost lofi-like and helps to carry the mood. It is only for rhythmical stability and reassurance and not meant as a big sounding instrument. It fits the song quite well and does not distract from the voice or the piano.
My Song „Some Kind Of Dark Blue“
My song „Some Kind Of Dark Blue“ is a Jazz ballad with a very personal meaning and a delicate message. Just like my song „Spacewalk“ the drums support the flow of the song but they function more as a puls than having a big open tone. Applying the technique of dead sounding drums helped me to achieve this.
My Song „Holding You“
Also in my song „Holding You“ the drums are meant to match the vibe and tone of my voice and sound warmer and closer like they would in a small room and therefore I used the technique of dead drums because they play an important role by driving the groove forward but since the song is also a more ballad-like voice and piano focused song I wanted them only to carry precise rhythmical information by having a short decay and a dry sound.
Conclusion dead drums:
Dead drums are a good working tool when producing ballads or calm songs as I did. They work as expected and generate a feeling of closeness and warmth in my productions while not being too expressive. The sound is also pleasant on the ears which is important when the desired mood is more calm or intimate. If this technique works also in other styles is subject to more research but it could be interesting to see how this effect behaves in faster, more energetic or aggressive songs.
#7: Sub-bass
My Song „Break Through The Walls“
In my energetic Pop song „Break Through The Walls“ my goal was to create a contrast in the verse to the chorus in a way that I wanted it to sound calmer but it should not be disconnected. The use of an actual sub-bass helped me by leaving space in the verse for the fragile voice and other smaller sounds. It also acts as foreshadowing for what is to come in the chorus where the energy literally explodes, like a distant thunder before the storm. It shows the energy of the song and connects the different parts by only laying a fundament.
My song „Spacewalk“
In my song „Spacewalk“ I also used a bass which has a sub-bass quality but it has another function than in the song „Break Through The Walls“. In this case it represents the existence of love and caring, a sense of security. In this case its harmonic movements have a rocking and calming sensation to it. But similar to the bass in „Break Through The Walls“ it leaves enough space in the frequency spectrum for the other instruments to be clearly heard.
Conclusion sub-bass:
As a real sub-bass or a normal bass with more pronounced low and less high frequencies, a sub-bass quality helps to create space in the frequency spectrum for other instruments to be audible and to keep the mix clean and transparent. It acts more like a feeling than a real sound what gives it another dimension to connect emotionally to the listener. This principle seems to work in more energetic as well as in more intimate and relaxed songs what makes it a reliable tool for contemporary music production when the goal is to create an authentic and transparent mix.
#8: Layering sounds
My song „Again“
In the intro of my song „Again“ I created an organic sound by layering different sounds:
- A Rhodes sound with a wah wah effect in it:
2. The Keyscape sound „Dulcetonia“
3. My voice singing the notes on „duh“ with a high- and low-pass filter and a delay effect on it:
The combination of my voice with the other two instruments creates an interesting organic texture that matches the neo-retro vibe of the song with its modern instrumental vibe combined with syntheziser sounds.
My song „Survive“
In the beginning of my song Survive I layered three different sounds:
- Piano
2. Organ
3. Keyscape sound „Clavinet C Wah Brite“
Together they form a completely new texture combining the attack of the piano the sustain of the organ and the organic/vocal qualities of the clavinet.
Conclusion layering sounds:
Layering different sounds enables one to combine different aspects of instruments into a new versatile sound. The fact that layered sounds often have an organic or synthesizer-like quality makes them a good fit for melodies like I used them for. It is important that this is only one specific case where this technique can be applied and the possibilities are endless since you can work with every sound that exists to create and shape new ones.
Unusual sounds can expand the sound palette of a song and catch the listeners attention.
Layering is a part of sound design and worth investigating in more detail.
#9: Earcandy and other real world noise
My Song „Break Through The Walls“
In the verse of my song „Break Through The Walls“ I used a glockenspiel sound in the background to fill in the higher end of the frequency spectrum and keep the listener busy.
Isolated with the piano are more details consciously recognizable:
My Song „Some Kind Of Dark Blue“
In the first verse of my song „Some Kind Of Dark Blue“ I used occasional piano notes with reverb on it to set a mood for the vocals and to keep the listener engages.
Isolated notes:
Another place in the song where I use a more undefined sound in the background is in the second verse. The lyrics „You’re my warmest flame, you’re my brightest spark“ are being supported by a fast repeating piano arpeggio with a lot of accumulating reverb on it swelling like a sparkling fire which ignites and than stifling again:
Isolated piano part:
My Song „Spacewalk“
In my song „Spacewalk“ I used a single pitched drone tone throughout the song to create some atmosphere for otherwise potentially too empty seeming parts. The sound fades in volume over the course of multiple bars and then fades back in to begin the loop again. This keeps the atmosphere dynamic, creates movement and allows for development.
It is barely noticeable but it influences the listener more on a subconscious level.
The isolated drone tone:
My Song „Remember“
In the beginning of my song „Remember“ I start with a recording of real beach noise I recorded myself. It blends well with the strings and sets a mood for the song that recreates the situation in which the song was initially written. That makes it more authentic and immersive for the listener.
My Song „Holding You“
In my song „Holding You“ I used a quiet glockenspiel in the first refrain to add a little sprinkle to the overall sound.
The isolated sound:
In the second verse and refrain I used subtle guitar fills to add an another dimension to the sound and fill the gaps in between phrases. In the refrain I used a rhythmical repeating single note motif which is barely audible but creates a sense of stability and consistency in a song which is about feeling emotionally unstable and agitated.
The isolated guitar:
My Song „Earworm“
In my song „Earworm“ I used a simple high-register piano motif in the refrain composed of two alternating notes. The high register of the piano makes it almost disappear in the mix but the repeating motif gives the ears something consistent to grab a hold of.
The isolated motif:
Conclusion ear-candy and other real world noise:
Fills, motives, drones, and real world noise are a very creative filed of music production and it can incorporate all kinds of sounds more or less subtle which are the icing on the cake and can influence how we perceive a certain mood. As you can see in my productions the ways of incorporating little details can be diverse and there are no fixed rules. The only thing is how obvious you want a certain detail to be but other than that there are no limitations on how to use ear candy to personalize and shape a song in its specific context. It is a working tool that is often underestimated but can make the difference between a good and an exciting production.
Conclusion application of techniques:
All of the previously analyzed techniques could be used in my own songs and they all had a certain effect that I could recreate in my own productions.
Of course, most of the techniques were only applied in a specific context and in a specific way. That means that it is difficult to conclude whether these techniques are also effective in other scenarios than the ones described, but as a result of my research I have gained some tools that are proven to work in certain scenarios. Some concepts even seem to work in multiple cases as far as I tested them.
For sure every single analyzed and applied technique discussed in this research is worth to be further investigated.
Since I wanted to gain a wider perspective on how Jamie Cullum and Jacob Collier create their own sound I could not focus as much on the application of individual techniques in detail as I would have liked to do but it gave me an overview of basic techniques which lead me in the right direction of developing my own sound when producing songs that are inspired by musicians that influenced me and my subconsciousness since I was young.
What are possible aspects for further research in the future?
It would be interesting to see how far the described techniques can be pushes and what are their boundaries.
Another question is how individual techniques behave in different stylistic environments. This would require a much more detailed research focussing on individual techniques.
Regarding the vocal aspects it could be interesting to see how different approaches would work for different people with different voices and if the outcome can be generalized.
The next logical step could be to zoom in on certain aspects of my research and gain a more in depth view on individual techniques and how they behave in a more generalized context.
Another path can be the investigation of more songs of the two artists and comparisons with other previous albums if a further research on their personal sound should be the goal.