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One to go, BEING BEIGE having been sung, with Shredder’s guitar part to go for basics; and that in the morning before I tackle ONE AND ALL, and the de facto end-of-the-road.

Yesterday, post my mea cupa de licto, we were able to come to terms (grips?) with DORIAN. Which pulled me from the digital edge. So with all that said and confessed, I thought I might share a bit on this album’s singing process.

Last album (OCEANIA) I sang without headphones, citing my usual complaint that with them on I no sing the same as I would if you was in the room. A problem for me, personally, to hear where on an album like ZEITGESIT I wasn’t able to generate the same tonal power as you might hear live. And for context, MELLON COLLIE was sung without headphones, often times in the control room with the speakers blasting. MACHINA too.

Per this/that, I noticed an appreciable shift towards my singing on OCEANIA towards the positive. But Herr Howard convinced me to at least try *his headphones, and I’d say he was right to do so, as this has helped to find that balance between good pitch and edgy (dare I use the word?) performances.

On BEING BEIGE there are two choruses, and if given his druthers Howard would have me quintuple tracked on them all. “Like Kyley Papyrus,” he says. Verses are single takes, and I started today just focused on those; probably 8-9 takes each to get the best focus without overdoing it. Chorus 1 we (unsuccessfully) went for doubles (which means two vocals, the same, that lock), and for Chorus 2, triples! That went well actually, and having heard the final result I left Howard with the note that he should ditch the doubles on Chorus 1, figuring we can fill out the parts later with harmonies or other background singing (takes, anyone?)

The entire session, as far as singing, took about 3 hours, and that’s with breaks; and that’s been pretty consistent throughout the last few weeks. So thank you Howard’s headphones!


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