So is it just me or is Aimee Mann like about sixty (60) now? I mean, you can barely tell. That’s pretty awesome. I loved Til Tuesday when I was in High School and since then have just been so busy with college and law school that I never noticed that Til Tuesday’s singer had done what most brilliant people eventually do, which is to go it on your own.
Aimee Mann’s solo career has been brilliant and fun and funny and now that I have a little time to listen to her new album, Mental Illness, I’m floored by how great it is. Her voice is as beautiful as ever, and so is she, and her writing and composition is just stellar. But don’t listen to me, listen to her.
And String Tracks!! Did I mention the string tracks and how she describes them, even her description is sublime. Not to be confused with the band of the same name, although they’re pretty great too. Being married to a string player has been one of the best things that’s ever happened to me. So, mad respect for anyone who can play and anyone who appreciates them and uses them to enhance their songs and album, such as Aimee Mann’s Mental Illness. Heading to iTunes right now to find it and add it to my collection. 🙂
Natalie Nee on “how to avoid a common issue when recording vocals PLUS VIDEO of me [Natalie Nee] singing “Lovin’ You” by Minnie Riperton”
“A couple weeks ago, I sang on a Climaxes session with Barry Donegan of Look What I Did and Evan Brewer of Animosity. Once or twice while recording Barry’s dynamic vocals, we ran into one of the most common and frustrating recording problems.
As a singer who performs both in studios and on stage, I can testify that the difference between those two settings (and types of microphones used) is huge, and failing to adapt your vocal dynamics (or volume) to a studio setup can have very frustrating repercussions. (Pun intended. :P)
The problem with being a naturally loud stage-singer accustomed to projecting your voice all the way to China is that studios are small, and microphone sensitivities vary. If a loud singer is too close to a sensitive mic, the mic will distort those ample vocals when the vocalist decides to go for a big crescendo.
This problem can usually be solved by taking a step back from the mic. Just be sure to come in a step closer when you get soft and intimate again. Moving for no reason when recording a vocal will mess up the levels.. so stop dancing while you sing. I won’t name any names… 😉
If you want to know what not to do in a recording session, watch this video I recorded of myself covering “Loving You” by Minnie Riperton whilst not being bored at work. :)”