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Post by yotonic on Nov 28, 2014 22:48:19 GMT -6
Talk about pitch. Wow
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Post by Johnkenn on Nov 29, 2014 21:38:27 GMT -6
He's the best...
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Post by yotonic on Nov 29, 2014 23:04:23 GMT -6
Gaye encompassed a three-octave vocal range. As writer Eddie Holland explained: "He was the only singer I have ever known who could take a song that was so far removed from his natural voice where he liked singing, and do whatever it took to sell that song."
Gaye's vocal style changed in the late 1960s in which he was told to incorporate a sharper raspy voice especially in Norman Whitfield's recordings, which Gaye initially profoundly disliked, considered it out of his range, but said he was "into being produce-able". After listening to David Ruffin and Levi Stubbs, Gaye said he started to develop what he called his "tough man voice" stating "I developed a growl". According to the liner notes of his DVD set, Marvin Gaye: The Real Thing in Performance 1964-1981, Rob Bowman stated that by the early 1970s, Gaye had essentially developed "three distinct voices; his smooth, sweet tenor, a growling rasp and an unreal falsetto". Bowman further wrote that the recording of the "What's Going On" single was "the first single to utilize all three as Marvin developed a radical approach to constructing his recordings by layering a series of contrapuntal background vocal lines on different tracks, each one conceived and sung in isolation by Marvin himself. Bowman cites Gaye's multi-tracking of his tenor voice and other vocal styles "summon[ed] up what might be termed the ancient art of weaving".
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Post by tonycamphd on Nov 30, 2014 0:40:15 GMT -6
that is ridiculous, he was amazing! it's pretty striking how many punch ins are on that track? i never knew....
That was auto tune back in the day, "do it again till you get it right" lol, nice!
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Post by levon on Dec 3, 2014 5:01:23 GMT -6
Ridiculous. This guy had soul. What a voice.
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Post by yotonic on Dec 4, 2014 6:24:28 GMT -6
A lot of people don't know he was hired as a session drummer for Motown. The main vocal on this track was done in one take, the backing harmonies were punched in later. The lead vocal is through an AKG C-12 and a Quad Eight console, to tape.
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Post by wiz on Dec 4, 2014 15:45:13 GMT -6
sounds like some of this was punched in , in the control room, no?
Its really striking how much the vocal tone varies..I am gonna have to listen to the original.
cheers
Wiz
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Post by kcatthedog on Dec 4, 2014 18:37:58 GMT -6
so much natural texture to his vocalizations; sawweet to grit and everything in between; a master !
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Post by yotonic on Dec 8, 2014 0:37:31 GMT -6
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Post by Bob Olhsson on Dec 8, 2014 14:11:14 GMT -6
Marvin was a punching fanatic! I still can't believe some of the punches we pulled off on an MM-1000.
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Post by tonycamphd on Dec 8, 2014 15:54:08 GMT -6
i didn't want to say anything, but hearing this from Bob O, it's pretty obvious this was a majorly punched track, i know as a fact that Whitney Houston did the same thing, it doesn't take away from their talent in the least, they were just hyper aware that what they were going to present would be etched in history, i'd punch too...if i could sing...at all....lol 8)
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Post by tonycamphd on Dec 8, 2014 16:05:21 GMT -6
i started checking out some James Jamerson iso bass tracks and i saw this below, in the producer section, does that say B Ohl Bob Olhsson ? How friggin cool! It's at 1:07 or so.  |
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Post by yotonic on Dec 11, 2014 0:11:08 GMT -6
It's obvious there are punch ins. Even Wikipedia references his use of this to create texture etc. I was quoting the session engineer who said he sang the main topline of the song through in one take. I assumed he meant he had a full take of Marvin all the way through from the session.
I read this quote from Bob in a different article:
"“The Motown Sound was several things. It was a technique, to the best of my knowledge we were the first people to do punch in on recordings. One thing we did was record the musicians first and then take that back to the studio, and play it through the speakers. Then the singers would overdub. They could do multiple vocal takes and then splice them together. Mike our engineer was a film freak and he discovered that they had recently developed a machine in Hollywood that you could punch in on. He had this idea of applying the same idea to our three track machine – there may be others that did it, but I think we were the first.”
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Post by Bob Olhsson on Dec 11, 2014 9:19:25 GMT -6
I was at the What's Going On session. He punched a couple versions with different phrasings down and took home a 7.5 with each version panned to one side. After studying it, he decided he really liked both together in spots.
I was shocked to find how advanced our production methods were when I got to Heider's in San Francisco.
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Post by Bob Olhsson on Dec 26, 2014 12:10:31 GMT -6
Today I preach against this stuff because nobody's made a better record than "Whole Lotta' Shakin' Goin' On" which Jack Clement recorded and mixed in less than three minutes. Capturing magic in a bottle is what record making once was and we have incredible tools for doing exactly that today. It's painful to see people lost in Les Paul and Sgt. Pepper's fantasies making records nobody wants to buy.
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Post by yotonic on Dec 26, 2014 16:57:15 GMT -6
This was a great little film on PBS about Muscle Shoals. The performers were "performers". People who could go out and perform their songs night after night, and Percy's track "When a Man Needs A Woman" was one of many full takes where it all just came together. www.pbs.org/independentlens/muscle-shoals/ |
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Post by Bob Olhsson on Dec 27, 2014 10:26:29 GMT -6
I honestly believe that the music business needs to return to the basics of music without crutches in order to expect anybody to start buying recordings again. Overdubs never feel nearly as good as an ensemble performing together. We've got the video game confused with the real thing.
It can fool those of us who grew up with ensemble music as our frame of reference but it isn't fooling the kids for a second and they rightfully think most of it is utter B.S.
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Post by yotonic on Dec 27, 2014 19:36:16 GMT -6
Even tracking as an ensemble within eyesight utilizing partitions makes a big difference.
Love me some Patrice Rushen. From funk to jazz.
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Post by Bob Olhsson on Dec 27, 2014 19:42:03 GMT -6
"Nailing" a take is one of the biggest thrills in life and you'll hear how it feels in the recording.
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Post by yotonic on Dec 27, 2014 19:52:42 GMT -6
That's one of the things I enjoy about watching "From Daryl's House". It's more casual than a true recording session, but when they have a great performance with a guest artist you feel and see the energy and recognize the thrill. And it's live with everyone in the same room. I really like the generational chemistry between Diane Birch and Daryl Hall in this clip.
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Post by yotonic on Dec 31, 2014 21:21:01 GMT -6
But if there's a voice I like better than Marvin Gaye's.... it's Al Wilson.
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Post by joelhamilton on Jan 1, 2015 15:15:23 GMT -6
He punched for perfection. I am certain the worst take un edited was spectacular.
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Post by Johnkenn on Jan 1, 2015 19:06:21 GMT -6
But if there's a voice I like better than Marvin Gaye's.... it's Al Wilson. |
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Post by donr on Jan 1, 2015 22:24:34 GMT -6
That's one of the things I enjoy about watching "From Daryl's House". It's more casual than a true recording session, but when they have a great performance with a guest artist you feel and see the energy and recognize the thrill. And it's live with everyone in the same room. I really like the generational chemistry between Diane Birch and Daryl Hall in this clip. Daryl's House is the best thing to happen to music television in a long time. It's great to hear a real Wurlitzer piano. |
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Post by Bob Olhsson on Jan 1, 2015 22:56:15 GMT -6
He punched as a tool for developing how he would phrase the song.
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