Red Mosquito

Release_Me wrote:For Ed in his sweet spot, you need to look no further than the Ten songs. Release, Black, Jeremy, Porch, Garden all are good examples. All have choruses or outros where Ed sounds very full, resonant and just generally awesome.

Release_Me wrote:The highs and lows of Lightning Bolt:


Highs:
C#5 ("Lightning Bolt")
C5 ("Infallible")
B4 ("Mind Your Manners")
Bb4 ("Infallible", "My Father's Son", "Sirens")
A4 ("Lightning Bolt", "Mind Your Manners", "Getaway")

Lows:
Bb2 ("Sirens", "Future Days", "Yellow Moon")
A2 ("Lightning Bolt", "Pendulum")
G2 ("Lightning Bolt")
F#2 ("Future Days")
F2 ("Future Days")
E2 ("Lightning Bolt")

mastaflatch wrote:

Release_Me wrote:The highs and lows of Lightning Bolt:


Highs:
C#5 ("Lightning Bolt")
C5 ("Infallible")
B4 ("Mind Your Manners")
Bb4 ("Infallible", "My Father's Son", "Sirens")
A4 ("Lightning Bolt", "Mind Your Manners", "Getaway")

Lows:
Bb2 ("Sirens", "Future Days", "Yellow Moon")
A2 ("Lightning Bolt", "Pendulum")
G2 ("Lightning Bolt")
F#2 ("Future Days")
F2 ("Future Days")
E2 ("Lightning Bolt")

does this include falsetto?

Release_Me wrote:

mastaflatch wrote:

Release_Me wrote:The highs and lows of Lightning Bolt:


Highs:
C#5 ("Lightning Bolt")
C5 ("Infallible")
B4 ("Mind Your Manners")
Bb4 ("Infallible", "My Father's Son", "Sirens")
A4 ("Lightning Bolt", "Mind Your Manners", "Getaway")

Lows:
Bb2 ("Sirens", "Future Days", "Yellow Moon")
A2 ("Lightning Bolt", "Pendulum")
G2 ("Lightning Bolt")
F#2 ("Future Days")
F2 ("Future Days")
E2 ("Lightning Bolt")

does this include falsetto?

These are all full voice notes, so no. Falsetto isn't included. I seem to remember high-ish falsetto screams on MFS and LTRP.

evenslow wrote:Looking at that it appears LB would be the most difficult and varied.

Mine wrote:

Release_Me wrote:

mastaflatch wrote:

Release_Me wrote:The highs and lows of Lightning Bolt:


Highs:
C#5 ("Lightning Bolt")
C5 ("Infallible")
B4 ("Mind Your Manners")
Bb4 ("Infallible", "My Father's Son", "Sirens")
A4 ("Lightning Bolt", "Mind Your Manners", "Getaway")

Lows:
Bb2 ("Sirens", "Future Days", "Yellow Moon")
A2 ("Lightning Bolt", "Pendulum")
G2 ("Lightning Bolt")
F#2 ("Future Days")
F2 ("Future Days")
E2 ("Lightning Bolt")

does this include falsetto?

These are all full voice notes, so no. Falsetto isn't included. I seem to remember high-ish falsetto screams on MFS and LTRP.

I think it's a huge disappointed for PJ fans that LB is a nearly 3 octave song/album not counting falsetto notes. He's supposed to be a nearly voiceless singer with a limited range. I guy doesn't know what to believe any more.

McParadigm wrote:Like I said before, the people paid to apply autotune (or to use Melodyne, or whatever they might use for pitch correction) on singers' performances (not to robotize hiphop, mind you) can make tens of thousands of dollars per project, depending on the artist, and they are good. No artifacts you'll ever pick up on. It's impossible to know.

However, for whatever reason even singers who are incredibly talented and have solid pitch often feel the need to have autotuners perfect the end product. From what I've heard from engineers in Nashville, it's standard practice in country music now no matter what...as in, it's just a scheduled part of the process. A check mark on the clipboard. It doesn't matter who you think you are, we're using it, and everybody gets their record checked and fixed before getting the stamp. Norah Jones has acknowledged it being used, too. U2. Bon Iver. John Parish copped to using it "very, very lightly" on a PJ Harvey record. I actually read an interview once where another engineer quipped that "everybody I've ever worked with used it except for Neko Case and Nelly Furtado."

Since then, Nelly has clearly started using it.

It's not always used in ways you think it might be, either. Sometimes a stray sharp discrepancy might be fixed to make it slightly more sharp, because sharp errors can add to the feeling of urgency in a vocal. Sometimes a note is "fixed" but left slightly pitchy to disguise the fix. Dodgy notes don't prove a lack of autotune (Wayne Coyne), and neither does seemingly perfect pitch. Craig Street (producer, kd lang) has said that pretty much every producer he knows uses it "as a time saver. It takes a tenth as long to fix an emotional but error-filled vocal as it does to do the necessary number of takes to get a really great lead."

Side note: wasn't this album finished in two week long sessions or something? Hint hint.

I vote that it'd be naive to think they weren't using it, here. It fits in too well with the mechanical, digital exactness of the album's musical aesthetic. But I'd place both my balls on the side of the line that says it is being used delicately, selectively, and imperceptibly.

Meanwhile, in a far more awesome world...

Spoiler: show