All language subtitles for 5, Chorus Lyrics & Vocals

So we have our track, we have a little
bit of scratch vocals, we have our basic

outline, slash, skeleton, whatever you
want to refer to it as of the song.

Again, there still might be a section
added at the end, but right now it's a

pretty solid skeleton of the song.

So the goal right now is to get some

final vocals even when the production
isn't all the way done, but you want to

keep yourself excited.

And the way to do that is to get a final

vocal and it's sounding really tight
we're going to use Vocaline, we're going

to use Auto Tune or Melodyne, whatever
you prefer to use.

And and then that that's usually how I do
it anyway.

I can't really get a full song done, all
the lyrics done in one sitting.

So right now we're just going to focus on
getting the chorus all nice and tight

sounding and we'll continue on from
there.

All right so let's listen to this very
robotic sounding scratch demo.

Ok though, so the drums come in there
still.

Ok so with fresh ears i'm really excited
about it.

I had the song in my head last night,
which is a good sign, which means that it

could be really, really good because the
melody wouldn't leave my head and I

already can hear all the lyrics changes
i'm going to make.

For example, this right here.

I like that, but I'm going to put that at

the second-half of the chorus i'm not
going to start off with that.

And I was in the sauna and I took out my
trusty notepad on my phone it's probably

not the smartest idea to have a sauna or
phone in the sauna, your phone tends to

overheat but wherever the inspiration
strikes in the recording, we have this

lyric. I thought a better line would be because

you really want to get the listeners
attention with something that they either

have said in the past or something that's
super relatable.

So I could say something like why you got
to go and get my hopes up and love me

like it did and act like I did not exist
because that's definitely happened to me

in the past where I've been super
infatuated with somebody.

And then maybe they move on and have eyes
for somebody else they don't really know

how to tell me so I get all caught up in
something that isn't really realistic.

So I thought that would be a really,
really good way to start off the song.

Why You Gotta go so I was thinking about
what I could put there.

Not this part, this part.

I like that syllable count, but in order

to get the message in, I'm just going to
add 1 little syllable so instead of

understanding me on I'll do you get
distracted.

Then you're gone come on, distracted then
you're you get distracted, then you're

gone she in this case, she gets
distracted by something else, job

opportunity, another person.

Then she's gone come on and people say

come on all the time and it kind of
rhymes with gone, gone come on that

internal rhyme I really love a lot.

Why'd you come on why'd you have to go

and get my hopes up?
You had me so convinced you loved me from

the beginning, so I had that originally
in the last lessons demo, the book, and

then at the beginning of the course, and
like I said, we're going to put it at the

second-half You could totally write
lyrics in the studio i personally never

write lyrics in the studio i have to go
outside and look at birds and see trees

and stuff like that and in this case I
was in a sauna.

So I think the first logical thing you
always want to think about what the

hardest thing to sing is 1st, and that's
that octave jump from the C sharp to the

C sharp hopes up and something that
Quincy Jones and Michael Jackson used to

do when they were tracking vocals for We
Are The World.

Quincy would have Michael back up from
the mic and sing it in kind of like

different character voices.

Still the same Michael voice, but one

voice. I'm not going to sing it, but one voice

he'd sing, it's super close to the mics,
1 voice, he'd sing it super far away and

then in the middle somewhere so you have
that nice blend and that's what we're

going to do, but not with the entire
chorus right now we're going to just do

it with the lyric hopes up and then when
I hear that all super clean and vocal

lined and timed up correctly I'll get
excited to record the rest of the chorus

so let's get to it, why don't we?
I'm going to mute this Chorus vocal.

Let's do this.

I have this all in my mind, so I'm

actually just going to delete that i
personally never use playlist i just gets

too convoluted and confusing but you can
use playlist all right.

So in order for it to be super clean, you
have so many liberties, you might as well

break it up.

So I'm not even going to sing hopes up.

I'm going to do hopes.

Just hopes so in your song you have a

kind of difficult part that you want to
make super clean just split it up ryan

Tedder always told me to do that in one
of his songs he he split up each

individual syllable and word and I
thought that was very ingenious it gets

it super punchy all right so just hopes,
ho ho hopes, hopes.

And I'm going to sing the up a little bit
so it sounds connected when I do connect

the two.
Let's start four before metronome i don't

know why I got my hair all did up it's
going to get messed up from these

headphones anyway, so I'm just saying
hopes, but I'm still leaving that

sibilance there because I know I'm going
to say up after it.

So let's drag it down to our first vocal
group it sounds like this.

Let's take the altar boy off and I'm
going to line tune these on auto tune,

but it's good to get it as clean as
possible.

Let's drag this over.

I'm hearing a buzzing i think it's from

one of my keyboards let me turn that off
really quickly.

So much better.

Hopes, hopes.

So you want to kind of like we did in the
last lesson by lining up drums, You want

to take that same approach by lining up
vocals, hopes, hopes.

I mean, we have every resource they used
to have to do this with tape, and if you

messed up, you'd get fired.

So now we have virtual tape, so we can

make as many splices as we can, so we
might as well use it to our advantage

hopes. Let's do another hopes.

Ok, drag that down here this louder so
you can hear it this South i'm going to

drag over and line it U with this south
here.

Focal line's a really great tool, but
nothing is a better tool than your eye

and a physical cursor.

Hold on sorry there we go.

Still leaving the South at the end let's
do two more hopes i'm going to back away

from the mic a little bit, maybe sing it
a little bit stronger, Right let's do

this, lining it up as so even the end one
more starting to get fuller you can and I

get super, super stoked when it starts to
sound like a clean grou of vocals, you

know and these last two, I'm going to
sing like you got to pretend like you're

a different person because if you're just
making this alone and you only have your

vocal texture, you got to kind of pretend
to be someone else so just put format

your voice a little bit like so my voice
would be like, so I'm going to instead go

hoop hoop and you're going to get a
different vowel shape and it's going to

blend really nicely.

Ho ho, ho hops.

I'm going to give myself some more pre
roll hops.

Ho ho hops.

That was actually good.

I liked that one O just soloing all these
this is what we have and it takes a while

but it's so worth it.

You want something to take a while

because if it's going to be around
forever you want to listen to it forever.

These are just C, So I'm going to take
in, well, let's do advanced auto tune.

Let's just take the E flat out.

Let's take the C So it's super clean.

Drag that down drag that down drag that
down drag that down, drag that down.

Hopes, hopes, hopes.

Ok, now we're going to do the up, up, up,

up. But OK, so here's the thing about my

voice. If maybe if I had a better voice or like

a wider voice on like the top range of
things, I'll sometimes do this with my

voice, where I'll sing a lower note and
then pitch it up because the vowel shape

will be a little bit more consistent with
what I'm singing.

So if I sing, it's going to sound kind of
thin and nasally.

But maybe instead let's just solo record
and then let's turn the auto tune up.

Let's sing an A natural, because if I
transpose that A natural up to AC, it'll

sound. It'll sound better it's hard to explain,

but turn the metronome on, do it again
like that last one.

Go into your audio suite.

You're going to go up four, format it

1-2-3-4 put it in graph so it's not
hitting any tune.

Nice and clean.

Let's see here so you want i'll make this

bigger so you can see you want to blend
the end of that S into your UP like this.

That sounds kind of robotic you don't
want that so you just drag it over a

little bit and it's OK if it sounds a
little Cuddy there because it's only one

layer. So it'll make more sense when you add

another one to it.

Let's do another one we did a natural.

Let's see i think the first one.

I like that one.

Take, go back to audio suite i don't know
why I exed it out.

I find this so fun.

I really do it's like super entertaining.

And while we're at it, let's just take
that and just line tune that and make it

super on the grid.

Boom, there, just a little glitch.

So now I have going to bring this over
here and blend this one now this one

should sound a little bit more natural
let's see.

I'm actually going to redo the first one
because I like how I was singing into it

a little better so let's put the auto
tune window.

Here we go.

Same thing.

Take it.

Hard tune it I guess make sure that it's

on the boom a a format transpose form.

Bring that to this up.

Kind of tie it together like so.

That's good.

Together it sounds like this still sounds
a little bit you wouldn't have that as

the lead, but we have four more to do.

Let's do it for real now let's but this

auto tune back on.

Bring it down one more clean and now in

kind of our goofy voice like Michael
McDonald.

Get that air in there.

And one more.

And finally it's pretty good.

I would do more, but we won't go too

crazy. Let's go crazy two more.

Now let's do it for real.

Like, hope.

Stop and think about it you'll be
recording one lead vocal before this and

look forward to a nicely grouped vocal
coming up to it.

So Hope Stop O that Supernatural one is
going to be blended in with these kind of

Frankenstein ones.

I also just realized that these are not

at 0 now it'll sound better.

Ok, so we have one layer of Hope's U

plural with the Super attacky nasally
kind of thing.

Now we want to add like 4 hopes up to the
babyface method.

Hopes up and this is doing this is going
to glue it all together.

My song See You Again had 180 background
vocals on the chorus so we won't do that

right now but you get the point i love
background vocal layers nice.

Does it sound like Tears For Fears?
Ah, now we're getting somewhere.

I think two more and we're good.

Getting to a lot of voles we're going to

drag the record channel down, staying
organized again i could easily auto tune

these, but you don't want them to sound
super robotic.

That's why I'm trying to get taking extra
care to make it as clean as possible from

the get go.

I have some reverb on this B track here,

so it's.
So here's the difference between this

layer. Let's take out is C natural because I

hear myself kind of hitting AC natural,
Advanced.

Take the C natural out all the way down.

So those are a little more gentle, and

these are a little bit more in your face,
and together you have a nice group.

I might even go as far as at the very,
very end of the breathy chain, just

taking a little lows out.

This is before, this is after, just a

little thinner.
Let's do this.

Let's just keep it nice looking.

I have this little wide sauce thing that

I've been using on my lead vocal i'll
probably put it on the more in your face

ones this is exaggerated here.

Sounds pretty good though so if you bring

it up all the way there, you have to
bring it down on your channel.

What does it sound like on the It's all
trial and error anyway, What does it

sound like on the breathy ones?
That's nice.

All that wide sauce is doing is just it's
just a delay that's making it a little

bit wider.
I think that sounds good, so I can copy

and paste that to the next part dope.

I actually like those come ONS from the

demo yesterday, so we're going to bring,
well, we need to add two more tracks

here. I like those.

I like the way I was singing it, but with
no auto tune like nice and bendy.

I take that back.

We're going to put some.

We're going to cloud it.

U see it was wishful thinking i thought

it was going to be nice without any.

Ok, so let's let's do this in pieces it's

like a puzzle piece.

It's like a puzzle rather.

Let's get this part.

I like it there.

So let's do this.

Why are you going to go in, by the way

you can sit or stand and you record i'm
just.

I feel like sitting right now.

Ok, let's get this super clean.

Wipe, wipe, wipe, See how it was like i
didn't really sing into sing into the

hopes, so it sounds a little disjointed.

Listen, get my hopes up.

I mean, it's cool if you want to do that,
but I don't think it works here.

I like what I was doing before.

Let's back the auto tune down a little

bit. Let's just get get my Where you got it

Going, Where You Got it going.

If you can do this on your own and you

don't have to rely on an engineer, Having
an engineer is a luxury it's amazing.

But if you can do this by yourself, you
can work your own hours.

I don't have to depend on anybody to get
my vocals done.

Where you got it going?
Where you got it going?

Let's back the wide sauce off a little
bit where you got it going so much better

because you don't want the lead vocal to
be wide and the hopes up vocals to be

wide as well you want some different
different parts so I'm going to sing into

hopes and I'm leaving this this little
hope, maybe just fade it down a little

bit so it kind of blends in a little bit
better maybe a more aggressive fade.

Let's do that next line I do line by line
and love me like it did and love me like

it did.
I like that did I like that did i don't

like anything else, though.

Let's see what that sounds like.

I don't like me like you want to kind of
be relaxed when you do it.

I think that's good.

Let's see.

And you have to worry about just get some
notes can be like I kind of hit an F

sharp there and I want to hit an F but I
know I can fix it.

But the performance matters the most, so
don't trip over the pitch too much.

Why you gonna go and get my and love me
like it did And love me bring it over and

love me like you did.

You did i'm going to bring the dead over.

Put it so I'm lining as I go i'm like
lining up and finalizing, almost

finalizing the one I wrote in the the
sauna shower.

Then act like I did not exist.

Why are you going to go and get my?

I'm going to sing out of the did into the
then that's a weird sentence, but it I

like the ACT.

Just that I want that gritty tone a

little bit because I know i think I'm
going to probably like going to stack it

like Adam Levine's vocal, just like one
in the middle and then maybe 2 panned on

the right.
I don't like the not though.

I like that.

Did not exist.

Drag it down.

Act like I do not exist.

That's the scratch so we're going to take
that, get that right there.

Everything has to be sort of perfect.

And then like the next day, you're bound

to make certain changes but you had a
really good skeleton, like you do with

the overall song do it with the vocal
production.

What did I say?
You get distracted, then you get

distracted, then you're gone.

That eye I don't like i'm like, I sound

like I'm screeching there, so I'm going
to just punch in.

Every line has to be almost perfect and
then you listen back to it a day later,

and then you kind of improve, but make it
as good as possible right now.

So much better.

Ok, let's see here.

And the lyric I had on that last one was,
so I'm going to sing, I'm not going to

sing into the come on because the come
ONS are not technically the lead vocal

they're a backup vocal so it's cool if
this gone gone leads over the background

vocals get distracted, then you can get
distracted.

Then you that ya has to be right on there
for it to make sense.

Let's get distracted.

I'll automate that U I'm going to redo

that. Then you're distracted.

Then you're gone.

Get distracted then you're gone, get

distracted. Then you're gone, get distracted.

Then you're gone.

Here we go get distracted then you're

gone. So here how see how it's distracted, then

distracted. Then that means you have to take the

distract and drag it to the left.

You want it to sound smooth, get

distracted. Then you get distracted.

Then you drag that over to get
distracted.

Then you just got to use your ear, get
distracted, then you maybe over to the

left a little bit, get distracted, this
to the right, get distracted.

Then you get distracted then.

I don't even like how that sounds,

though. So when I record, I have my command

spacebar that's what used on Pro Tools i
have it armed the entire time because I

know I'm just going to do it a bunch of
times.

That's why I never work with engineers,
because it's like much easier for me to

just, like, have the keyboard with me at
all times, distracted, then get

distracted, then much cleaner oK, let's
time it.

Get distracted.

Then you distract, boom, get distracted,

then get distracted then this little S
needs to go over a little bit distracted

then you cool.

One second, Get distracted then you get

distracted, then get distracted then you
go get distracted then you let's take all

this over 1 distracted.

Distracted get distracted then you oh,

there we go.

Get distracted then you get distracted.

Then you're gone.

Get this beginning of this G over just

ever so slightly boom, get distracted
then you go and now the best part is we

have this already.

I can do that better.

Love go and get my hope, son, and love
and love.

Go and love me like it.

Go and love me like it and act like I do

not exist.
Get distracted then you and love me like

it. Act like OK love me like it.

Act like I do not exist.

Get that get doesn't really match now

that I listen to it.

That needs to be a little bit it's too

breathy it needs to be get.

Get distracted then.

It's a shame that distracted doesn't work
either.

Ok, OK, I'm going to have these.

Just going to mute those because they're

going to be distracting and love me like
it did.

Act like I do not exist.

Get distracted then you get gone.

Just get a little more power on that gun.

Get distracted then you're gone.

Get distracted then you're gone.

If you ever want a little vocal tip, if

you ever want something somewhere full,
you just yawn like pretend you're yawning

when you like.

When I sang that gone, it was too gone

but I want like, the same expression as
you yawn.

Anyway, that's clean and now we do the
second-half of the chorus.

This is that fake guitar sick.

Ok, I might leave that in there.

Ok, so this second-half I wanted I could
have said did again, because the first

half I go and love me like it did.

But I wanted to, like have a word that

rhyme with it, because it's very
gratifying hearing something that rhymes

with did.
So I say on the second-half of the course

you had me so convinced, did convince,
kind of a soft rhyme.

You had me so convinced you love me from
the beginning remember I started off in

the scratch with beginning.

Now that's on the second-half of it.

You heard me, so convinced you love me
from the beginning.

But now I know that I was wrong come on,
why you going to go and get my hopes up?

You know, this completes the thought.

Let's just get that line.

You, you, you hand your hand.

Just make sure I'm singing it the right

way. And love me love and love and love.

I like that, Vince.

I want to enunciate because I want people

to understand you got me so convinced.

You love me from the beginning.

I love the internal rhyme there you love
me from the beginning.

I like the drag that over little vibrato
sound like Post Malone a little bit.

Tie that together.

A weird way to say beginning but super

fun. Like people would like to sing that.

I can't really make a from the book.

From the book.

I like the from but I can't really hear
the the.

I like the way I did it before.

Make sure that's all lined up this over a

little bit.

That good comes in a little early.

Drag it over and make it super because
then when you vocalize it, all your

vocals will tie U nice and tight.

But now I know that I was wrong simple.

Just make sure I'm doing the right
melody.

Now I know that I was wrong.

Now I know that I was wrong.

Now I know that I was wrong.

Make sure that this is U.

Let's see.

Ok, now you got to go.

Oops, wrong place.

Let's reverb on these.

More compression nice.

It's cool when you bump the compression

up on this, you can kind of hear the
whispers.

It's nice as something to it.

That beginning is a little short i could

audio stretch it, but it's not going to
sound as good and I have my voice right

here, so I might as well just fix that
fade right there.

This might be tricky let's see how you
can kind of hear the splice but who

cares?
Let's see.

Ok, let's double this lead.

You're not really even going to hear the

double it's just going to sound it's
going to resonate as like 1 vocal, but

it's just going to add some character to
it.

I'm going to sing it a little bit softer
because it's not the lead vocal it's just

going to be supporting it so it's going
to like surround the lead vocal it's

going to do this, whatever this means.

Got to get that little cry there.

All right, that's right let's do, let's
make a quick little BGV for this part

here. Just three tracks.

1-2-3 duplicate.

Send the bus going somewhere else twenty

three twenty four twenty three twenty
four trim drag down.

1-2-3 I would like to put it right under
the lead.

1-2-3-1 in the middle like you did.

Then act like I do not exist.

Get Act like I do not exist.

Get distracted.

Not exist.

You get distracted, then not exist.

You get distracted then you're the gone.

Come on, boy down get distracted then

you're the gone.

Come on.

I do not exist.

Get distracted then you're the gone.

Come on, we'll double this one too.

Sounds good.

Let's do it again.

Stay with the first half like it did and

act like then like it did.

Act like I do not exist like it did and

act like I do not exist.

Get distracted that was good.

So I got a mint in my mouth.

Maybe it adds something to the texture.

Then act like I do not exist.

You get distracted, then you're gone

nice. So those little hopes up, those fake

hopes up we can't even where I pitch my
vocal up, you can't even, like, hear them

anymore because they're buried with the
real ones and it's like this nice hybrid.

Honestly, it just makes me sound better.

So we have two left and right might put

them at 90 just because and then one in
the middle and then I think we're going

to be good.

God exists you get distracted, then

you're gone clean over here.

There we go.

Worth it.

Maybe bring him down a little bit so the

lead kind of powers through.

Ok, let's do the second-half you had me

so convinced you loved me from the
beginning breathy.

It's the middle one.

Drag this down.

Do this here.

Got it.

We already recorded these, so just drag
them over no one's going to know no one's

going to know.

And I can just do it the right way.

I'm kind of not mad at that overlapping
there let's see here.

I think that deserves that second-half
deserves a little harmony it's again

keeping the listener engaged i might run
out of CPU, so I might have to use a I'm

just going to use a CLA here because no
one's going to know the difference.

2324 let's change it to 2526 layers.

We don't need to do a middle track here

we can just do we're going to do the
fourth U because that sounds very

eighties i'm going to turn the Compressor
U on my record track because I'm going to

sing close to the mic nice.

I think that's good.

And keep the next part just open because
it sounds familiar.

And one thing and now I'm going to put
these on 100 Pen because there's that

little bit of extra space.

One thing I love doing.

Another trick I learned from Max i just
learned all my tricks from Max.

Lo Fi actually, no, not this Lo Fi that
one that works.

This one works a little bit better.

This Air Lo Fi.

You can hear this on a lot of Ariana
Grande records and just pop records in

general. A little bit of grit goes a long way.

Let's do it on these two.

Just add something i can't explain it.

It could do.

I don't think it's necessary.

Let's take some lows out of this harmony
right here make it a little bit thinner

and the reverb.

And I wouldn't do this on the first

course, but I would just do a little oh,
a little bit of ooze, just oh, and I

think that pretty much does it for the
chorus after that 2930 Just something

really really simple like this.

Holding out a flat drag this down here.

Take the low fire off there other one.

Very dope.

Make those super thin.

Ometimes I like to even put the little

reverb on the channel does something to
it.

And that compressor in the previous
lesson where every time the kick would

hit. You don't have to just use that for

instruments you can put it on the little
ooze too so it would sound like this.

That sounds if you make it a little more
aggressive it sounds sick.

You do a one last thing.

Little scale down, do it again.

Little itchy but who cares?
O now you have kind of this boy you got

to go and get my hoes U so you do hoes U
You had me so convinced you loved me from

the beginning.

But now I know that I was wrong.

Come on boy.

You got to go and get my hoes.

U starting to come together.

Why are you going to go and get my hopes

up and love me like you did?
Act like I do not exist?

You get distracted, then you're gone.

Come on.

Or you going to go and get my hopes up
you have me so convinced, you know,

that's a really good place to start.

Ok, so to recap, we started off with the

hardest part of the song, which was kind
of gluing together these very far apart

notes. These right here, they sound kind of

unnatural, but you don't need to really
worry about that because you're going to

double it a bunch of times with actual
times that you do it so when you mend the

two together, it sounds like you did it
perfectly, which is the goal of course.

There was one layer which is like the
frontal, nasally kind of layer.

And then we layered that layer with a
more breathy layer, which is this right

here, took a little bit of lows off that,
added some additional reverb right on the

channel and then when you put it
together, it sounds like this.

I got excited about the cleanness of that
and I thought I was going to sing the

chorus a bit softer but hearing those
vocals kind of in a perfect place

inspired me to sing the lead vocal that
would come after it, sing that a bit

differently, more like this and love me
like it did and act like I do not exist.

You get distracted, then you're gone to
kind of match the come on.

So we got that sounding good, no line
tuning yet, just lined it up on the grid

and make it fall into the pocket.

And then we did a left right, center

double on that lead, which is this alone
and love me like it did and act like I do

not exist the middle track is kind of
sung in a similar way to the lead vocal,

but you want what's surrounding it to be
a bit breathier to give it some support.

And then we did my little trick of just
adding a little lo fi on it it's just

gets a little electronic frequency that
kind of OS out in the mix and it gives

like a very nice resonance and love me
like it did and act like I do not exist.

And then on the second-half of the course
we added a harmony also adding the lofi

on there you hand me so convinced you
love me from the beginning but now I know

that I was wrong.

So that's it's just a way to keep the

listener engaged and then we add these
bed of oohs that I'm still on the fence

about keeping in the first chorus, but
I'm they're definitely going in the

second chorus.
All those intervals work really well with

the melody, which is nice i put a little
bit on those oohs, the compressor, the

key compressor that I was using on some
of the instruments in the last lesson on

the bed of ooze so when the drum kick
happens, it doesn't get covered up by

those too much.

So now it's your turn to do exactly as I

did start with the chorus, get your lead
vocal going, make your supporting

background super lined up with your lead
vocal, Add some ooze if it's necessary it

might not be necessary, but in this it
was definitely necessary and just make

everything super aligned and tuned and
I'll see you back for the next lesson.