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Recording Rock Vocals

Lesson 12 of 26

Tracking Screaming Vocals Part 2

Andrew Wade

Recording Rock Vocals

Andrew Wade

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Lesson Info

12. Tracking Screaming Vocals Part 2


  Class Trailer
Now Playing
3 Soundproofing Duration:24:20
4 DIY Acoustics Duration:12:34
5 Signal Chain and Microphones Duration:21:12
6 Preamps, Compression & EQ Duration:23:20
7 Working with a Vocalist Duration:36:53
  Class Trailer
Now Playing
1 Editing Overview Duration:34:31
2 Fades and Basics of Melodyne Duration:13:53
3 Editing Female Vocals Part 1 Duration:27:39
4 Editing Female Vocals Part 2 Duration:09:51
5 Editing Vocals with VocALign Duration:17:34
7 Editing Screaming Vocals Duration:28:18
8 Vocal Effects Part 1 Duration:33:20
9 Vocal Effects Part 2 Duration:32:18
10 Intro to Mixing Duration:18:07
11 Mixing Softer Vocals Part 1 Duration:32:42
12 Mixing Softer Vocals Part 2 Duration:14:21
13 Mixing Screaming Vocals Duration:32:11

Lesson Info

Tracking Screaming Vocals Part 2

Okay, so talking to that really quickly talk. There's a look. There's a little bit of Ah, there's a little bit of a late and see here. Um, I actually don't know why, but I guess at home you can really hear that problem. One is out. No, you miss. Okay. All right. Anyway, I don't know if you can tell at home that there's a late and see, but there is a little bit of one. Whatever you can do to get to eliminate that stuff in your home studio, you should. This is obviously can't, like, go through this and figure it out. But, um, it is very small. It's only a few milliseconds, but that could throw a singer off. I just want to bring that up. Okay. So All right. Where would you like to start to check the volume? Because I'll need you to do something a few times so I could make get, get these levels. Right. Here's started the beginning. Yeah. Ago. Yeah. Oh, uh, yeah, This will be loud. Guys, don't be afraid. Don't be afraid. We're all going to be shouting later. We're gonna We're gonna do gang ...

vocals and gang singing show how to do all this stuff. So? So Tommy is just getting us led into this. Getting us ready for Okay. Okay. Here, let me, uh, three went away one way. Oh, do you want his voice? Is you want him in there? I was like, All right. So, yeah, if that's what helps your vocalist, you, you know, do whatever. If there is a whisper track and they want to scream to the whisper track, do it. Whatever makes the vocalist feel good, right? It's all about Tommy. All right, let's do it. Right. Cool. Uh, I think I think I'm here. Okay, I'll turn you up. Yeah. Okay. So, usually on screaming and stuff out the compression. Okay, The compression going in is just as subtle as it will be for for Jessica. But afterwards, it's pretty aggressive. And during mixing, we'll get into all that stuff. Um, so All right, let's do this. Let's go. Um, actually, I have something in here that's difficult on purpose, so I want to demonstrate a, uh, a technique toe help. With the beginning of this, the I toss is comes in at kind of a weird spot, right? Yeah, yeah, it got you. Got you. Good job for me. Uh, so So I'm gonna show you technique, cause this happens all the time where there will be a weird part musically. Yeah, just like you have no idea when it come in, uh, and it throws you off, and you can't do a good part. So this is what you do. And I did this on purpose. All right, So, well, you'll want to do is, um, take the part. That's difficult. So I gotta listen. So you would, like, Take your scratch, vocal man. I'm on a Mac. Uh, some shortcuts, like, threw me off. Okay. Shortcuts are different. I was just change the grid to, ah, less bars and stuff. Okay, because I'm moving this focal part. Okay, so, yeah, why did I moved it to a part where it's a lot easier to understand where it comes in. So I basically gave him a lead in of music. I just moved it over. It comes in a super simple, logical spot before, when it came in. It's like it's kind of a weird Phil. So And actually, when jeremy was tracking this, I did the same thing for Yeah, he did. He absolutely didn't get it. And he was like, Why do you have that feel like that? It sucks. Yeah, but anyway, so now you understand where to come in like it's a lot lot simpler. So after you get that, I toss, turn beneath the waves. So let's stop after that. Yes or double it. Well, don't we'll do it twice. We'll double it. And then we'll move it back to where it is, and then we'll continue on. How does that sound? Tommy is a really serious guy. If you guys haven't picked up on this, it's a dream. All right, so you got the musical leading. You got Jeremy's voice in there. Now there's no way to mess up. They're good. Just stop that Waves. Good, good, good, good, good. All right. So what's Let's double that same thing? Okay, so let's say let's just do the phrase beneath the waves. I'm gonna keep it in the same spot. For now, it's been need. Are you saying were you saying the wrong words? Thistles When, uh, this is when Google docks would come would come in handy because, like we could both be looking at the lyrics. But do you have lyrics? Okay. Okay. Cool. Whatever. All right. So Okay. So all you're doing is beneath the ways. Same deal. All right. I think there was a little squeak. I'm done. Let's do it again. It's a lot. Okay, so this right now what we're using isn't Essam seven, and ah, we're gonna show you the difference between how that sounds. So right now, it's kind of Ah, uh, we're just kind of checking the mikes. Oh, we are. Okay, cool. All right, So now let's try it on this. I think everything is already set up, huh? Cool. I didn't need to do anything. Oh, and what helps? Some vocalists and, uh, I know this Tommy is looking over at the screen. It's good sometimes for them to have a reference of, like when something comes in or it's just like a nice visual representation. So sometimes it's good for your studio to be set up in a way where they might be able to see that or have that displayed somewhere. Yeah. Yes, over your shoulder. Nice. Yeah. Here at the weighed studio things their way. Um OK, so We're on the U 87 now. We're gonna see how that sounds. Yes. Okay. How is the height for you? Looks good. Looks good. All right, Here we go. Sorry. I'm doing that. Yeah, Same exact. Okay. All right. Here we go. Okay, that's fine, because the volume was insane. Way louder. That scared me, Queen. So what? Don't sell that pot. All right. Okay, so this is going to sound check again. We'll see how good. Oh, now, usually, if you have a studio, you probably your levels, like, kind of set already. So you have to do this so extreme. I actually have mice through. I have, like, a dedicated preempt for singing and one for screaming And the the levels air just always, like, pretty close. So if you have that option, it saves a lot of time. So especially so you can switch back and forth. If you have an idea is like, Oh, I want to scream. Just switch the input. Okay, So All right. Let's Let's go ahead and do that again. And we're gonna have to do the other mike again to so Whoops. Yeah. Keep with that one. I'm just let understand? You know, his solid bro A lot. Just trying to keep it raw here on the audio channel. You know what I'm saying? Okay, so before I assume, let me just I just really loud. Okay. So, uh, this room, uh, is definitely not the most ideal for screaming. Especially this, uh, it's pretty River B, and I can hear it like coming through. So for screaming, it's absolutely like a must that you have your stuff dialed in acoustically. That's yeah. Okay. So let's ah, redo the other Mike really quick. We're going back to this. Yeah. Yeah. So same part. Check it. Okay. Um, yes, I was soon. This is alright, let's try. It was same part It is. While that one is so much quieter. Looks like a whisper track. Yeah. Uh, check. Check the might my please. He's Oh, um, I there Can you get me? Yes. I wonder why this lights on. Oh, let's try it again. Yes, there we go. Getting volume now. Uh, cool. All right. Now double. All right. Cool. All right. So, as you can see, whenever we're doing screaming, it's really good to keep it. Keep it to keep the session going. Make sure that the vocalist isn't sitting there between takes while you're checking your twitter. Yeah, you told me. Uh oh. She could see his expressions over here. All right, anyway, those air Good. We're gonna listen to those different mikes and see what we think. We're home to see. What? I think I have the other taken. Okay, so that's the same seven. They're both pretty clear right on our lives beneath. Um, eso. Okay, so that's a hand. That's ah, Dynamic Can held Mike, which the price difference between these two are phenomenal. Yeah, I think that one's 4 500 bucks, and then this was $3000. So, um, if you're at home and you only have, uh, not you know, you don't have that much money to spend and you're doing screaming. That's, um seven is a is a great mike, and it already has, like, the pop feel thrown and stuff. Um, really raw. I actually kind of just so not there are. There's also another factor, which is that he's holding it. So you have to keep in mind what I'm hearing from this is your very close to it. um, which gets a really raw sound, especially for some some bands. That's kind of cool. Like, if you don't want, like, a super Polish town. But for me, uh, I I really like, Yeah, I really like a paller sound. So, uh, distance is good. So what we would normally do is put it on a stand. We're not gonna do it just because we're gonna use that for group vocals and stuff. But if you were going to use that Mike, if you want a really raw sound, you hold it. You wouldn't want cup it when you cut it, like boost the mid range Like what you hear when you talk with your hands like this is what it sounds like when you cut the microphone. So if you are gonna can you show them what your position was when you were screaming when you were holding it because you were doing it right? You're just holding years holding like that, right? Yeah, yeah, yeah. You hold the, uh, hold the thing that can click around. You don't want to, like, mess what? They just want to hold the body of the secrets. Keep your hand out less noise and then you're just up on it or at a distance or whatever, but yeah, so if you are holding it and you want to found kind of a little more live, but it's talk like Neil Armstrong on the moon, which is cool if you're going for that. And like I said in the other segments, you got to know what your vision is. And for me, I've done things a certain way so many times. I'm a fan of just using it like this, and you can also put it on a state and put it behind the thing. Take the pop filter off and treated just like another Mike and was sound even more like the U 87. But we already have that set up that some seven will work. Well, as you can hear, this is even hand handled, and it still sounds pretty good. So this is what we did This what I did on the last records almost used to just being right. Yeah, no, no, it's fine, it's fine. And if a ban has that preference, um, I think it's it's cool, but it's like for it's not. It's not my preference. But if a band comes in and they insist on it because they do like that rawness, that's how you get the sound or if they want, if they want to Really raw sound. That's how you get the sound. There's days in the last session where I just kind of needed to just be able to hold it, sit in the chair and listen back and let go. And then there was other times when I just wanted to stand there, and now I have to hold anything. So I did both in the last recording session that I just did. So some vocalise bend over when they scream. Yeah, I've gone through the gamut of having this really low, grabbing a hold of this and yelling into that, like holding a pen in my hand and standing in front of it. So it feels like a Mike feel like you're holding. Yeah, you know, you just do whatever you do for the sound on each different record. It was something different. So yeah, and I switched. I switch things up a lot, but, uh, recently, actually, it's good. That's great, but yeah, so so that Mike is often. I just wanted to talk about that cause for screaming. It's really popular, but I think my preference here is the U A seven. So we got the first line out of the way. It's it's We got our levels right. We got our microphone chosen. We got the first line out of the way. Uh, so let's continue. Let's finish out that line. I think what we'll do, we'll finish this out and then, um, we'll just finish this out and maybe do group hopefuls. Is that so good? Um, and whenever I when I do, I did want to talk about the big one liner things. Ah, sorry. That sentence made no sense. Whenever there's in this style of music, there's sometimes there's like a gap, and then you have a huge vocal there, and I wanted to show how to how Teoh track that and make it sound unified in huge I do have the raw tracks. When Jeremy did, it's all just his voice. When we get to that for time, yeah, so let's just finish this out so we can work, show how we do Puncheon's and and other stuff, so let's just work on the U 87 is there? Okay, so you stop that wave. I want you to go start on waves and continue to the next line. Whatever that is. I don't remember. Yeah. All right. You're so all right. Here we go. All right, let's go. Just stop there. I like to do like that and phrases. So listen, I like to do it in a phrase, as much as they could do. He got to the end of that phrase. Really? Well, um, there was, like, one little squeak, but well, we'll fix that. And it's good to go straight to the double, because sometimes vocalist will change that. Like, if you go back, they'll change the way they saying something, and then it doesn't match up. So the best thing to do Do this little do this line, double it immediately. So yeah, so let's see, I just like to listen to the transitions to make sure that we actually have the transition that we need. This is looking kind of different here. So what? I might actually have him do. Okay. So you can hear that. You can hear that. You can hear that. It really bad. So, um, what's have you do beneath the start on beneath the waves and go into the next line? But I'm gonna cut you off. So just lead in Yeah, beneath the waves and go into the next line. But I'm just going to stop you just so we can get that transition in there. All right, here we go. Good. Good. Okay, double that. Okay. Uh, okay. So I see here he did not do a breath going to the next part. So we need to actually redo that, cause that breath is very important in this transition. Yeah. Yeah. Good. I didn't like Yeah, you got it. There was a squeak somewhere. Let's see if we can find a way. Okay, so So we got Ah, we got to here. So there's one there. So sometimes I like to just kind of compile a good take really quick by my fresh jumps. So now this take groups is in the wrong spot. Now that take is missing apart, and it has a squeak here, so we may as well just redo that. Take. Yeah. So let's just do a silent victim of the depths, and it's important for you to be familiar with the lyrics so you can tell him what you're thinking about redoing, cause if you have no idea, then you don't know what to do. My pre roll went to zero. All right, here we go today. Cool. All right. So we have a long enough gap here between deaths and cast aside, which is the next line that we can literally just start him on. Cast aside, Yeah. Cast aside, goes go as far as you can. That So I usually tell vocalist, go as far as you can until you can, and then we'll stop. Go. Oh, I I didn't have the vocals in there. No, no, that's fine, actually. Like that. Do this same thing, love. Cool. Come back. All right. Go and double it. Cool. Cool, Coop. So let's, uh here what we got. Cool. No, that's all that's all good for that for that spot. Um, we have we have all the at its sound. Good. We have an awkward at its some stuff is like a little bit off beat. Doesn't sync up with each other. But we're going to actually show how to edit that stuff. um, you could sit there and have the screamer do it over and over until it's absolutely perfect. Please don't. Please. Yeah. Or you can just know these few things that I'm going to show you because it's hard to even do that in the first place. And you'll just We were going just doesn't grinding. Just ruin your voice. Sure. Um okay, So can we have you? Ah, do a few takes on the one liner, actually, Yeah. Is the, um yeah, There's, uh I'm alone and it sinks in. Yeah. So it might be cool toe to show how we blend Different takes on that stuff. So we'll have you get to two. Good takes on that. Now, if this is If this was a song where there was a screaming chorus, I would probably triple, uh, and do, like, like, maybe lows backups or something like that. But I don't I don't get a lot of bands with screaming courses. That's, um, not as common for me, but like the ghost inside, they do it, so we'll probably triple it the pain it left or right still, but we'll get into that cool stuff when we do mixing. All right. Ah, All right. Here we go. Yeah, that's fine. We're going to get to that. Just go ahead and do the same exact thing. Okay, So now I want you to just say, sinks in, but you need to do sinks breath in and do the do the longer, longer in. Just go ahead, do it. All right. Cool. Uh, just so you guys are aware, Uh, just so you guys are aware of the the Modi was talking about before Hitting six on the numeric keypad enables the quick punch. That's what's called Quick Punch. So it's still even though I just was recording in this section, it records anything else that he does before that as long as the track is armed and you record somewhere on the track anywhere. So that's a cool feature when you're doing Puncheon's. Because otherwise, you you would kind of be out of luck here whenever you're trying to do the transition or if you want to drag it that way. Um, it's just a really helpful tool. Okay, so, um, Tommy, you're done. Thank you. Yeah,

Class Description

Every great rock song starts with a stellar vocal. Get ready to learn the fundamentals of recording rock vocals from Andrew Wade, who’s worked with A Day to Remember, Motionless in White, and dozens more.

Andrew will cover everything you need to know about recording, editing, and mixing vocals for modern rock songs. You’ll learn about mic selection and positioning, key mixing techniques, and the secrets of time and pitch correction. You’ll also learn about how to work with each individual artist to get the sound they want.

By the end of this course, you’ll be fully equipped to work with a variety of male or female vocalists to get the results you need, from screaming to cleans and everything in between.



This is a superb course, was full of great informations and it has inspired me a lot. Learned alot of things, thanks to Andrew for this great presentation and sharing his knowledge and experience with us, also thanks to the people in the audience for bringing up good question and to the creative live team for making this happen. I really hope Andrew will come back to Creative Live someday, perhaps with a full course especially about working out and creating vocal harmonies :-)

a Creativelive Student

Absolutely essential information in this course. Very in depth. Even if you went and interned at a studio with a reputable producer, it would probably take months to absorb all the information so cohesively laid out in the course. I would HIGHLY recommend to anyone looking to properly record their own vocals, or for anyone looking to record other bands (whether in a bedroom, or a million dollar studio). Loved watching, learned a TON (learned a lot of great pro tools shortcuts as well). Well worth the money. Thanks for doing it Mr. Wade.