Vocal Blues

In my quest for a better and more functional studio space, vocal overdubs or tracks became a priority. I sang in chorus in high school, and that was about it. I can read music, and blend, but I never developed or had the desire to have a solo singing voice of any kind. I was first trumpet in the band, and played piano. Tracking a vocal is important, and how you do that will determine the artistry of your product. In the old days, Frank Sinatra would stand physically in front of a studio orchestra and sing. You could FEEL the sound. Because the singing voice should be and is a product of the human organism, meaning lungs, chest, larnyx, oral cavity, and such resonance from all of these places including the sinus cavity will augment your vocal sound. Commercial music America does not do this today. We lost this art form with the last generation of black church singers, probably Jennifer Lawrence. Now purported artists sing into a mike using only the mouth as the mechanism. It produces a weak and unsupported sound, but the mikes disguise this. If anyone is going to feel your music for real, it has to embody the roots. I am trying to figure this out in a small recording environment. Here I have invested in a DBX tube preamp and compressor, a CAD condenser vocal mike, and am running it directly into the XLR on my MOTU audio interface. No reverb. The immediate acoustics or reflections in this little room with mineral fiber acoustical ceiling tile are proving to be an asset. Not only does it augment your physical process hearing and feeling something pleasant, it is translating to tape. Here is my first test trying to get this together.

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Who taught him that diminished chord?