Running Out Of Time: Escape the Hurry and Worry

woman running on a canyon road

I am running out of time,

I’m running out of time

Running from the hurry,

turning worry into wine

In my mind

Out of time

I know ‘if only’ is what was

and ‘what if’ is in doubt

So I think I’ll find myself

a lovely here and now

So sublime

Out of time

I am always running out of time. Trying to get away from hurry and worry.

Hurry is the currency of productivity. I race to accomplish as much as I can in a day. However, the older I get, the less I like the chase. Lately, I’d rather say no to appointments and opportunities and shout yes to wide margins that make room for rest and reflection.

Why is it so hard to not be busy?

Worry has always been a part of my life. It operates on the battlefield of past mistakes and future hazards; a skirmish between if only and what if. My mind tries to battle it out. You’ll find my heart there in the middle, wounded in the cross-fire.

Why do I engage in the struggle?

Imagine the miracle of suspending the flood of bullets, as Neo does in the Matrix. When slow motion is an option, I’m all over it! Outside of time, I drink in this sublime sip of wine.

A Lovely Here and Nowenchanted forest mossy path

When I’m not careful, Time sweeps me up on her wide lap and tells me gruesome stories of the past.  As I try to escape her grip, she squeezes my wrist and whispers the worst is yet to come.

I have occasionally escaped into the enchanted forest of Timelessness where I rest my head on the mossy feet of wise old trees. They speak the language of long, slow exhalations. They tell the stories of feathers and feet that whisper by when stillness lingers. I believe in this moment.

Is it too good to be true?

My Place Apart

Actually, my enchanted spot is the plastic Adirondack chair on my mossy lawn. A full array of cushions for my comfort, feet bare to the earth, I breathe long and deep.

I listen for the small voices of birds and bugs that tell me to be mindfully present. I toss my to-do‘s to the wind and let the weather dictate my schedule.

Wasn’t it a lucky wind that swept my list away

Wasn’t it a happy rain that changed my plans today

Made me stay, out of time

In my mind, out of time

I like lists and schedules. They keep me sane. They capture part of the swirling cloud of “musts” and “shoulds,” keeping it in a safe place lest I lose my mind. Yet, lists and schedules tend to paralyze me, leaving no wiggle room for the muses to come and play.

Being Productive

When writing this song, I sat at my piano and experimented with a kind of cyclical melody. I wanted it to feel like a soap bubble blooming from a child’s wand into the calm. Barely a breeze as it lifts and tilts and floats up and out of sight. A quiet meditation, an open-mouthed gape.

I asked my son, Julian, to produce this and the other new songs I had written. He said yes! so I sent him my rough demos. They were recordings of me plodding through the chords on my piano while singing into my smartphone. Not very inspiring.

It’s a tricky business for a producer to dig out and polish the gems his artist assures him are there. Julian found mine and some extras of his own. He helped create a project I am proud to call ours. (He also dealt well with Mom-as-Artist and Mom-as-Mom.)

Visit my YouTube channel to see some of our fun exchanges.    Christine Dente and Julian Dente in the recording studio

It’s About Time

Julian has been making music since he was a few years old. Growing up in studios and on the road, he didn’t have much choice. Jules, as we call him, has developed his talent by playing in lots of bands and also writing and recording his own music. He graced my songs with his years of musical experience and the innate sensibilities that words cannot capture. Only his artistry does.

Notice the very cool rhythms and counter-melodies he wove into the music. He played and programmed everything on the recordings, too. You’ll also hear his voice in some of the backing vocals.

In Running Out of Time, Julian took the time to create the wide musical spaces of breathless suspense. Makes me want to go and live in the moment for a while.


Read more stories about our recording process here: New Music & the recording process

Read more about the new songs here: Closer to Free and See Through Me

Buy the digital 5- song EP Closer To Free here or on Amazon or listen to it on Spotify!

The Recording Process #2: Comping the Lead Vocals

Christine Dente and Julian Dente in the recording studio

Comping Lead Vocals: The Studio Magic

Christine Dente with producer, Julian Dente, both wearing headphones during vocal comping recording lead vocals.
I take a quick photo with my producer, Julian Dente, during vocal recording.

Have you ever wondered how the finished vocals that you hear on a recording can sound so flawless?

Do you stand amazed at the perfect pitch most singers seem to have these days compared to, say, recordings from the ’60’s and ’70’s when the singer occasionally went sharp or flat?

Maybe you’ve already heard about tuning the vocals and other tricks toward perfection, thanks to the age of digital recording.

There’s another tool for optimal finished vocals that I have used when recording my songs. It’s called vocal comping and I want to describe how it works. But first, a few definitions:

The Dictionary

  • Lead vocals: the recording of the singer singing the song several times, usually toward the end of the recording process.
  • Takes: the individual recorded vocal tracks, saved digitally for later use
  • Tracks: separate recordings of instruments and voices saved digitally
  • Tape: the old medium for recording our first Out of the Grey records in which sound did actually ‘go to tape’ that could hold multiple and separate tracks of recorded information. Now recording is mostly digital/computer-based.
  • Tuning: auto-tune is computer software that can correct pitches digitally with minute precision. Sometimes this is used as an effect in itself, creating that robotic, digital vocal sound in pop music.

The Tracks

As I described in my previous blog about singing lead vocals, I usually sing the song from start to finish between 5 and 10 times, after my voice is warmed up. I will warm up somewhat before entering the vocal booth but mostly my voice hits its groove when I sing on the microphone as the engineer works on getting the best sound.

Recently, I recruited my son, Julian, to produce 5 new songs I’ve written. We started recording my lead vocals after he had created instrumental tracks for the songs. He did this by programming some parts using his computer and also by playing and recording keyboard and electric guitar parts. Putting this all together from the song demos I had given him, he made some beautiful music.

The Takes

sound waves show my vocal tracks on the computer screen comping recording lead vocals
sound waves show my vocal tracks on the computer screen

The photo above shows us after recording multiple takes of me singing the entire song along with his tracks. (Julian was both producer and recording engineer in this part of the process.)

In singing the leads, I usually perform the song in much the same way for the first several takes. After I feel I’ve gotten what I want from the song, I use the next takes for experimenting. I’ll try changing up the rhythm of a word or phrase, knowing I might want an alternative to the way I initially sing it. Maybe I’ll try a slight melodic change to add flavor and choices for the next phase of the process. Julian will suggest changes as well.

After this, we have a sense of whether or not we’ve recorded what we need for the lead. For example, I know I keep singing that word “things” flat and out of time. I’ll sing it again and he’ll punch me in on just that word, recording only that split second in the midst of the phrase.

As another example, he may tell me that a melody I’m singing doesn’t seem to work with the guitar part. We may go back and try a slightly different melody a few times, finding one that fits. Here’s a 24-second video of us listening in the Dente home studio.

The Tool

Vocal Comping means compiling all of the recorded vocal tracks to create the best lead vocal on one track. The final performance could come from mostly one track. It may have had a lot of good elements because the singer was in ‘the zone’ on that one particular take. Or the lead vocal could be created from bits and pieces of multiple takes, cut and pasted together with ease on the computer.

Listening through to 5 or more takes plus any extra verses and choruses can be tedious. However, there is usually gold buried in the layers and now it’s time to dig it out. Sometimes the singer is happy to leave and leave the comping up to the producer and engineer. Julian and I decided to do the comping together right after we recorded all of the lead vocals on my song, Butterflies Inside. Listening to the takes line by line, we made quick decisions about whether or not it was a good performance.

paper with markings showing check marks or x's on various lines Exhibit A

Usually, I use a printed lyric sheet to mark up and keep track of what words and lines sounded good on the track we are listening to. This time, however, Julian and I each started with a blank page and blocked out the verses and choruses using columns for 4 or 5 takes in a very loose grid.

As you can see in exhibit A to the left, it’s a shorthand way to listen and make quick decisions. I used X’s to say, “no way, that sounded terrible!” and I used a √  to say, “hey, maybe….”  I circled some words I thought were good in the midst of a phrase that was not a keeper.

Sometimes Julian and I agreed perfectly on which track had the best line in this or that part of the lyric. Other times he had an entirely different idea of what was good. He might choose a phrase that I thought less-than-perfect but he wanted to keep it for its tone or its texture.

Julian would cut and paste as we went through the song, comping our favorite performances together. For example, perhaps the first verse used most lines from track one with a few words pasted in from track 5. The chorus may be more pieced together because I sang it inconsistently. Verse 2 saw a good performance all the way through track 4 so that’s a keeper.

He put it all together as we went, using software magic and engineering skills like cut-and-paste and crossfades. The finished lead vocal track became (almost) the polished performance that we hear in our stereo speakers. Next, come the background vocals. More about that later.

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Thanks for listening,

Christine

READ NEXT: Singing Background Vocals, Part 1

The Recording Process #3: Singing Background Vocals, Part 1

recording vocals, little terrier, Josie, the family dog, wearing headphones

Singing Background Vocals: Starting It Up

Have you heard about background vocals or BGV’s for short?

Back Ground Vocals are often the final task and one of the hardest parts of the recording process. Once the artist, producer, and players have recorded all of the tracks, the overdubs, and the lead vocals (read my blog post here ), and after they have comped the lead vocals (read that blog post here), BGV’s become the finishing touches.

They answer the question, “What else does this song need?”

Because that answer is elusive, the decision on how many background parts to add and where in the song they should be added becomes all important.

Making It Up

a woman's beautiful red lipstick lips

I imagine adding BGV’s to a song is like a woman dressing for an evening out.

After choosing her clothing carefully, fixing her hair to perfection, she makes the final touches by putting on make-up to enhance her beauty without it drawing attention to itself. Too much color here and it draws our eyes to that particular instead of the whole face. Her make-up should complement and not compete with her beauty.

Accordingly, BGV’s should serve the beauty of the song without attracting too much attention to themselves.

Backing It Up

I’m a big fan of singing background vocals. It’s so much fun! In fact, I have sung background vocals on my own solo projects as well as our seven Out of the Grey recordings. Also, I’ve sung on commercials and other artists’ projects. Given my experience with BGV’s, I’ll explain the process with a few categories:

  1. Doubling
  2. Stacking
  3. Vocal Padsboy in profile belting into a studio microphone
  4. Harmonies
  5. Call and Response
  6. Counter Melodies
  7. Gang Vocals

1. Doubling the lead vocals is quite common and you’ve heard it without knowing it. What happens is this: the singer sings along with their lead vocal, matching their own melody and inflection as closely as possible.

This recorded double fattens the sound of the lead vocal track. Because this new track is almost identical (if the double is really good) but not perfect, it adds a great effect heard in lots of pop music. For example, in All We Need from the Out of the Grey Diamond Days record, the chorus lifts because of the doubled lead in addition to the harmonies.

2. Stacking the vocals means adding more than just a double to a certain vocal track. Some stacks are 3 or 4 or even more separate tracks of the same melody being sung. This creates a very big sound but can also detract from the lead vocal itself.

Stacks are most often used to form a layered sound that vibrates beneath and supports the lead vocals. Here’s an example of a stack-happy lead vocal: “The One I’ve Been Waiting For.”

3. Vocal Pads are often “ooh’s” and “ah’s” that the background vocalist sings and stacks with layered harmonies. These thick pads of sound often underpin the lead vocals. They fill out the sonic landscape and support the lead vocals. The chorus of “Not A Chance” has some nice ‘ahh’s’ for padding.   

4. Harmonies are those vocal parts that the singer adds beneath or above the melody. They are often just a single track and grab a line or two of a verse. We find a lot of single harmonies in pop song verses.

For the choruses, producers commonly add more harmony parts as the song builds. This creates dynamic growth and interest, especially in the out-choruses at the end of a pop song. In “All We Need” and “Steady Me,” I added high harmonies in the choruses.

In “Bubble Girl,” from the latest Out of the Grey CD A Little Light Left, I am singing low harmonies in the second verse which subtly enhance that part of the song. Notice how low the volume is on these harmonies so as to be an underpinning and not a distraction.

Summing It Up

For me, singing BGV’s is an exciting part of the recording process. I like the challenge of blending with my own vocals. Also, when I am invited to sing for other artists or commercials, I get the chance to test my skills in a different way, like matching another’s voice or singing the parts exactly as the producer directs. I especially enjoy the final result: a finished song that was nonexistent before the start of the recording process.

Thanks for listening! READ NEXT: categories 5, 6 & 7 from the list above, BGV’s Part 2

The Recording Process #4: BGV’s Part 2

singing boy in profile belting into a studio microphone

Singing: BGV’s By Definition

In Part 1 of this series about singing background vocals, I described the first 4 items on this list. I have tried to simplify how it all happens in the recording studio with some quick definitions and examples. Read the first part here. Now let’s talk about numbers 5, 6, and 7.

  1. Doubles
  2. Stacks
  3. Vocal Padsboy in profile belting into a studio microphone
  4. Harmonies
  5. Call and Response
  6. Counter Melodies
  7. Gang Vocals

Call and Response

You’ve heard lots of songs that use this cool technique for adding interest and adding other voices to the mix. Usually, the ‘call’ is the lead singer’s part which is answered or echoed by a less- prominent vocal in the background.

Out of the Grey‘s song, “Shine Like Crazy,” on the Rocketown album titled 6.1, is a good example.  Monroe Jones produced this project and in this song, he had Scott and me exchanging lines in the verses. In the choruses, you’ll notice there is also a call and response in which I sing “shine” and then a responsive pad of voices echoes with their own “shine.” Call and response singing sometimes comes close to being a duet. We use this technique a lot in our Out of the Grey music.

Counter Melodies

singing

I like to weave in countermelodies on some parts of my songs. Maybe my classical training plus that Counterpoint 101 class at Berklee College of Music inspired this in me. (By the way, Scott, who was not my husband at the time, and I were in that class together and he got a passing grade only by a hair, thanks to my help! But that’s another blog).

These types of melodies play off of the main melody, maybe going in opposite directions from the original. Or they may add new rhythmic twists.

An example of what I call a counter melody is at the end of the song, “Constant.” It’s on the See Inside record which Brown Bannister produced. You can hear the lyric, melodic, and rhythmic changes I made to the original part which add interest at the very end of the song.

Also, in “Eyes Wide Open,” you’ll notice that the second half of the second verse has an interesting counter-melodic BGV happening on the lyric: “I am trying to be wise, I’m watching You to keep me far from dulling lullabies.”

I urge you to keep your ears wide open to hear examples of this in other music!

Gang Vocals        singing group of people

On my solo project, Voyage, my producer, Scott Dente, had a great idea for the out-choruses of the song, It’s All About You. He brought in some friends to gather around the microphone and sing along with my lead in the last choruses of the song.

As a group, each singer sang the melody for a few recorded passes. On the next few passes, each person sang a harmony. Scott told them to not worry about precision, let it get a little sloppy.

Then on the final few tracks, he had some of the singers back up from the microphone and get a bit shouty on the next passes. This created the gang vocal effect, all the tracks adding up to quite a large crowd of voices. It brings a lot of energy and interest to the end of the song.

On our son Julian’s song, “Father,” you can hear the gang vocal in the final choruses where everyone is singing: “Father, won’t you listen to me, cos I want to believe, I want to believe you.” He had a bunch of his friends come to the studio to be part of the “gang.” And he invited me to be in there, too. How cool is that?

Producers use gang vocals a lot. See if you can find some examples of your own.

What Do You Know

Most of what I know about singing has come from my many years of experience on the road and in the studio. I am amazed at how much we learn from just living the lives in which we find ourselves!  What expert knowledge do you have to share, just because it’s a part of who you are?

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