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Using Different Vocalists On Your Tracks

9/21/2016

28 Comments

 
Picture

A couple weeks ago I wrote a blog post about my recent experience of shopping one of my new songs around, “I Will Fly”.  In case you missed that post, I talked about how the original version was accepted by about half of the places I sent it to and rejected by the other half due to vocal and production issues.  Read the full post here.

So, even though my producer, Gary, and I were pretty pleased with our 50% success rate, we decided to do a second version of the track using a different vocalist (I sang on the original version) and make some changes to the production to make the track sound a little more current and fun.
The very first song I licensed back in 2002 I performed the vocals on. But over the years, about 75% of the tracks I’ve licensed have featured different vocalists.  My vocal range is fairly limited, and I can usually tell right away whether or not my vocals will work for a song.  When in doubt, I bring on someone else who can handle the vocal duties better than I can.  This has almost always proved to be a good idea, and I’ve gotten a lot more placements than I would have otherwise. By using different vocalists, as opposed to trying to sing everything myself, I’ve expanded my catalog of songs that are licensing appropriate greatly.

As an artist, I aim to write songs that are a reflection of who I am as a person and songwriter.  But as a professional songwriter licensing my music, my sole aim is to write and produce music with the best chance of getting licensed.  Of course I try to write songs I genuinely like and feel good about.  But ultimately, I want to write and produce songs that work.  I’m not trying to change the world, at least in the context of songs I write for licensing.  What I am trying to do, is write really good songs and deliver really solid performances, so that they’ll stand the best chance of being used in tv shows, films, ads and so on.

Some of the songs I write, I know right away won’t work for licensing.  If I write a song that I fall in love with, but I know it won’t work for licensing, I still finish it.  Some of these songs end up being released on my CDs and digital releases, and other times, nothing comes of them at all. They just get stored on my hard drive in my digital vault of music that may or may not ever see the light of day.  The point is, I’m not only writing songs for licensing, I’m simply trying to write the best songs I can, and then figure out how to best monetize them and best put them to use.  But I recognize the difference in terms of what songs have the best chance licensing wise, and which ones are better to use for other projects, and I pitch them (or not) accordingly.

I recently interviewed the CEO of Crucial Music, Tanvi Patel, for my podcast. During our interview, I asked Tanvi what types of songs work best for licensing.  Her response was that, “a great song is a great song, whether it’s used in licensing or on the radio”.  The one caveat she mentioned is that songs used in the context of licensing, need to work “within the scope of licensing”.  By this she meant that lyrically and stylistically they need to be aligned with what works for licensing.  In other words, a great song is a great song, but there are a few considerations when it comes to what works best for licensing.

See my free course on “How To Write Songs For Licensing”, for more on this topic.


So, back to my latest song and using a different vocalist.  The bottom line, is that if I’m writing a song with the goal of licensing it, I want to cover all my bases, licensing wise, and make sure it has the strongest chance of being licensed based on what I’ve seen work, over and over, with other songs that have been licensed.

I want to make sure the following things are in order:
  1. The production needs to be top notch and sound current
  2. The vocal performance needs to be top notch
  3. The song needs to be very strong and have a strong hook
  4. The lyrics need to be relevant to a wide range of possible licensing opportunities

For my latest track, “I Will Fly”, based on the initial feedback we received, we felt it would be safest to have two different versions, for anyone who didn’t take to my admittedly quirky voice.  Some people love my voice, and others don’t appreciate it as much.  I’m not attached one way or the other.  I just want to do what’s best for the song and what will generate the most deals and ultimately the most placements.

Since we changed the production, we’ve added two more deals, for a total of six now in just two weeks.  Gary (my producer) and I agreed to give the vocalist a percentage of any back end money we made in exchange for our vocalist singing on the track. The vocalist was happy to do this, to build his resume, get additional exposure and to, most likely, make money on the back end.

So, without further ado, here are the before and after versions of my latest track, featuring myself singing on the former and vocalist Travis Nilan, singing on the latter.
"I Will Fly" Original Version [Before]

"I Will Fly" Featuring Travis Nilan [After]

​What do you think of the track?  What do you think of the vocals and production?  Let us know in the comments!
28 Comments
Deb
9/21/2016 08:59:55 am

Love both versions!

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Robert West link
9/21/2016 11:26:19 am

Both versions serve the song well, the second being a bit smoother. The production is good, the song and lyrics are good. The guitar solo has a good sound but playing off the beat continually limits the possibility for more variation.

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Terry Bullard link
9/21/2016 09:05:44 am

Aaron, your song is great, your voice is soothing and I can see where the placement should be appropriate for multi categories. I think the intro. Certainly grabs you in to want to hear more. Hey, feel free to visit my website www.terrybullard.net and go to my music....I am pure Country. Let me know what you think! Thanks for the blog.

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Doug link
9/21/2016 09:42:46 am

I do like Travis voice a little better. He is just a little smoother. But, yours is good too. The2nd mix seems a little cleaner on his too. Did you cut some low end out on it?

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Aaron Davison
9/21/2016 09:48:38 am

Hi Doug, I agree! Travis sounds great on this and his voice is silky smooth.

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Gary Gray link
9/21/2016 10:06:50 am

Hi Doug,

Thanks for your comment. I used a different bass on the second one to fit Travis' voice and used different reference tracks for A/B'ing. The first one was a bit retro and more organic, where the second one is a bit more minimalist and "studio produced."

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Freejay MacLoud link
9/21/2016 10:09:47 am

Sounding nice Aaron - I like the songwriting and production. Definitely agree that Travis's vocal makes it much stronger.

Wondering about best ways to share royalties with a singer doing a work-for-hire type deal... Do you recommend cutting them in as a cowriter on a Split Sheet, or another arrangement? -Thanks

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Aaron Davison
9/21/2016 10:32:49 am

Hi Freejay, everything is negotiable. You can really strike any deal that everyone involved is happy with. I wouldn't list anyone as a co-writer unless they actually are a co-writer. In the past, I've either paid an upfront fee to a vocalist, given them a percentage of backend, or a combination of both these things.

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Dan B link
10/10/2016 08:39:18 am

Any tips or templates you have for drawing up those agreements?

Jon Turk link
9/21/2016 11:06:34 am

Hi Aaron and Gary:
I think both versions work for the message that is being delivered. It reminds me of many great songs that I have heard, when you hear them covered by another artist, sometimes you like the original better, sometimes the cover. For licensing purposes, I don't think the artistry of the artist is as important as the feel and the message aimed at the placement.

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Jeff link
9/21/2016 11:18:49 am

Hi Aaron, I like both. He has a bit of a different tone quality and a bit of vibrato happening at times. It sounds like he may be getting a bit more resonance in his tone. Do you take voice lessons? Because the right teacher could perhaps give you some tips about how to be more resonant. Also, if it was my song, I would likely transpose it up one whole step. I think both singers would benefit. The beginning phase (near the beginning) goes down a scale into the low range. To me it's too low. The voices aren't as strong, so I'd take it up. And, I would likely put in a key change, perhaps after the guitar solo at some point. This might give it more of a kick. I'm not sure if my suggestions would make it more "licenseable" but they may improve the arrangement. Anyway, you guys sound really good. Take care, Jeff

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Kim Goldsworthy
9/21/2016 11:28:24 am

Here is my feedback on the vocal differences.
***
Whenever a lead vocal is double tracked, you will lose the sense of "intimacy".
The slap-back, plus the delayed echo, adds a sense of fun.
So the first (original) cut is bouncy and rockin'!
***
But indeed that is why the 2nd version (Travis Nilian, vocalist) sounds much more "personal". -- Travis could be whispering in the ear of the listener, "This is the first day in the rest of my life".
***
For the best example, fast forward to 1:49, when Travis's voice is breathy, like a loud whisper, "We made it to a brand new day!"
Q.) What makes the whisper of 1:49 so effective?
A.) It is the previous line (1:40), which is sung loudly on rising notes ("But you and I, we have come so very far-r-r").
***
Later, after the guitar solo, there is more breathy whisper at 2:10.
It is a whisper of "conspiracy" and "secrecy". Or is it a "confession"? --
---
"I've waken up, my friend! /
I was just asleep at the wheel!"
***
One last contrast to point out:
(a.) Aaron sings the whole song with the SAME LEVEL of volume and "commitment".
(b.) Travis sings each segment of the song with a different emphasis. He soars. Then he whispers. Then he soars. Then he whispers.
***
Bottom line: The CONTRAST between the boldly-sung parts and the soft-sung parts adds a an element of DYNAMICS in the Travis Nilian cut which is missing from the original cut (Aaron Davison vocal).
Put simply:
• If you wanna rock, go with cut #1. The lyrics are proudly sung.
• If you want to "be let in on a secret", then go with cut #2. The lyrics are a promise, or a conspiracy.
***
Listen to the last line of the lyric, and ask yourself the emotional question:
(See 2:34 in the 2nd cut:)
---
"We'll shine, like stars, /
Alight in the dark, /
Leading the way!"
---
Q. Is that line to be sung ______:
(a.) loud and proud, to a full audience?
(b.) to an audience of one, as a persuasive urging, as a promise of what is to come?
---
(The two cuts of the same same song can be "read" in both ways. Pick one. You can't be wrong.)
###

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Aaron Davison
9/21/2016 01:02:22 pm

Wow Kim, great analysis!

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Nias
10/22/2016 09:12:16 am

I agree with Kim wholeheartedly!! Stacking vocals has its place, especially on a chorus, but the verses, even adlibs should give you a sense of intimacy, it should pulls you into the performer. Double tracking lead vocals takes away from that, at least for me. Good call in varying the singer to get wider placements. I'm in the process of doing the same thing right now by adding a female option on two tracks I'm fronting. So you've inspired me!!! 😊

Michael
9/21/2016 12:55:32 pm

Not my style of music but I do agree with the other half of the publishers. Your vocals just don't sit right and some parts sound too autotuned. Bringing in a new vocalist does the song justice imo.

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Aaron Davison
9/21/2016 01:03:19 pm

Thanks Michael!

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Eric Nedelman link
9/21/2016 03:29:26 pm

Thanks for this article. Both versions have strengths. I think that the re-done vocals is really helping the track. Did you consider using your original vocals as harmony for the new vocalist? I am going through very similar issues with my voice and recordings. I am experimenting with various vocalists to find the best match to the song. I'm in California and some of the vocalists are international, like Iceland. It would be nice to find someone who could work more closely, but a great voice is what we are after, so location is not as important.

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Kim Goldsworthy
9/21/2016 04:57:11 pm

In reply to the poster who is looking for hired guns (vocalists for pay).
I have used Studio Pros to have a female voice sing a couple of songs. So that is one resource.
Hollywood (Los Angeles) in general has many union singers, who sight read very well. Contact AFM Local 47 if you are serious.
There are many singer registries today which were not there, pre-internet. So I would have you do a google search for 'singer registry' or similar. -- Just play their demo tapes (well, you know what I mean), and judge their styles and ranges for yourself.

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fuzz box link
9/22/2016 02:10:15 am

Hi Aaron,
Well as you have alluded to already they're two different versions. I tend to agree with some of Kim's analysis. But as Gary has mentioned in the past we're looking for the emotional impact of the song. It's what the song was intended for...either intimate or in-your-face, if you know what I mean. I don't know, but isn't that what the music supervisor determines from listening. It's what he/she is looking for? Is it in the brief?
Anyway, just my initial thought.

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Aaron Davison
9/22/2016 11:02:14 am

Hey Fuzz Box,
This wasn't written for a brief, it was intended to simply work as an uplifting, inspirational track that could be used in a variety of scenarios, from ads to certain scenes in tv, films.

Reply
Mx Margaret D. Jones link
9/22/2016 06:43:45 am

I have to disagree with many here, I think the first vocal is better, or would be with some re-jigging.

It's a limited-range song (one octave D flat below MC to D flat above), yet Travis can only just make it. A lot could change in both versions with different engineering but methinks Aaron's voice is much fuller with a lot more colour. If I heard them live I wonder if Travis may have more 'singers formant,' (ca. 3,000 Hz) but that's hard to really know in a recording. But even if he does, he lacks part of the 'doppio voce,' in this case the lower part of the spectrum on each note.

I'm not saying Travis does it badly, but his voice lacks richness. The difference may be partly to do with vocal fold thickness: Travis is too thin, and he doesn't seem to have the low notes.

The first version suffers mightily from extraneous background harmony lines: they should go, except perhaps for a little in the chorus, they don't go well in the verses.

Reply
Aaron Davison
9/22/2016 09:47:29 pm

Thanks for your feedback Margaret!

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Liz link
9/22/2016 07:12:55 am

Such a lovely song! Both versions are lovely, but the 2nd stands out - the production is much tighter and shinier - although I'd like to hear a version with your voice over the 2nd version, as I prefer the quality of your voice.

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Aaron Davison
9/22/2016 11:03:12 am

Hi Liz,
Thanks for your feedback. Glad to hear you like my voice!

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Mel link
9/23/2016 01:17:35 am

I like the retro vibe and authenticity of the first version. The doubling in this case adds energy and emotion (IMO) and the melody doesn't seem to be pushing the limits of your range. The other version is still good, but it's a bit more 'slick'.
I know everything is negotiable, but where's the ball park when it comes to negotiating a backend percentage for the vocalist?

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Dan
9/26/2016 12:55:30 pm

As others here have already intimated, I'm not sure Travis's voice is any "better" than yours so much as the production choices on the two tracks accounting for much of the preference to the second track.

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Dan
9/26/2016 12:57:31 pm

As others here have already intimated, I don't really think Travis has a better voice for the song as much as the production choices on the two tracks account for much of the preference to the second track.

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Jeff Carbine link
3/16/2022 07:45:23 am

It's awesome that this article talked about the idea is that I'm not just making music for licensing; I'm just attempting to produce the best songs I can, then figuring out how to monetize and use them as effectively as possible. I'm glad that you explain it thoroughly and now it makes more sense. You did a great job of explaining vocalist production.

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