Lipless' unique sound has brought him many star-studded opportunities.
The fact of the matter is, most music producers all have access to the same tools. They can buy the same synths, learn the same hardware, and use the same production tricks.
For those brave enough to try, singing on your own tracks can add a level of nuance and individuality that is literally impossible for any other producer to replicate.
Take Lipless for example, whose latest single on Colorize is a masterclass in using your own voice to make a phenomenal track that stands out from the sea of noise getting released every day. So let's find out how he makes it all happen…
Before we dive into how artists like Lipless use their own voices to make amazing music, it's important to understand the emotional weight and potential of doing so.
The production is spot on and well worthy of the acclaim it's received, but imagine the track below if the vocals were removed.
By going the extra mile and including his own vocals and songwriting acumen over the top, Lipless was able to create a truly amazing single that stands out, even from the rest of the incredible catalog of music Colorize has released.
Listen a few times so the power of the vocal really can sink in and support the single here, then let's dive into how Lipless works his magic.
I think there are a few different answers for this, but for me, I think it’s because it brings something different to the table.
It’s always been easiest to just make a track around a vocal sample or a top line that someone else sings on, but there is something about producers that also implement their own vocals on a song that makes things feel very authentic and artistic.
I think Calvin Harris is a great example of that.
I think the hardest thing about that is actually believing you’re good enough. We musicians are incredibly good at self-doubt and having irrational fears of rejection.
I remember when the first track with my vocals was released, I scoured through social media wanting to see what people were saying about the vocal, people didn’t even know it was my vocal at that point, so their opinions would have been unbiased.
Luckily I didn’t find anything discouraging and I’ve become more and more confident with every release. I’m not
The very first song that I used my own vocal was ‘Lips’.
That track was very much Zhu-inspired, and I wanted to write something that was very intimate and sexy that worked over a dark, deep bass line-driven production.
The theme ‘Lips’ came to mind and felt like an easy theme to write something intimate around. It was very different from the style and vibe that I do now which is a more laid-back and indie feel.
I’m not really one to take professional lessons or sit and watch tutorials, so mostly I listen to other artists that inspire me and my vocal style and try to deconstruct what they do.
I have also been lucky enough to work around Kaskade and some other excellent producers, writers, and vocal engineers and pay close attention to what they are doing in the studio. I’m talking about guys that are 10-20 years my senior and have decades of experience.
I’ve been able to learn from the best. I’m not the best singer out there, but I know my way around a DAW and a studio well enough to make myself sound half-decent.
Well for the way I treat my own vocals, my go-to plugins are Melodyne (for tuning), Fabfilter ProQ 3 (Dynamic EQ), Fabfilter ProC 2 (Compressor), Soundtoys Echoboy (Delay), Soundtoys Decapitator (Saturation), Kush Audio Clariphonc (for some nice clarity and air) and a variation of the Valhalla reverb plugins.
Those are usually my go-to, but I like to switch them up.
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Less is More! I know it sounds cliche but it’s the truth. It’s taken me a number of years to understand this properly but I get it now.
At first, I would just over-process everything and then try to fit an already busy vocal over an overly busy music production. It taught me how to be ok with stripping things back and taking out elements that are completely unnecessary.
Vocals work so much better when they have room to breathe.
And that even transcends into songs that don’t have any vocals. Pick your main elements and let them have space to breathe. Let the listener grab on to just a few key elements and don’t overwhelm them with too many sounds all fighting for attention. The same goes for mixing.
Managing Editor at Magnetic Magazine – Former Marketing Manager at the Hyperbits Masterclass – Writer, Content Strategist, Music Producer, and Record Label Manager