Stevie's Vocal Range - Page 6

gldstwmn · #76 12-30-2009, 03:01 PM

Quote:

Originally Posted by WarmSir3

Really?! Sounds just like her! Scary!

His ability to imitate her voice is borderline freakish. Like Keith Olsen said those two voices were meant to sing together.
With Family Man, I think Lindsey sang the part he thought Stevie would sing there. She was basically missing for a good part of the recording of Tango due to the Australian tour and Betty Ford.

WarmSir3 · #77 12-30-2009, 08:30 PM

Does she appears on a Family Man remix like with Big Love? I love that remix! Possibly more than the original studio version... !

michelej1 · #78 12-30-2009, 08:31 PM

Quote:

Originally Posted by WarmSir3

Really?! Sounds just like her! Scary!

Stevie has said it's really uncanny the way he can sound like her or slow down her voice so that she sounds just like him too.

She also pointed out during the SYW promotion that she heard something that sounded so much like Christine that she had to ask Lindsey if it was Christine or just him sounding like Christine.

Michele

WarmSir3 · #79 12-30-2009, 08:37 PM

I had the same problem with Beautiful Child!

I've been meaning to start the vocal-range-over-time thing(...) but have been busy with some other vocalists, mainly trying to finally finish "researching" Ann Wilson's range. It's been a few month and I still haven't found any decent low notes! Oh Ann

I managed to finish with Lou Gramm's earlier though!

Anyway back on topic, hopefully I can get started on the weekend

David · #80 01-01-2010, 01:51 PM

Quote:

Originally Posted by michelej1

Stevie has said it's really uncanny the way he can sound like her or slow down her voice so that she sounds just like him too.

Has Lindsey (or anybody else) ever given more details about the VSO machine? I know that the device itself is referred to by several different names, & that its employment stretched beyond the recording studio.

michelej1 · #81 01-01-2010, 02:22 PM

Quote:

Originally Posted by David

Has Lindsey (or anybody else) ever given more details about the VSO machine? I know that the device itself is referred to by several different names, & that its employment stretched beyond the recording studio.

Musician's Magazine covered it a bit in their interview with Lindsey:

http://fleetwoodmac.net/penguin/archive/musician2.htm

The most important technique used to achieve the album's unique, concise guitar timbres was analog tape varispeeding. Buckingham is a VSO fiend from way back, and uses it on backing vocals and drums as well as guitar. "It's a voicing tool," he says, "a way of refining a sound-the harmonics of it-so it sits right in the track. It's like another version of EQ."

The actual technique is pretty obvious, says Lindsey: "You just slow the tape down to where you think it's going to sound right. Then you just play to the slowed-down tape; you've got to transpose, of course. After that, you take it back up to normal speed and see how it sounds. It's a real trial-and-error thing."

Varispeeding accounts for some 40 percent of the guitar sounds on the record, Buckingham estimates: "On 'Countdown' a lot of rhythm stuff was [recorded with tape speed] taken down, in order to come up more crystalline. And the lead sound is a Tele recorded through a fuzz preamp and VSOed. The idea was to make it come up like a violin sound. When [engineer] Chris Lord-Alge was mixing that he kept trying to fatten it up. I told him, 'No, it's gotta sting like a bee.'"

The dulcimer-like timbres in the intro to "Soul Drifter" were made with several tracks of VSOed guitars. "The ascending line"-Lindsey sings the riff-"that's two guitars in octaves. Then there's a [muted] 3/4-time pattern that goes across that."

Buckingham says VSOing produces results very much like Nashville tuning-"that high, harpsichord type of sound." While there are no Nashville-tuned guitars on the disc, there are a few open-G, 'E and dropped 'D tunings. There's also one Lindsey invented and dubbed his "oriental" tuning: "We put all high E and B strings on my Strat and tuned them all a half-step or whole step apart. So you get this . . .[he imitates the sound of a sitar's sympathetic strings]. You can get these nice open things going with it, like in the verses of 'This is the Time.'"

With all this trickery, it's no wonder that listeners start hearing things as they ain't. "A guy in New York was swearing he was hearing all these effects," Buckingham recounts. "He was saying, 'Yeah, you used a harmonizer on there.' But I didn't use any of that stuff. I had to tell him, 'I hate to burst your bubble, but it's just a different approach to recording.'"

michelej1 · #82 01-01-2010, 02:26 PM

Quote:

Originally Posted by David

Has Lindsey (or anybody else) ever given more details about the VSO machine? I know that the device itself is referred to by several different names, & that its employment stretched beyond the recording studio.

Also, I think there's an interview where Mark Needham was talking about how the way Lindsey uses VSO interferes with Pro Tools, makes it harder to transfer to Pro Tools. It was technical and I didn't understand what he was saying.

Michele

WarmSir3 · #83 01-24-2010, 08:46 AM

New info!!

In this interview Stevie speaks down to Ab2! This adds a tone to her range, possibly a tone and a half since the Bb2 was a bit debatable. And the E5, which I'm not even completely sure is her. In any case it solidifes her over-2.5 octaves.

vivfox · #84 01-24-2010, 11:34 AM

Quote:

Originally Posted by WarmSir3

New info!!

In this interview Stevie speaks down to Ab2! This adds a tone to her range, possibly a tone and a half since the Bb2 was a bit debatable. And the E5, which I'm not even completely sure is her. In any case it solidifes her over-2.5 octaves.

I feel the same way Stevie does about people and their cell phones and their texting. I was with my neice and my mom last night having dinner and playing cards. All through the night the niece received text messages and then sent them. It really gets annoying because you feel that she's not totally there. Her mind is constantly elsewhere. Another thing that drives me nuts is when I'm giving someone a ride to a meeting and their cell phone rings, then I have to turn my music down real low so they can hear the other person. Then the two of them have a conversation and that leaves me outta the picture.

WarmSir3 · #85 01-24-2010, 11:58 AM

Oh... that was the wrong interview! She speaks down to A2 on that one. Here around 1:34 is the Ab2. I should have learnt to pitch speaking a long time ago!

silversprings62 · #86 01-24-2010, 01:08 PM

Quote:

Originally Posted by vivfox

Check out Whenever I Call You Friend by Kenny Loggins and Stevie Nicks. Many of us fans are amazed at the vocal he got out of her for this recording.

yes, one of her all time top vocals on any song, ever

michelej1 · #87 01-24-2010, 02:29 PM

Quote:

Originally Posted by WarmSir3

Oh... that was the wrong interview! She speaks down to A2 on that one. Here around 1:34 is the Ab2. I should have learnt to pitch speaking a long time ago!

But does speaking really count in an interview? I mean, I know sometimes they sing/talk in a song and that counts a little more, seems a bit more eligible for inclusion, but when they're just chatting and not trying to stay in key or anything, I'm not sure that should count in vocal range. I bet if you just use my speaking voice, I have a tremendous vocal range!

Michele

WarmSir3 · #88 01-24-2010, 04:24 PM

I understand your point Michele, but if she can speak the notes she can sing them too.

StreetAngel95 · #89 01-30-2010, 08:33 PM

as a Soprano 1 in my high school choir, i thought these videos were very cool! I have always loved her high falsettos in the likes of "Dreams" and "Sisters of the Moon", but i absolutely love her low, husky voice that she has now! Great videos!

Nathan · #90 01-31-2010, 12:18 AM

Quote:

Originally Posted by vivfox

I feel the same way Stevie does about people and their cell phones and their texting. I was with my neice and my mom last night having dinner and playing cards. All through the night the niece received text messages and then sent them. It really gets annoying because you feel that she's not totally there. Her mind is constantly elsewhere. Another thing that drives me nuts is when I'm giving someone a ride to a meeting and their cell phone rings, then I have to turn my music down real low so they can hear the other person. Then the two of them have a conversation and that leaves me outta the picture.

I think the problem with the text-edemic is that is implies to the rest of the room that you'd rather be somewhere else. That whatever keeps grabbing your attention is more important. And, after a certain point, you just can't help but ask, "Who the hell is it??!" ... And that's just nosy.