Just wanted to maybe hear some comments from those of you who record and produce their own comedy music, what production styles/methods work best. Having just gotten into this, I've learned a bunch of things already. For example, in recreating the original track, you can a) do it as close as possible to the original (like Weird Al); b) make it deliberately cheesy and cheap sounding, or c)  put your own production twist on it as Bob Rivers does with what appears to be a good studio band and multiple singers.

I find the cheap-and-cheesy approach only works when there's enough artist personality to make you feel like you're in on the joke. If you know the artist, or feel like you do, and can join the party and laugh along, so much the better. The Bob Rivers style is formulaic but admittedly there's something about having an entire choir of singers sing something that makes it funnier. Re-creating the original track is great if the lyrics alone sell the parody. In the past, it was funny just hearing what appeared to be the original track with different words. Now with the advent of sampling and cheap recording equipment, not to mention readily available "background" karaoke CDs, most of the time it's so easy to do it's not that much of a novelty anymore.

Regardless of production style, though, I find the lead vocal has to be a little more in front than I might do on a non-comedy record mix just to make sure the words are understandable.

I've recorded a few songs, but I have quite a long ways to go in not being a recording newb.

Production methods: it's easier to list what doesn't work first:

Vocal masking software: I've only heard one parody that was done using VMS that didn't sound like, well, crap. Duetting with the lead singer, who is singing different lyrics, is not good. Even in the unlikely event the software manages to completely scrub all the vocals, it also kills much of the backing instruments.

Expert level software: Steinberg Cubase may be great stuff, but it's too complex for a beginner (the pdf instruction manual was 700+ pages). Also, the Lambda desktop it came with wasn't compatible with my computer.

I've recorded three different ways with my three songs.

"Foul Mouthed Me" was recorded using the Soundcard only and an instrumental version of the original. The backing track was played in Real Player while the soundcard was set to record "what you hear". Headphones were used to keep from double tracking the instruments. There was no editing. Easy, but very primitive and no chance to edit track or vocal volumes with everything recorded in one mix.

"I've Done Friends in Strange Places" was recorded with Audacity and a karaoke track. I did some minor editing (basically, chopped off the dead time after the recording) and adjusted the volumes of my vocals and the backing track. Recorded in "line in2/mic 2" mode (main mic port is 1/8" and on the back of the soundcard).  Combined and exported as an MP3, done.

"Allah Paula Cheese" was done using Anvil Studios, Audacity and a decent MIDI found on the 'net. Modying the MIDI took hours, but once that was done I converted that MIDI to MP3 by playing it and recording it in "MIDI Synth" mode ("what you hear" had a ton of errors in it for some reason...). I then recorded my vocals like I did with I've Done Friends in Strange Places.

Initially, "Allah Paula Cheese" was recorded many months ago using My Voice (vocal masking software mentioned above), but the recording was substandard. I could still Kurt's voice in the parody, and no matter how high I adjusted the mic input, I was barely noticeable. I used the mic that came with MyVoice - ugh...

Style will come along as I get better at recording. I tend to go for sounding *somewhat* like the original singer and mimicing his/her style using my lyrics. Sound bites are something I've played with in written parody, but I don't think I'm going to be using them much in recordings.

Ant

Just wanted to maybe hear some comments from those of you who record and produce their own comedy music, what production styles/methods work best. Having just gotten into this, I've learned a bunch of things already. For example, in recreating the original track, you can a) do it as close as possible to the original (like Weird Al); b) make it deliberately cheesy and cheap sounding, or c)  put your own production twist on it as Bob Rivers does with what appears to be a good studio band and multiple singers.

I find the cheap-and-cheesy approach only works when there's enough artist personality to make you feel like you're in on the joke. If you know the artist, or feel like you do, and can join the party and laugh along, so much the better. The Bob Rivers style is formulaic but admittedly there's something about having an entire choir of singers sing something that makes it funnier. Re-creating the original track is great if the lyrics alone sell the parody. In the past, it was funny just hearing what appeared to be the original track with different words. Now with the advent of sampling and cheap recording equipment, not to mention readily available "background" karaoke CDs, most of the time it's so easy to do it's not that much of a novelty anymore.

Regardless of production style, though, I find the lead vocal has to be a little more in front than I might do on a non-comedy record mix just to make sure the words are understandable.


I have to say, those who say "Karaoke Tracks" and easy. . .haven't done it yet. . .Nearly all of those will have backing vocals from the original - -and while you may be able to over power them, they do take away from your style.  Most karaoke backings block out the actual lead lyrics (or at least have the option to do so), but VERY FEW block out the supporting vocals (IE Christina Aguilera's unnecessary vocal gymnastics, or Marvin Gaye's choir  backings in Grapevine). . .

Drowning them out does work, but they will still be there, and that forces you to drown out instruments also. . .

Audacity is a godsend, it's free and for the not-so-well-off performer (like myself) it's a great software recording program that will allow you to easily remove noise, add effects among other things.

Anvil Studio will help if you use midis. . .you have to perform at the best of your potential to outshine midis as they tend to be god-awful. . .HOWEVER, they can be edited using Anvil and at least sound decent to the original.  I've not met to many instrumentalists willing to make backing tracks for parody purpose to date . . .if I had trust me, I'd be using them.

Using karaoke tracks that have words in them still will render them useless as far as being on the radio is concerned, and some free mp3 hosts will refuse them if too much of the actual song is in the background.  Also, if a karaoke track producer got a twig up his butt and heard those supporting vocals, those vocals could then be used in court as proof of copyright infringement whereas most midis are free. . .however there are some people out there who will gladly sell you instrumental versions of most songs, and if you do happen to find karaoke tracks with no lyrics, it would generally be tough to prove you are using someone else's backing track. . .I've not heard of any case where a karaoke track producer has actually gone after and sued over the use of a track--but I'd imagine that if they did that the 1st Amendment defense used towards parody might protect you as it was used for parody and technically it would differ significantly enough to where it would not be mistaken for that karaoke track, thus not hurting potential profits (no one is going to mistake Red Ant's "Sex in Strange Places" as Garth Brooks' "Friends in Low Places")

While my recordings (as Below Average Dave) do use midis, and no they don't sound perfect, for recreational purposes, they are acceptable.  Most have charted on Soundclick pretty high (the top indie music site on the net) and all have been downloaded numerous times.  I record every single one of my songs, am currently in the process of re-recording the final four of my first 40.  I'll tell you what, two of those 40 songs using midis have had over 1,000 listens, 4 of them have been in Soundclick's Comedy Top 10, and 12 have been in either Adult Comedy or General Comedy's Top 10. . .most of them have been in the Top 100 except some that had to compete against my earlier successes like Chubilicious, Jock Itch or South Park.

What I say, is getting your foot in the door (on a recording sense) is more important than starting off with a Rick Cormier or Weird Al quality recording. . .Setting your sight too high for your first recording will make it very hard and likely hinder the process for you.  I had this issue for a long time. . .I just wasn't satisfied unless I could find a perfect vocal free backing track that sounds just like the original. . .and you know what. . .parody is supposed to be for fun, I got quite discouraged being that kind of perfectionist.  To have fun with it, do the best you can do with what you are capable of doing.  If you are a professional musician, than great, if you are an average karaoke guy like me. . .then that's great too--doing it and being able to say you've done it is more impressive than being able to say that you could do it if you had better backing tracks or vocals. . .I say, something is better than nothing. . .and you might be surprised how well you can do WITHOUT expensive backing tracks, lessons or equipment

OH

Check out Musician's Friend for some low price Microphone set ups. . .Jack (Red Ant) showed that site to me some time back, it's a great place to get low price equipment and such.

Good Luck, Anything I can do, feel free to PM me.
Below Average Dave.

I've recorded a few songs, but I have quite a long ways to go in not being a recording newb.

Production methods: it's easier to list what doesn't work first:

Vocal masking software: I've only heard one parody that this was done using VMS didn't sound like, well, crap. Duetting with the lead singer, who is singing different lyrics, is not good. Even in the unlikely event the software manages to completely scrub all the vocals, it also kills much of the backing instruments.

Expert level software: Steinberg Cubase may be great stuff, but it's too complex for a beginner (the pdf instruction manual was 700+ pages). Also, the Lambda desktop it came with wasn't compatible with my computer.

I've recorded three different ways with my three songs.

"Foul Mouthed Me" was recorded using the Soundcard only and an instrumental version of the original. The backing track was played in Real Player while the soundcard was set to record "what you hear". Headphones were used to keep from double tracking the instruments. There was no editing. Easy, but very primitive and no chance to edit track or vocal volumes with everything recorded in one mix.

"I've Done Friends in Strange Places" was recorded with Audacity and a karaoke track. I did some minor editing (basically, chopped off the dead time after the recording) and adjusted the volumes of my vocals and the backing track. Recorded in "line in2/mic 2" mode (main mic port is 1/8" and on the back of the soundcard).  Combined and exported as an MP3, done.

"Allah Paula Cheese" was done using Anvil Studios, Audacity and a decent MIDI found on the 'net. Modying the MIDI took hours, but once that was done I converted that MIDI to MP3 by playing it and recording it in "MIDI Synth" mode ("what you hear" had a ton of errors in it for some reason...). I then recorded my vocals like I did with I've Done Friends in Strange Places.

Initially, "Allah Paula Cheese" was recorded many months ago using My Voice (vocal masking software mentioned above), but the recording was substandard. I could still Kurt's voice in the parody, and no matter how high I adjusted the mic input, I was barely noticeable. I used the mic that came with MyVoice - ugh...

Style will come along as I get better at recording. I tend to go for sounding *somewhat* like the original singer and mimicing his/her style using my lyrics. Sound bites are something I've played with in written parody, but I don't think I'm going to be using them much in recordings.

Ant





I never thought about using midis for some of them. That would be good for some of my Nirvana parodies(as well as other band's parodies I did that I would like to record). That would be great for my Hairspray Queen and Anorexorcist parodies(which I want to do but don't know how to play, Hairspray Queen would benefit from it due to me not being in a band).

I've just been using karaoke music and recording the vocals in Windows sound recorder. Then I mixed and edited them together (with video footage) in Adobe Premiere.
Yea, that's it. Pretty basic.
I've only done 2 recorded parodies so far and I'm presently working on my third, so I will improve on this (wish I can say the same for my crappy singing). I'm gonna give Audacity a try.. anybody have other recommendations for recording?

Dave your points regarding karaoke tracks (especially with regard to BVs) are well taken, and of course you're right about the object being to have fun with it and not try too hard to compete with major-label production.

Vocal elimination algorithms are mostly based on a comparitor circuit. They assume the lead vocal will be panned dead center and drop out anything in the exact center of the mix within an appropriate frequency range (this is the sonic equivalent of doing an appendectomy with a chainsaw, naturally). The results depend on how much the mix follows this convention and also how much stereo reverb and effects are on the vocal. Some very dry early 90's records might fare pretty well (bet you could make Sheryl Crow disappear entirely).

MIDI files I would think would vary greatly depending on several factors: a) quality of the playback device (a decent pro keyboard or MIDI module, even an older one, is going to be better than a soundcard); b) skill and musicianship level of the creator, and c) suitability of the OS to the GM environment—some 80's stuff might work out ok.

It's funny because I am in the process of recording and mixing several songs and I realize that in some cases, even though the lyrics cracked me up on paper, the recording doesn't "sell" the song as well as I hoped wheras in others, although I was unsure if the lyrics were funny enough, the performance and production as a whole seem to make it work. Part of the great comedy-song mystery, I guess!

It's funny because I am in the process of recording and mixing several songs and I realize that in some cases, even though the lyrics cracked me up on paper, the recording doesn't "sell" the song as well as I hoped wheras in others, although I was unsure if the lyrics were funny enough, the performance and production as a whole seem to make it work. Part of the great comedy-song mystery, I guess!

I agree with that analysis completely: some of my most successful performance pieces are definitely not the best/cleverest/funniest lyrically - some things simply work better when you get the chance to sell the joke audibly rather than reading; a lot of lyrics are simply too clever to work performed 'cause there's no way you'll get the joke without seeing it written down.

On the different backing track debate, I've only recorded one over a devocalised original ("Another Bastard Spammer" to "Maxwell's Silver Hammer") - crap quality, I can't stand it.. but has been really rather popular judging from the feedback I've had.  I've even had a couple of comments from people saying they thought the dodginess of the backing made it funnier.  I have one recording of a karaoke track with backing vocals occasionally audible... not ideal, but just about works.

I'd like to be able to record more real music backing, but it is comparatively very timeconsuming, and time is one of my limiting factors. For the right parodies, a crappy MIDI conversion doesn't matter too much; having said that, a lot depends on whether you want a song listened to once to raise a smile or something you'd put on a playlist: to achieve the latter, you really need decent sound & recording quality.

Judging from this, it appears that The Caca Man, although there are some who despise his crap songs, is faring very well when it comes to recording things - he uses the instrumental track as much as possible, and perhaps he has professional recording tools at home. I have a friend named Jonathan who's into the recording/DJ scene - he has a mother lode of CDs containing pro tools such as sound effects, Sony's ACIDPro and a couple more tools. As for Mikey Squirrel and my other homies here who are into recording, may I ask you one question: do you have a fairly new computer, one having enough muscle to run an audio editor? Maybe slapping up a couple megs of RAM, a better sound card (John told me that once) and hooking up your home stereo system to your PC will help - that cheap ten-buck speakers won't do well if you want to record like what Mr. Caca did with NastyCrap. Anyway, we're doin' this comedy song stuff for fun, right?

Yes, time and money have been the ONLY THINGS that have held me back from quality recordings...and a marketable career as a song parodist.  :\'( ::)

Well, even though my recordings are far from professional sounding, my band and I always try to re-create the instrumental track as best as we can. It gives us a sense of pride to know that we created the whole thing from scratch. Besides, it's really fun to learn how to play stuff, I think.

Well, even though my recordings are far from professional sounding, my band and I always try to re-create the instrumental track as best as we can. It gives us a sense of pride to know that we created the whole thing from scratch. Besides, it's really fun to learn how to play stuff, I think.


You guys are more talented than you give yourselves credit for. . .

Yes, time and money have been the ONLY THINGS that have held me back from quality recordings...and a marketable career as a song parodist.  :\'( ::)


Didn't stop me. I just got BAD to do mine ;)

Although, that only adds to his already huge workload. If I ever got a reliable source of backing tracks (maybe get BAD to e-mail 'em to me?) AND managed to wrestle the mic of my brother, I'd record 'em myself. The problem is when I do record myself, there's a hefty amount of breath in the recording. Help with that please?

The problem is when I do record myself, there's a hefty amount of breath in the recording. Help with that please?

Simple: don't breathe ;)

Don't hold the mike in front of your mouth and breathe into it: you'll get a slightly lower vocal volume, but it'll make up for that in lack of breath noise and "popping" (where hard consonants like P and B cause a blast of air into the mike)

Didn't stop me. I just got BAD to do mine ;)

Although, that only adds to his already huge workload. If I ever got a reliable source of backing tracks (maybe get BAD to e-mail 'em to me?) AND managed to wrestle the mic of my brother, I'd record 'em myself. The problem is when I do record myself, there's a hefty amount of breath in the recording. Help with that please?


Weighing back in on this kinda late but hopefully I can be of help. Several things cause this:

1) No pop filter. Get one from the big box music stores, they're about $20 and up.
2) Mic too close. Back up a bit and increase the gain. Bass response may drop off due to loss proximity effect.
3) Too much compression. Compression brings down loud passages, but makes softer things (breaths and artifacts) louder by comparison.
4) Too much high end EQ. Roll off or modify gain in the 10-20k band.
5) Certain mics (the CAD Equitek comes to mind) are notorius for this. Try another one if ya got it.

If all else fails and it's already been recorded that way, use a waveform editor program (or feature of your DAW) to highlight the breaths and bring them down (start with 3db and increase 'till you're happy). Tedious, but art is never easy :)

The problem is when I do record myself, there's a hefty amount of breath in the recording. Help with that please?


The two easiest ways to get rid of breath sounds are:

1) Get a pop filter and/or wind sock. In a pinch, pantyhose or even a tube sock over the mic will work okay. Like Phil said, that will also eliminate plosives.

2) Move the microphone off axis when you have to take a breath. The Shure mic I have works great this way - all I do is tilt the mic 15* or so away from my mouth when I need to breath and voila! no breath sounds. I also tilt it maybe 5* off for words that will "pop" with very little volume loss.

I prefer that method over stepping back (distance) because the Shure still picks up those sounds if you are in-line with it. Off-axis > distance.

Condenser mics don't work this way though - the Rode picks up everything, so having a great instrumental track that drowns out the breathing is good.

Great tips too, Bob.

Ant

Red, what program do you use to record your stuff? I use Audacity, and it used to work fine, but all of a sudden the recording is barely audible, and that's without a backing track. Help?

Red, what program do you use to record your stuff? I use Audacity, and it used to work fine, but all of a sudden the recording is barely audible, and that's without a backing track. Help?


I use Audacity as well. Underneath the play, pause, record buttons, you'll see two sliders, one for speaker and the other for microphone volume. Make sure they are up fairly high. I set the mic input volume at .8 or .9.

If you have a volume knob on the mic input on your soundcard, make sure that is adjusted right too.

Ant

I use Audacity as well. Underneath the play, pause, record buttons, you'll see two sliders, one for speaker and the other for microphone volume. Make sure they are up fairly high. I set the mic input volume at .8 or .9.

If you have a volume knob on the mic input on your soundcard, make sure that is adjusted right too.

Ant


This may seem like a silly question, but...what's a soundcard?

This may seem like a silly question, but...what's a soundcard?


Basically, it's the board that processes your sound effects.

I take it you have never upgraded yours, which means that you probably have the original card: in that case, there is no physical knob on it to adjust.

Ant