Capturing great vocal takes starts long before hitting record. In this episode, vocal coach and recording expert Rich Bozic shares how to record professional vocals in a home studio, with practical tips that work whether you’re using high-end gear or a modest setup.
We cover how to prepare a singer for a vocal session, from effective pre-session communication to creating a stress-free environment. Rich also explains how to warm up your voice before recording, sharing warm-up routines that improve tone, prevent fatigue, and help artists deliver their best performances.
If you’ve ever asked, “What are common mistakes to avoid when recording vocals?”, this episode delivers. Rich highlights issues like ignoring vocal fatigue, poor headphone mixes, and misreading body language—mistakes that sabotage sessions before you realise it. You’ll also learn how to get studio-quality vocals on a budget, with guidance on microphone choice, headphone monitoring, and remote recording setups.
Whether you produce your vocals or work with singers, this conversation will sharpen your skills, improve session outcomes, and help you capture confident, pro-level performances—no matter your studio size or budget.
Links mentioned in this episode:
Follow Face Your Ears
Follow RJB Music Production
Follow Bozic Voice Studio
Listen to #191 (ft. Justin Hochella)
Ways to connect with Marc:
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Thanks for listening!!
Mark as Played
Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Rich Bozic (00:00):
So if you're going to be using your voice,
sometimes, like people who don'tsing, they're like yeah.
Marc Matthews (00:03):
I'll just, I'm just talking.
Rich Bozic (00:05):
You know what do I have to worry about?
Doing?
Things like some humming.
Like, say, you're taking yourshower in the morning nice, hot
shower, get that steam in there,because steam is great for the
vocal folds.
Humming a little bit and movingyour voice around just like a
mmmm and kind of testing what'sgoing on with your voice.
Some basic humming.
Make sure your teeth are aparton the inside, close the lips,
(00:28):
try to get a lot of buzzing inyour face going.
You don't need an instrument togive yourself pitch.
You could just do the humming.
Then something you could startdoing is from the humming you
could segue into, just pick avowel and do the same thing, oh,
and just move your voice arounda little bit.
Use it a little bit, right?
Marc Matthews (00:49):
Hey Inside the Mix podcast fans.
It's Nate Kelms.
Follow me on Instagram at NateKelms or go to my website,
natekelmscom and contact methere.
You are listening to the Insidethe Mix podcast.
Here's your host, mark.
Rich Bozic (01:03):
Matthews.
Marc Matthews (01:04):
Welcome to Inside the Mix, your go-to podcast for
music creation and production.
Whether you're crafting yourfirst track or refining your
mixing skills, join me each weekfor expert interviews,
practical tutorials and insightsto help you level up your music
and smash it in the musicindustry.
Let's dive in.
Hey, folks, before we dive intothis episode, my new song,
(01:27):
half-life, dropped on Friday,that's Friday, the 2nd of May.
Click the link in the episodedescription.
If you like the idea of melodicdystopian house, give it a spin
and let me know what you think,as your feedback means a lot.
Let's dive into this episodeepisode.
Welcome to Inside the Mix.
I am joined today by Richard, orknown as Rich, bozic, an
(01:55):
experienced singer, voiceteacher and songwriter.
So Rich, along with his co-host, justin Herschella, hosts the
Face your Ears podcast.
They help musicians bring theircreative ideas to life through
approachable, fun andinformative discussions.
And Justin was on a previousepisode and had I done my due
diligence, I would know thenumber of that episode, so I'll
put the links in the episodedescription.
(02:16):
So, after listening to thisepisode, go back and listen to
Justin's chat with me as well,where we go into his favorite
Logic Pro shortcuts and DAWshortcuts as well.
So Rich also runs RJB MusicProduction as well.
So in this episode we're goingto delve into the nuances of
working with singers in thestudio.
(02:38):
Quite a new topic for thepodcast.
Yeah, yeah, yeah, offeringinsights to help producers and
artists optimize their vocalrecording sessions.
Rich, welcome to the show.
Rich Bozic (02:47):
How are you?
Thanks, mark.
Thanks for having me.
This is fun Straying, strayingfrom the home podcast venturing
out.
Marc Matthews (02:56):
It's an odd experience, isn't it?
When you're on the other sideof the microphone, as it were,
when you because I've done thisa few times when you're the one
being interviewed, but it'squite nice.
Rich Bozic (03:03):
Yeah, it's a change.
It's a positive change.
Marc Matthews (03:06):
Exactly that, and also I've said this before when
you have other podcasters on,you know they're going to have a
decent microphone as well.
You can have that nice claritygoing through which?
Makes it a lot easier for me toedit.
Rich Bozic (03:17):
Any opportunity to use the gear again?
Yeah, exactly yeah exactly,exactly.
Marc Matthews (03:23):
So, folks, in this episode as long as we get
through we are going to explorecreating a comfortable studio
environment, effective sessionplanning, recognizing and
managing vocal fatigue,considerations for vocal
recording and building effectivecommunication.
So the idea is, by the end ofthis episode, you'll have
(03:44):
practical knowledge to enhanceyour vocal recording sessions
and collaborate more effectivelywith singers.
So let's dive straight in.
All right, so we are in asituation here where we've got a
singer, we've got a vocalist.
Uh, how can producers create acomfortable and welcoming studio
environment for singers so rich?
Can you talk about the keyelements that contribute to a
singer's comfort in the studio?
Rich Bozic (04:04):
Absolutely so.
The obvious one, thelow-hanging fruit communication,
right.
So, connecting with the singerahead of time.
If someone calls you randomcold call, they want to come in,
they have a project they wantto record, you probably want to
hop on a meeting before that andestablish exactly what's going
(04:27):
to happen, whether it's just alead vocalist or do they also
want to incorporate some backupvocals?
Are they doing the backupvocals or is someone else doing
it?
And then obviously, however,you run your studio imparting
that information to them.
Obviously, however, you runyour studio imparting that
(04:48):
information to them.
When you talk to them, youmight want to encourage them to.
What I like to do is Iencourage the singer to maybe
send me some lyrics with somenotes on it of things they're
trying to achieve in differentsections.
Some ideas, maybe even generalkind of descriptors in different
(05:09):
sections, like I want thissection to sound kind of airy
and I want this section to comeout and be louder and full, and
also maybe some expressive notes.
Like I'm trying to have more ofa sad feel here, I want to be
angry at this part.
That kind of stuff is helpfulbecause then it could help you
(05:29):
when we get to that sectiontalking about mic placement, but
also can give you an idea ofhow to pace the session as the
engineer.
So you've done that work aheadof time.
You've established your session.
I know some people they will.
(05:50):
Most of us we work live, butsometimes we do run sessions
remotely as well.
I've done a few sessions whereI've worked remotely with the
client to help them get the jobdone.
So if that's the case, let themknow what they need to install,
what they need to click on tolog in.
Just be clear, like nice andclear.
(06:11):
Oftentimes, sending a follow-upemail or text with this is what
to expect and this is whenwe're starting.
This is where you come in whenyou get here and kind of the
protocol for how you tend tooperate in your studio.
I know that I'm all right withsingers coming in and warming up
(06:32):
a little bit in my studio.
I'll even help them out,sometimes as part of the session
because I am a voice teacherand oftentimes I am recording
clients I will be like, let's doa little warm up here, or did
you warm up ahead of time, or doyou want me to warm you up?
And sometimes I could setpeople's mind at ease if they
get a moment to kind of sing inthe studio a bit.
And oftentimes I'll even startsetting up the mic for them,
(06:55):
getting the headphones on them,and slowly start playing around
with levels while they'rewarming up to get a feel for
their voice.
So so that helpful.
So when they arrive, they'rehere, they're ready, the artist
is here.
(07:16):
Different people respond todifferent temperature
environments differently.
Singers are high maintenance.
All right, let's just get thatout of the way.
Singers are high maintenance.
So you want to be like, youwant to encourage them?
Dress in layers, so if you getcold you can put your jacket on,
if you get too hot you can takeoff some of the layers.
(07:37):
Because all of this physicalcomfort is a big deal with
singers, because we carry ourinstrument with us wherever we
go.
Right, so, dressing in layers.
Also, having a place for them toset their stuff down and maybe
to sit down and relax, becausesometimes we got to gather our
(07:57):
thoughts, like we're about tosing and we got to gather our
thoughts.
We need a moment to just chillfor a second.
So having a comfortable chairnearby or a seating area, having
access to a restroom if theyneed to step aside and kind of
pray in a room by themselvesbefore the recording, things
like that Access to some wateror if they don't bring their own
(08:19):
, that could be always a nicething.
And then sometimes even Wi-Fi.
And the reason for that issometimes I'll have singers
who'd be like, oh, I forgot mynotes, but I have it in my
Google Drive, you know, and youwant to be able to get to that
very quickly.
So just sometimes having evenposted like a guest login for
people to do that, other things,once you get them in front of
(08:42):
the mic, they're warmed up,they're ready to go.
They might need a music standor something to set any notes on
, maybe a little table nearby toset their water, whatever, so
they don't set it right nearyour mixing console or next to
your expensive gear, becausesometimes people forget about
that.
Yeah, that's a whole otherstory.
(09:04):
I don't know if you've ever hada catastrophe a water
catastrophe in the studio.
Marc Matthews (09:08):
I have.
As soon as you mentioned that,I was in a studio and it was an
audience console and I put abeer.
So on the right-hand side wehad the Pro Tools rig and
everything, and then you had theconsole and the beer was just
in front of it and I turned totalk to one of the others in the
control room while the singerwas there and I knocked the beer
all over the console.
Rich Bozic (09:27):
Oh.
Marc Matthews (09:27):
God, and it just died.
What it died?
It died and my head was in myhands and it's one of those
moments I've not had many ofthem, but I just usually I've
got a plan of action and at thatpoint I was like l to go to the
toilet a minute and I just Ijust went to the bathroom and I
sat on the toilet and I justjust sat there.
I looked at the back of thedoor and I thought I don't
(09:48):
really know what I'm gonna dohere, because it wasn't my
studio.
Uh, I was, uh, it was a hot.
I was hot desking in air quotes, as it were.
And uh, in the end I went backand I was like, look, let's go
to nando's.
And uh, so this is uh, I don'tknow if you get a Nando's in the
United States, but basicallyit's like you can buy a chicken.
I think it's.
He's the Portuguese of SouthAfrica and I can't remember what
it is.
So we went there and I was likewe'll come back tomorrow and
(10:10):
we'll see if it's working.
We came back.
Rich Bozic (10:12):
Oh God.
Marc Matthews (10:12):
With a hairdryer.
I lifted up the console, tookit apart a bit, got the
hairdryer in back to life.
Gradually came back to life and, uh, the only thing is one of
the group group channels.
Uh, didn't come back to life.
Rich Bozic (10:30):
But yeah, that as soon as you mentioned it there.
Marc Matthews (10:31):
I just had flashbacks, man.
I was just like, and ever sincethen I've made sure all liquids
are on the floor.
Uh, so if it gets kicked overon the floor, easy, you can just
let it dry, whatever.
Yeah, but yeah, 100% man withyou.
Rich Bozic (10:45):
Oh yeah, oh, yeah man yeah, yeah, that's, that's a
good one.
Uh, I've seen, uh, pianos getuh soaked, uh like, oh, you know
guitars, everything, so yeah,so you know a consideration, um,
another thing, uh, to consider,um is the atmosphere in the
room.
Uh, what I do, I mean, as youcan see, I got a little bit of
(11:06):
the.
I got the hue lights going onin here and I could change the
colors, and so, like, I'll askthe singer, what do you like,
what do you want?
And I'll maybe set theatmosphere.
I mean that's like bonus, that'sbonus Bozic Voice Studio kind
of perk, right, so don't feelpressured, but sometimes
creating an atmosphere could benice, put them in the mood.
(11:27):
Obviously setting thethermostat at a comfortable
temperature.
Also, if you do run a homestudio and I always have my
protocol that I follow before Irecord, as I did for this
session I have the utilitycloset down here, so I turn off
the main heat and the boiler forthe hot water heater right,
yeah, yeah yeah, so I crank theheat earlier in the day, before
(11:50):
the session, and then, like whenit's winter, to get it nice and
toasty, and then I shut it alloff when the session starts.
It's just that there's no likesudden boom kicking on of like
heater.
Um, so something to consider,right, temperature, uh and uh.
It's funny, justin and I wewere, we were kind of uh, just
(12:11):
tossing around ideas as we werethinking about, um, you know,
doing these episodes with you,and uh, one thing was, uh, the
humidity.
Like he was like what abouthumidity?
And I'm like, well, I mean,it's hard to control the
humidity in a room, but I knowlike, uh, one thing, as when I
would go to new york auditionsand whatnot, like without fail,
and this is like a singer thing,like a singer walks out and it
(12:32):
didn't go well, andautomatically like, oh, that
room was just so dry thehumidity was off and it's like
you don't want to give them anexcuse.
Yeah, but yeah, so, and we yeah,and so those are basic, some
basic things that might behelpful.
Marc Matthews (12:48):
So, yeah, there's a lot to unpack there.
So it's all in essence, really,you make it as a comfortable
environment as possible, themost conducive environment, and
removing any barriers or anyfriction to recording as as much
as you can there, and it's all.
What you mentioned as well isthe reaching out and having the
conversation beforehand andestablishing that rapport and
(13:08):
that understanding and outliningthe expectations as well as to
what the session is going toentail.
But what you mentioned therewhich is quite interesting,
which was in person and remote.
So I do some remote work aswell myself, notably with
regards to coaching, with mixingand music production, and I use
a platform called audio moversso we can stream and record even
(13:31):
in real time.
So when you've got that singerin person with you, obviously
there's a lot you can controlthere in terms of the
environment, the atmosphere, thehumidity, for example, as you
mentioned when it's remote.
Obviously we do encounter, asyou mentioned there about with
singers, uh, being quite can bequite high maintenance oh yeah
(13:52):
highly strong, maybe um sweepingstatement when it's remote.
What considerations do you needto take into account there?
Because obviously there's athere's there's less that you
can control with regards totheir environment.
How do you tackle that if it'sslightly starting to go a touch
downhill?
Let's say Sure.
Rich Bozic (14:11):
So I've run into a few different things that I
could, I guess, highlight thatwere issues that I stumbled upon
doing remote.
Obviously, like you have allthe logistical things of do they
have the?
Do they know how to use thebasics of firing up their DAW?
Can they connect to theplatform you're using?
I use Muse for those sessionsbecause then I could take
(14:34):
control of their screen andactually run the DAW while
they're recording, and sometimesthere's a little bit of latency
, but it all depends on theconnections and really, whether
the the gods are with you thatday, right?
So so the some of the thingsthat I've run into is I've had
students who have those likebooths, like those cloth or
(14:56):
whatever, like felt home booththings that they build.
Those things are cool and theyactually isolate the sound, but
they can get really hot as well.
And I've had like singers feellike, oh, like I'm going to pass
out, I need to take a break,you know.
So you got to.
What I would recommend is openthe flap to that thing as often
(15:17):
as possible If they're dealingwith one of those kind of booths
or they're recording in acloset or whatever.
Just like ventilate wheneveryou get a chance just to kind of
keep things comfortable.
I also like to send the singerahead of time.
You know some things toconsider, like as I would, when
they're coming to my home studiofor their environment.
Like some of the sameconsiderations temperature, make
(15:39):
sure you have everything nearbyeasy to access, stress, low
stress.
Also, make sure the timing ofthe session works for anything.
If you know lawn crews arecoming like every Thursday
around a certain time, might notbe a good day to schedule right
(16:04):
.
So Home Studio brings, let'ssee here Like yeah, familiarity
with the equipment is key aswell.
A lot of times I mean thankgoodness for Muse, because you
can kind of take over to acertain extent.
But sometimes even scheduling asession ahead of time just like
meet up, let's meet up, andjust like turn on your rig and
(16:26):
like really that's the biggestobstacle that can get in the way
is when technically, thingsstart going crazy.
Marc Matthews (16:34):
Yeah, yeah.
So, again, I think it just comesdown to preparation, doesn't it
?
I think, once again, even witha remote session, is the
preparation and, again, havingthat conversation beforehand and
knowing what equipment theyhave.
On the other end and I learnedthis, probably the hard way is
to not assume that everybodyknows.
So if I were to start talkingto them about, okay, what
(16:56):
resolution are you recording at,and not automatically assume
that they know what I'm talkingabout and with terminology and
everything like that.
So, yeah, I learned that thehard way, most definitely um.
Back to my teaching days aswell.
So, yeah, all that, all thatsort of research and that's and
that development of that rapportand just, yeah, research in
general really, and just gettingall that ahead of time, yeah,
(17:18):
it can significantly help.
But one thing you mentionedthere and this kind of segues on
nicely to the, to the nexttopic here is um.
It also goes back to thehumidity part as well.
When they're saying they'regetting hot in the, in the, in
the um, the vocal booth andwhatnot, so recognizing and
addressing signs of vocalfatigue.
So how do you approach takingbreaks and managing the singer's
(17:42):
workload to prevent fatigue?
Rich Bozic (17:46):
So I've been teaching for about 25 years and,
as I mentioned earlier, a lotof the people I work with in the
studio are people whose voicesI'm familiar with and who I know
really well because I've beenteaching them for a while.
I will sometimes record peoplewho I'm not as familiar with,
but things I guess that I couldimpart to people maybe who
(18:08):
aren't voice specialists.
So keep an eye on body language, first and foremost.
If you see the singer grabbingtheir throat a lot or, like
stretching their neck out a lot,showing signs of, like, some
kind of strain, you could alwaystake a moment Like this is
where pacing comes in to theequation Like, perhaps maybe we
(18:32):
can look at this section andcomp a little bit while you get
a chance to rest.
If you're feeling and be direct, ask them how are you feeling?
Are you feeling a littlestrained?
Do you need a moment to justloosen up for a second?
So body language.
Second thing is, if you start tohear excessive throat clearing
because the way you know it'stime to they'll often start
(19:11):
clearing the throat because thebody will start producing more
mucus to protect the vocal fold.
So you'll hear, you'll start tohear throat clearing and what
you do is you don't want to.
You want to gently be, like youknow, take it easy with the
throat clearing.
Why don't you grab something todrink and just, you know, have
a seat for a moment.
Let me just do a little bit.
You can do a little somethingin the recording, start comping
(19:32):
and whatnot, or playing back,doing a little bit of listening
or strategizing at that momentto make use of the time.
But ultimately the thing withthat is you've got to make sure
the singer is well rested andhydrated ahead of time, because
drinking water in the moment canhelp a little bit with the some
of the mucosal layer in thethroat, but on the vocal folds
(19:54):
themselves the water nevertouches it because the vocal
folds are in the larynx.
The epiglottis closes over thatarea when we swallow and the
water goes down the esophagus.
It never touches the vocalfolds.
If it does we would startchoking.
So you got to make sure thatthe singer is hydrated ahead of
time.
But if you run into it in themoment, oftentimes just a little
(20:16):
bit of like, just stop for asecond rest, see if you could
calm things down and sometimesthings will settle enough to
move on.
So but throat clearing is likea sign you could see things down
and sometimes things willsettle enough to move on.
But throat clearing is like asign you could see right away.
Sometimes it could be somethingin their throat.
They just need to go into thebathroom and gargle some hot
water for a second and thatcould clear it up.
(20:36):
Then you have the audible signs.
So things like a little bit ofhoarseness creeping in.
Let's say you did a few takeswith the singer.
Everything sounded clear.
You're kind of getting familiarwith their sound.
But now you're starting to heara little bit of extra
hoarseness creeping in, a littleroughness in the sound.
Oftentimes it'll appear at thebeginning of a phrase.
(20:58):
Sometimes there'll be might evenbe a slight vocal when the
vocal folds are getting inflamed.
There might even be a delay inonset.
When the voice is getting tiredthe vocal folds won't connect
right away, or at the ends ofphrases things will get cut off
a little bit.
You might hear voice cracking,so like especially at the
extremes of the range whensomeone's singing extra low,
(21:20):
either the voice will startbottoming out or you'll hear a
flip or a crack going into it.
Either their voice will startbottoming out or you'll hear a
flip or a crack going into it,or even in the high range when
they're going for the high notes.
Every time they're going forthat high note it's starting to
crack and flip.
So that could signify there's alittle bit of fatigue setting in
, maybe a little inflammation inthe vocal fold.
(21:41):
Oftentimes a break, just alittle bit of a break, let
things settle down, couldresolve those issues.
They might need a little extratime, like go have a seat, let
me do a few things, come backand then things like shift in
tone, a little bit of troublematching pitch, where maybe
earlier in a session it seemedokay, but now all of a sudden
we're getting a lot of pitchproblems.
That could be a little bit ofvocal fatigue, but also mental
(22:05):
fatigue as well.
Marc Matthews (22:07):
Right, yeah, some really interesting stuff you
said in there.
Because this is thisconversation couldn't come at a
more perfect time for me, really, because I've been experiencing
some.
I'm not a singer, but obviouslyI do a lot of talking for the
podcast and in my in myday-to-day as well, with a
content creation and whatnot,and I've noticed this.
(22:28):
So you mentioned thatinflammation of the of the vocal
chord, but the vocal chordsright yeah, the way you describe
vocal folds now vocal cords isthe old school term.
Rich Bozic (22:37):
Oh is it.
Yeah, there we go.
Marc Matthews (22:39):
I've just heard something new there there's me
parading around saying vocalchords, yeah, and it's vocal
folds, but I've noticed thatthis is going to sound random,
but I've got a.
I've got a cat and I don't knowif you're a cat owner or you
know any cat owners andoccasionally I like to meow at
my cat randomly, but I can't.
I can't do it at the momentbecause when I do it I feel a
(23:00):
bit of a bit of pain in my in myvoice, and I've been to the gp
and whatnot.
So it's all under investigation, but I have noticed this.
And, again going back to whatyou said, what I said previously
, I'm not a singer but because Iuse my voice a lot and I'm
doing a lot of delivery inparticular, I have noticed that
strain and it's something that Ineed to be aware of and I need
(23:21):
to work on and rest my voice,which I find really hard to do
because I talk a lot throughoutthe day.
But, yeah, the way you'vedescribed everything is really
interesting and it's making methink more now about my own
approach myself when it comes todelivering the podcast.
You know Sure.
Rich Bozic (23:40):
If I may offer this one's on the house, a little
routine.
A little routine that you coulddo like as someone who's not,
you know, like you're not tryingto, you know, be a full-on
singer but you use your voice alot for anyone out there, like,
even, sometimes, people in theirjob.
(24:00):
Like I teach a lot of peoplewho are, like, maybe, school
teachers or gym teachers andthey they're speaking a lot or
raising their voice a lot.
So there are little things youcan do to prep for the day.
So if you know you're going tohave I don't know how many
podcasts you do in a day, is itusually like one or do you do
more sometimes?
Marc Matthews (24:18):
well that you've got the podcast the podcast
themselves but I also create alot of content as well, so I'm
talking over that contentcreation also, so it's probably
a few hours a day.
Rich Bozic (24:29):
Okay, so what you could do, what I always
encourage people is first thingin the morning.
If you know you're going to beusing your voice a lot, well
obviously try to get a goodnight's rest, of course.
Second is hydrate right away,early in the morning Because,
remember, it takes about a bitof time for your body to digest
that fluid to get to all of thenecessary parts in the body.
(24:49):
So, like right away, I usuallyhave two tall glasses of water
first thing in the morning,maybe some tea, and so remember,
regular water, not beerflavored water, regular water.
right, that goes to whiskey, yesyes, so doing that kind of
thing Then there are a fewsimple things you can start
doing.
So what I would avoid is goingin cold.
(25:12):
So if you're going to be usingyour voice sometimes people who
don't sing they're like yeah.
Marc Matthews (25:17):
I'm just talking what do I have to worry?
Rich Bozic (25:19):
about Doing things like some humming.
Say, you're taking your showerin the morning nice hot shower,
get that steam in there, becausesteam is great for the vocal
folds Humming a little bit andmoving your voice around just
like a mmmm and kind of testingwhat's going on with your voice.
Some basic humming make sureyour teeth are apart on the
(25:39):
inside, close the lips, try toget a lot of buzzing in your
face going.
You don't need an instrument togive yourself pitch, you could
just do the humming.
Then something you could startdoing is from the humming you
could segue into, like just picka vowel and do the same thing,
oh, and just move your voicearound a little bit, use it a
(25:59):
little bit and then what youwant to center in on.
When you're someone who speaks alot Like I remember when I
first started teaching I wouldfry my voice by the end of the
day After like three hours ofteaching I'd be done.
Now I teach eight to 10 hours aday and I'm and afterwards I'll
(26:20):
do recording sessions and go torehearsals and have band
practices and all kinds of stuff.
Right, yeah, yeah, and it'sjust a matter of doing these
little warm-ups and also,throughout the day, checking in.
How do I feel?
Maybe I need to drink morewater, right.
Maybe I need to do another oneof those little humming moving
around kind of exercises toreset my voice.
(26:41):
Pay attention to the way yourvoice feels when you're speaking
.
If you're starting to talk downhere and get a little raspy and
gravelly and getting thingsstarting to tighten up, reset
your voice to a more comfortablepitch where you feel like it's
ringing clearly and easily.
I'm easily understood and itfeels good.
(27:02):
And then not to go too crazywith this, but pace yourself
when you speak, like take theopportunity to breathe, right,
don't feel like you have to,like just go on an endless
stream of you know soundoftentimes Cause I deal with
clients who have damaged voicesas well, like rock singers who
(27:24):
just go too crazy with theirband or R&B singers, or even
like the gym teachers who frytheir voice, you know, yelling
at kids.
Oftentimes.
What I notice with peoplewho've damaged their voices, the
one thing that is alwayssomething they have to learn,
that seems to be a unifyingfactor, is this idea of pacing.
(27:44):
Allow yourself to breathe.
People won't walk away from you.
If you take a breath, they'llkeep listening.
Right, so just a few littlethings.
I didn't want to go on too farinto that tangent.
Maybe we can meet some othertime and talk just technique or
whatever, I don't know.
Marc Matthews (27:59):
But yeah, yeah, I , I'd be well up for that
because, um, what you said, thatmakes perfect sense and it's
something that that, inparticular, the the exercises as
well, because, especially theway to think of it is, if I go
out for a run, I warm up beforeI go for a run and I also warm
down once I've been for a run aswell and I need to do the same
(28:20):
when I'm using my voice, when Imet, when, because I'm flexing,
is it classified as a muscle?
the vocal folds?
Are they classified as a musclearound there?
Rich Bozic (28:30):
well, there are muscles around the vocal folds
that pull the vocal foldstogether to create the vibratory
cycle.
Uh, the vocal folds are likelayers of of tissue in there
that move independently, butit's not like um, it's not like
the way the vocal folds are.
It's not like I gotta.
It's not like the way the vocalfolds are.
It's not like I got tostrengthen this muscle, like I'm
going to the gym to make myvocal folds like ripped.
Marc Matthews (28:51):
Right, it's yeah, it's more like yeah it's more
like coordination.
Rich Bozic (28:57):
It's more like and I and I'm just, it's like
developing a golf swing.
I don't golf, but I've heardthe golf swing is important.
It's like a coordination thing.
It's not brute force.
Same with the vocal fold it'snot brute force, it's
coordination.
Marc Matthews (29:11):
Yeah, fantastic stuff.
Lots to take in there.
Like I said, this couldn't comeat a better time for me in
particular with my I have toit's probably have to do in the
podcast now for sort of fiveyears and I'm doing more and
more talking throughout the daywith my day-to-day, so it's
certainly something that I knowI need to be more aware of, just
(29:31):
as not being a singer, but justin general, because I suppose,
like you say, you just assume oh, it's only my voice, I can talk
and I'm doing it now and Idon't need to warm up, but I
really do so, I think, in theinterest of time.
I think it's important that wemove on to the next topic here,
and that is capturing highquality vocal recordings.
(29:55):
So can you share how youapproach microphone selection
and placement as well, to suitdifferent vocalists?
Sure, sure.
Rich Bozic (30:05):
So become independently wealthy so that
you could afford to buy all thedifferent microphones?
No, no, I joke.
I joke a little bit.
I joke a little bit.
What I use actually is the.
It's the L22, the TownsendSphere they used to call it.
It is the modeling microphonethat it's like a dual diaphragm
(30:30):
stereo microphone that I thinkuniversal audio acquired from
Townsend Labs, I think, and it'sa stereo mic, dual diaphragm.
It takes up two channels in myApollo and what it allows me to
do is when you capture you putthe there's a plugin called the
(30:53):
sphere plugin and you pop thatbaby into the console.
I don't know what interface youuse, but the UAD ones have like
a separate kind of window thatpops up.
That's the console where youset yeah, yeah.
Complicating it all even more,but you know whatever, it is
(31:13):
what it is um, and so I use thesphere plugin.
And what's nice about thismicrophone is um.
It allows you to record and thenafter the fact you can go in
and change the microphone.
So it has a bunch of differentpresets, I think, for around
like, I want to say like 40something, 30, 40 something
(31:37):
microphones in there, theclassic ones that will cost you
like $30,000 or whatever, andthen like the more common ones,
and then you can go in there andpost recording because it
records with the dual diaphragmyou can.
You can change the sound, whichI find awesome, because then
(31:59):
I'm not as worried about itahead of time.
I mean, I have a few of mygo-to's in there that I like,
depending on the kind of voiceI'm dealing with.
But sometimes it's fun toexplore if you, if you get um,
you know a voice, a quirky kindof voice that doesn't fit any of
the, you know main categoriesthat you might split up in your
mind and you could try differentthings with it.
(32:21):
So that's how I, uh, I guess,avoid having to.
You know, I mean it'd be niceto have all those microphones,
but you know um.
Marc Matthews (32:31):
Yeah, I totally get you and it's microphones.
But you know, yeah, I totallyget you, and it's like you said
right at the beginning.
I know it was quite a candidresponse, but it was the regards
that if you haven't got allthat money, I've got this Shure
SM7B that I'm using here andI've got another audio technical
microphone and so I've got twomicrophones.
I did used to have a relativelylarge collection, but it wasn't
sort of like a high-end one, soI think, any sort of modeling,
(32:52):
and you, I do the same withguitars as well.
I used to have a uh, a messer4x4 with a pb6 505 on top, but
then I got rid of that and Iwent and totally in the box just
so I could open up the range ofsounds that I could create
using my guitar.
So the microphone that's withthat setup is, in terms of
response for the actualmicrophone itself, because
(33:13):
there's going to be a responsefrom that microphone, I'm
assuming.
It's not entirely flat withthat one.
Rich Bozic (33:20):
Yeah well, I mean, there's a lot of capability of
manipulating the sound.
It's just a lot, a lot ofoptions.
I think what they've basicallydone is they've created an
algorithm for each kind ofmicrophone where they try to
emulate that flat response fromeach or the character I'm sorry,
(33:42):
the character of eachmicrophone, right, the best that
they can, and then you can useit at your discretion and you
can even go in there and messwith the patterning of the
(34:03):
cardoid patterning and all thatbusiness if you really want to
get deep with it.
In our case, in RJB MusicProduction, burak, who's our
mixing mastering engineer, hehas that same software mastering
engineer, he has that samesoftware.
So once I capture everythingand I I pick a microphone in
kind of an alignment with whatthe singer is looking for as
much as possible, and then Ipass it on to Barack for mixing
(34:26):
and mastering and he could go inand further tweak that as he
communicates with the singer, torefine it even more if need be
yeah, interesting stuff.
Marc Matthews (34:37):
So it's a lot of it's done in post in theory.
Then, once you've done therecording, in terms of that
microphone selection, becausewhen you're recording a vocalist
they were, because I don't knowif you do this, but I remember
when I was in recording sessionsand I'd often put reverb in the
in the headphone mix, justbecause everybody loves reverb
(34:58):
and makes things sound better.
And if you can, make a vocalistthink that they sound
incredible, then they're goingto perform better in theory.
Rich Bozic (35:04):
Reverb is what I like to call the mama's milk of
effects, exactly, exactly that.
Marc Matthews (35:10):
It is.
It is indeed milk of effects.
Exactly, exactly that it is.
It is indeed um.
So what key questions are youasking yourself when it comes to
that sort of headphone mix fora vocalist?
When it comes to microphoneselection, I suppose it depends
on the vocalist themselves.
But, yeah, are there any keyquestions?
You ask the vocalist like whatdo you want to hear in your
(35:30):
headphones from this microphone?
Rich Bozic (35:32):
yes, that's a great question.
Yeah, um.
So what I um, what I uh like todo is, uh, my process is uh.
For that, the initial thing Ido right away is I put I have a
like a preset, that I use a uadplugin that I put in that I the
the reverb is just amazing.
I start with that and then Isay how does that sound, how
(35:54):
does that feel?
And if they're like, yeah, likeI like that, so I don't, I
don't mess with what's notbroken, right.
But I know that some people liketo add things like compression
and other, maybe even a delay orsomething like that.
I'll only do that if, um, byrequest, um, because I want the
(36:15):
singer, uh, I want, I don't wanttoo many things affecting, like
the um kind of the conceptionof their voice.
I want them to keep, I want tokeep it simple so they feel like
it's just their voice in aspace and then they can worry
about all of the effects andwhatnot later with the mixing
and mastering uh portion ofthings.
(36:36):
Kind of, keep the eye on theprize.
Like, what are you trying toexpress in this vocal session?
We're not trying to um produceuh the vocals here on that level
, uh, so my I err on the side ofsimplicity, unless I get a
special request.
Marc Matthews (36:53):
Yeah, makes sense .
Yeah, keep it simple, keep itstraightforward.
That way there's less factorsinvolved.
And then in anything in life,when there's more things
involved, more factors, there'smore to troubleshoot, of course.
Rich Bozic (37:06):
And singers are already high maintenance.
We don't need to add more.
Right, and I speak as a singer.
Yeah, I feel like I feel like Icould do that, but the the um.
The other thing to consideralso is what do you want to hear
from the track in yourheadphones that I think is uh,
that comes up more often, atleast with the people I've
worked with.
Uh, because sometimes there'llbe like some synth part in there
(37:29):
where like uh, it's too thatneeds to come down.
Or like I need to hear more ofthe guitar because that's where
I get my notes from.
Or I need the drums becausethat'll keep me in time.
Do you want a metronome?
Do you not want a metronome?
So that kind of stuff.
So asking them, when you playthe track, can you hear it?
Okay, like how does it feel tosing with that?
(37:49):
I usually, when I start thesession, I'll be like I'll fire
up the track and then I'll belike let's just sing it once
through mistakes and all just goon, no matter what mistakes and
all just to get them to loosenup.
We sing the whole song.
Then what I do is I analyze thewaveforms and I know, okay,
this section it's a distanceissue from the mic.
(38:19):
Maybe they got to back off alittle bit, maybe they got to
move closer on this section ormaybe they're out of tune a lot
in this section.
Could there be something aboutthe instrumentation?
Then I'll start probing andbeing like you were out of tune
a lot here and then they'll belike I couldn't hear myself or I
hear that synth again.
Not trying to rip on synths.
I know you love synths.
That's synth again, you know.
Yeah, yeah, not trying to ripon synths.
Marc Matthews (38:33):
I know you love synths, but I know what you mean
, though.
Synths are quite, um, they canclash a lot with vocals, and
that's in that particularfrequency range.
So often that is that is thecase.
So, uh, yeah, most definitely,and I think, from what you've
said, there is that continuousfeedback loop and checking is
everything going okay?
Can you hear everything?
So I think that's paramount.
(38:53):
Don't just assume it's a oneand done.
You've set it, let's record.
There's going to be thatcontinuous feedback throughout.
I think, pretty much, I wouldsay, like my experience being on
both sides of the glass, Ithink that's the same with most
instruments, but, like you say,with vocalists possibly more so.
Um, rich, this has been amazing.
(39:14):
Thank you so much for sharingyour, your insights on this and,
um, what I was going to saythere as well, is I can tell
that you, um, you're sort of aprofessional with the, with the
voice and the vocals, just bythe way you talk through the
microphone for the podcast todayand it is evident and it is so
nice to listen to to as well, soI just thought I'd throw that
out there you can really tellthat you take care of your voice
(39:35):
with the way you are talkinginto the microphone, the way
you're delivering as well, andthe pauses in the articulation.
So really, really, thank youvery much for sharing your
insights on this so before wewrap up that's my pleasure, my
pleasure.
Before we wrap up, uh, I justgive you the floor now, maybe to
talk a bit about face, yourears and and what you're up to
with general with regards tomusic, and where the audience
(39:56):
can find you online as well.
Sure, sure uh.
Rich Bozic (39:59):
So, um, face your ears podcast.
Uh, justin and I have thatgoing.
Um, we are uh, uh, we do it.
We release an episode monthlyat this point, um, we, we're
trying to kick that up a bit,but we cater to the people who
just are getting into it, theDIYs who are just starting to
(40:19):
get into things, and we'reslowly ramping it up.
Mark, I listen to some of yourepisodes.
There's a lot of really deep,nitty-gritty, advanced stuff and
that's fantastic.
We are trying to kind of getpeople started and get them in
and every once in a while we goon a tangent about something a
little more technical, but we'recatering to that.
We also sometimes go into, uh,some side rants about ai and
(40:43):
whatnot, and that'd beinteresting.
I'd love to talk to you aboutai at some point.
But, uh, yeah, so, so that's.
We have some guests on here andthere, but we're slowly.
We're a small, but a smallhumble podcast hoping to grow
things.
And then I, as you mentionedearlier, rjb Music Production is
(41:03):
our business venture in theworld of recording.
Justin um is the lead producerin that case and, uh, burak is
Burak Yildirimaz is our uh,mixing, mastering engineer, and
then I handle, uh, basically I,I prep, uh, the singers, I help
people finish their songs.
(41:23):
I deal a lot in that aspect ofthings prepping the, the
structure, the songwriting, thearranging and getting the
expression going in the song.
And then we put all thattogether.
And then my own personal voicestudio is Bozic Voice Studio and
you can find it like that, combozicvoicestudiocom, and I
(41:46):
specialize in training voicesand coaching people, prepping
people for the studio forrecordings, working with
troubled voices, working withfantastic voices that just need
a tune up.
Marc Matthews (41:58):
So, yeah, that's the.
That's the gist Fantastic stuff.
I will put links to everythingyou've mentioned that in the
episode show notes.
So, audience listening, do goand check out the facial is
podcast.
Check out rich online as wellwith those links, and and check
out the Facial Ears podcast.
Check out Rich online as well,with those links, and also check
out the episode with Justin aswell.
So there's, a few episodes back,so go and check out that one as
(42:19):
well, rich.
It's been an absolute pleasure.
Thoroughly enjoyed this.
Thank you for joining me on thepodcast today and I will catch
up with you soon.
So if you're going to be using your voice,
sometimes, like people who don'tsing, they're like yeah.
Marc Matthews (00:03):
I'll just, I'm just talking.
Rich Bozic (00:05):
You know what do I have to worry about?
Doing?
Things like some humming.
Like, say, you're taking yourshower in the morning nice, hot
shower, get that steam in there,because steam is great for the
vocal folds.
Humming a little bit and movingyour voice around just like a
mmmm and kind of testing what'sgoing on with your voice.
Some basic humming.
Make sure your teeth are aparton the inside, close the lips,
(00:28):
try to get a lot of buzzing inyour face going.
You don't need an instrument togive yourself pitch.
You could just do the humming.
Then something you could startdoing is from the humming you
could segue into, just pick avowel and do the same thing, oh,
and just move your voice arounda little bit.
Use it a little bit, right?
Marc Matthews (00:49):
Hey Inside the Mix podcast fans.
It's Nate Kelms.
Follow me on Instagram at NateKelms or go to my website,
natekelmscom and contact methere.
You are listening to the Insidethe Mix podcast.
Here's your host, mark.
Rich Bozic (01:03):
Matthews.
Marc Matthews (01:04):
Welcome to Inside the Mix, your go-to podcast for
music creation and production.
Whether you're crafting yourfirst track or refining your
mixing skills, join me each weekfor expert interviews,
practical tutorials and insightsto help you level up your music
and smash it in the musicindustry.
Let's dive in.
Hey, folks, before we dive intothis episode, my new song,
(01:27):
half-life, dropped on Friday,that's Friday, the 2nd of May.
Click the link in the episodedescription.
If you like the idea of melodicdystopian house, give it a spin
and let me know what you think,as your feedback means a lot.
Let's dive into this episodeepisode.
Welcome to Inside the Mix.
I am joined today by Richard, orknown as Rich, bozic, an
(01:55):
experienced singer, voiceteacher and songwriter.
So Rich, along with his co-host, justin Herschella, hosts the
Face your Ears podcast.
They help musicians bring theircreative ideas to life through
approachable, fun andinformative discussions.
And Justin was on a previousepisode and had I done my due
diligence, I would know thenumber of that episode, so I'll
put the links in the episodedescription.
(02:16):
So, after listening to thisepisode, go back and listen to
Justin's chat with me as well,where we go into his favorite
Logic Pro shortcuts and DAWshortcuts as well.
So Rich also runs RJB MusicProduction as well.
So in this episode we're goingto delve into the nuances of
working with singers in thestudio.
(02:38):
Quite a new topic for thepodcast.
Yeah, yeah, yeah, offeringinsights to help producers and
artists optimize their vocalrecording sessions.
Rich, welcome to the show.
Rich Bozic (02:47):
How are you?
Thanks, mark.
Thanks for having me.
This is fun Straying, strayingfrom the home podcast venturing
out.
Marc Matthews (02:56):
It's an odd experience, isn't it?
When you're on the other sideof the microphone, as it were,
when you because I've done thisa few times when you're the one
being interviewed, but it'squite nice.
Rich Bozic (03:03):
Yeah, it's a change.
It's a positive change.
Marc Matthews (03:06):
Exactly that, and also I've said this before when
you have other podcasters on,you know they're going to have a
decent microphone as well.
You can have that nice claritygoing through which?
Makes it a lot easier for me toedit.
Rich Bozic (03:17):
Any opportunity to use the gear again?
Yeah, exactly yeah exactly,exactly.
Marc Matthews (03:23):
So, folks, in this episode as long as we get
through we are going to explorecreating a comfortable studio
environment, effective sessionplanning, recognizing and
managing vocal fatigue,considerations for vocal
recording and building effectivecommunication.
So the idea is, by the end ofthis episode, you'll have
(03:44):
practical knowledge to enhanceyour vocal recording sessions
and collaborate more effectivelywith singers.
So let's dive straight in.
All right, so we are in asituation here where we've got a
singer, we've got a vocalist.
Uh, how can producers create acomfortable and welcoming studio
environment for singers so rich?
Can you talk about the keyelements that contribute to a
singer's comfort in the studio?
Rich Bozic (04:04):
Absolutely so.
The obvious one, thelow-hanging fruit communication,
right.
So, connecting with the singerahead of time.
If someone calls you randomcold call, they want to come in,
they have a project they wantto record, you probably want to
hop on a meeting before that andestablish exactly what's going
(04:27):
to happen, whether it's just alead vocalist or do they also
want to incorporate some backupvocals?
Are they doing the backupvocals or is someone else doing
it?
And then obviously, however,you run your studio imparting
that information to them.
Obviously, however, you runyour studio imparting that
(04:48):
information to them.
When you talk to them, youmight want to encourage them to.
What I like to do is Iencourage the singer to maybe
send me some lyrics with somenotes on it of things they're
trying to achieve in differentsections.
Some ideas, maybe even generalkind of descriptors in different
(05:09):
sections, like I want thissection to sound kind of airy
and I want this section to comeout and be louder and full, and
also maybe some expressive notes.
Like I'm trying to have more ofa sad feel here, I want to be
angry at this part.
That kind of stuff is helpfulbecause then it could help you
(05:29):
when we get to that sectiontalking about mic placement, but
also can give you an idea ofhow to pace the session as the
engineer.
So you've done that work aheadof time.
You've established your session.
I know some people they will.
(05:50):
Most of us we work live, butsometimes we do run sessions
remotely as well.
I've done a few sessions whereI've worked remotely with the
client to help them get the jobdone.
So if that's the case, let themknow what they need to install,
what they need to click on tolog in.
Just be clear, like nice andclear.
(06:11):
Oftentimes, sending a follow-upemail or text with this is what
to expect and this is whenwe're starting.
This is where you come in whenyou get here and kind of the
protocol for how you tend tooperate in your studio.
I know that I'm all right withsingers coming in and warming up
(06:32):
a little bit in my studio.
I'll even help them out,sometimes as part of the session
because I am a voice teacherand oftentimes I am recording
clients I will be like, let's doa little warm up here, or did
you warm up ahead of time, or doyou want me to warm you up?
And sometimes I could setpeople's mind at ease if they
get a moment to kind of sing inthe studio a bit.
And oftentimes I'll even startsetting up the mic for them,
(06:55):
getting the headphones on them,and slowly start playing around
with levels while they'rewarming up to get a feel for
their voice.
So so that helpful.
So when they arrive, they'rehere, they're ready, the artist
is here.
(07:16):
Different people respond todifferent temperature
environments differently.
Singers are high maintenance.
All right, let's just get thatout of the way.
Singers are high maintenance.
So you want to be like, youwant to encourage them?
Dress in layers, so if you getcold you can put your jacket on,
if you get too hot you can takeoff some of the layers.
(07:37):
Because all of this physicalcomfort is a big deal with
singers, because we carry ourinstrument with us wherever we
go.
Right, so, dressing in layers.
Also, having a place for them toset their stuff down and maybe
to sit down and relax, becausesometimes we got to gather our
(07:57):
thoughts, like we're about tosing and we got to gather our
thoughts.
We need a moment to just chillfor a second.
So having a comfortable chairnearby or a seating area, having
access to a restroom if theyneed to step aside and kind of
pray in a room by themselvesbefore the recording, things
like that Access to some wateror if they don't bring their own
(08:19):
, that could be always a nicething.
And then sometimes even Wi-Fi.
And the reason for that issometimes I'll have singers
who'd be like, oh, I forgot mynotes, but I have it in my
Google Drive, you know, and youwant to be able to get to that
very quickly.
So just sometimes having evenposted like a guest login for
people to do that, other things,once you get them in front of
(08:42):
the mic, they're warmed up,they're ready to go.
They might need a music standor something to set any notes on
, maybe a little table nearby toset their water, whatever, so
they don't set it right nearyour mixing console or next to
your expensive gear, becausesometimes people forget about
that.
Yeah, that's a whole otherstory.
(09:04):
I don't know if you've ever hada catastrophe a water
catastrophe in the studio.
Marc Matthews (09:08):
I have.
As soon as you mentioned that,I was in a studio and it was an
audience console and I put abeer.
So on the right-hand side wehad the Pro Tools rig and
everything, and then you had theconsole and the beer was just
in front of it and I turned totalk to one of the others in the
control room while the singerwas there and I knocked the beer
all over the console.
Rich Bozic (09:27):
Oh.
Marc Matthews (09:27):
God, and it just died.
What it died?
It died and my head was in myhands and it's one of those
moments I've not had many ofthem, but I just usually I've
got a plan of action and at thatpoint I was like l to go to the
toilet a minute and I just Ijust went to the bathroom and I
sat on the toilet and I justjust sat there.
I looked at the back of thedoor and I thought I don't
(09:48):
really know what I'm gonna dohere, because it wasn't my
studio.
Uh, I was, uh, it was a hot.
I was hot desking in air quotes, as it were.
And uh, in the end I went backand I was like, look, let's go
to nando's.
And uh, so this is uh, I don'tknow if you get a Nando's in the
United States, but basicallyit's like you can buy a chicken.
I think it's.
He's the Portuguese of SouthAfrica and I can't remember what
it is.
So we went there and I was likewe'll come back tomorrow and
(10:10):
we'll see if it's working.
We came back.
Rich Bozic (10:12):
Oh God.
Marc Matthews (10:12):
With a hairdryer.
I lifted up the console, tookit apart a bit, got the
hairdryer in back to life.
Gradually came back to life and, uh, the only thing is one of
the group group channels.
Uh, didn't come back to life.
Rich Bozic (10:30):
But yeah, that as soon as you mentioned it there.
Marc Matthews (10:31):
I just had flashbacks, man.
I was just like, and ever sincethen I've made sure all liquids
are on the floor.
Uh, so if it gets kicked overon the floor, easy, you can just
let it dry, whatever.
Yeah, but yeah, 100% man withyou.
Rich Bozic (10:45):
Oh yeah, oh, yeah man yeah, yeah, that's, that's a
good one.
Uh, I've seen, uh, pianos getuh soaked, uh like, oh, you know
guitars, everything, so yeah,so you know a consideration, um,
another thing, uh, to consider,um is the atmosphere in the
room.
Uh, what I do, I mean, as youcan see, I got a little bit of
(11:06):
the.
I got the hue lights going onin here and I could change the
colors, and so, like, I'll askthe singer, what do you like,
what do you want?
And I'll maybe set theatmosphere.
I mean that's like bonus, that'sbonus Bozic Voice Studio kind
of perk, right, so don't feelpressured, but sometimes
creating an atmosphere could benice, put them in the mood.
(11:27):
Obviously setting thethermostat at a comfortable
temperature.
Also, if you do run a homestudio and I always have my
protocol that I follow before Irecord, as I did for this
session I have the utilitycloset down here, so I turn off
the main heat and the boiler forthe hot water heater right,
yeah, yeah yeah, so I crank theheat earlier in the day, before
(11:50):
the session, and then, like whenit's winter, to get it nice and
toasty, and then I shut it alloff when the session starts.
It's just that there's no likesudden boom kicking on of like
heater.
Um, so something to consider,right, temperature, uh and uh.
It's funny, justin and I wewere, we were kind of uh, just
(12:11):
tossing around ideas as we werethinking about, um, you know,
doing these episodes with you,and uh, one thing was, uh, the
humidity.
Like he was like what abouthumidity?
And I'm like, well, I mean,it's hard to control the
humidity in a room, but I knowlike, uh, one thing, as when I
would go to new york auditionsand whatnot, like without fail,
and this is like a singer thing,like a singer walks out and it
(12:32):
didn't go well, andautomatically like, oh, that
room was just so dry thehumidity was off and it's like
you don't want to give them anexcuse.
Yeah, but yeah, so, and we yeah,and so those are basic, some
basic things that might behelpful.
Marc Matthews (12:48):
So, yeah, there's a lot to unpack there.
So it's all in essence, really,you make it as a comfortable
environment as possible, themost conducive environment, and
removing any barriers or anyfriction to recording as as much
as you can there, and it's all.
What you mentioned as well isthe reaching out and having the
conversation beforehand andestablishing that rapport and
(13:08):
that understanding and outliningthe expectations as well as to
what the session is going toentail.
But what you mentioned therewhich is quite interesting,
which was in person and remote.
So I do some remote work aswell myself, notably with
regards to coaching, with mixingand music production, and I use
a platform called audio moversso we can stream and record even
(13:31):
in real time.
So when you've got that singerin person with you, obviously
there's a lot you can controlthere in terms of the
environment, the atmosphere, thehumidity, for example, as you
mentioned when it's remote.
Obviously we do encounter, asyou mentioned there about with
singers, uh, being quite can bequite high maintenance oh yeah
(13:52):
highly strong, maybe um sweepingstatement when it's remote.
What considerations do you needto take into account there?
Because obviously there's athere's there's less that you
can control with regards totheir environment.
How do you tackle that if it'sslightly starting to go a touch
downhill?
Let's say Sure.
Rich Bozic (14:11):
So I've run into a few different things that I
could, I guess, highlight thatwere issues that I stumbled upon
doing remote.
Obviously, like you have allthe logistical things of do they
have the?
Do they know how to use thebasics of firing up their DAW?
Can they connect to theplatform you're using?
I use Muse for those sessionsbecause then I could take
(14:34):
control of their screen andactually run the DAW while
they're recording, and sometimesthere's a little bit of latency
, but it all depends on theconnections and really, whether
the the gods are with you thatday, right?
So so the some of the thingsthat I've run into is I've had
students who have those likebooths, like those cloth or
(14:56):
whatever, like felt home booththings that they build.
Those things are cool and theyactually isolate the sound, but
they can get really hot as well.
And I've had like singers feellike, oh, like I'm going to pass
out, I need to take a break,you know.
So you got to.
What I would recommend is openthe flap to that thing as often
(15:17):
as possible If they're dealingwith one of those kind of booths
or they're recording in acloset or whatever.
Just like ventilate wheneveryou get a chance just to kind of
keep things comfortable.
I also like to send the singerahead of time.
You know some things toconsider, like as I would, when
they're coming to my home studiofor their environment.
Like some of the sameconsiderations temperature, make
(15:39):
sure you have everything nearbyeasy to access, stress, low
stress.
Also, make sure the timing ofthe session works for anything.
If you know lawn crews arecoming like every Thursday
around a certain time, might notbe a good day to schedule right
(16:04):
.
So Home Studio brings, let'ssee here Like yeah, familiarity
with the equipment is key aswell.
A lot of times I mean thankgoodness for Muse, because you
can kind of take over to acertain extent.
But sometimes even scheduling asession ahead of time just like
meet up, let's meet up, andjust like turn on your rig and
(16:26):
like really that's the biggestobstacle that can get in the way
is when technically, thingsstart going crazy.
Marc Matthews (16:34):
Yeah, yeah.
So, again, I think it just comesdown to preparation, doesn't it
?
I think, once again, even witha remote session, is the
preparation and, again, havingthat conversation beforehand and
knowing what equipment theyhave.
On the other end and I learnedthis, probably the hard way is
to not assume that everybodyknows.
So if I were to start talkingto them about, okay, what
(16:56):
resolution are you recording at,and not automatically assume
that they know what I'm talkingabout and with terminology and
everything like that.
So, yeah, I learned that thehard way, most definitely um.
Back to my teaching days aswell.
So, yeah, all that, all thatsort of research and that's and
that development of that rapportand just, yeah, research in
general really, and just gettingall that ahead of time, yeah,
(17:18):
it can significantly help.
But one thing you mentionedthere and this kind of segues on
nicely to the, to the nexttopic here is um.
It also goes back to thehumidity part as well.
When they're saying they'regetting hot in the, in the, in
the um, the vocal booth andwhatnot, so recognizing and
addressing signs of vocalfatigue.
So how do you approach takingbreaks and managing the singer's
(17:42):
workload to prevent fatigue?
Rich Bozic (17:46):
So I've been teaching for about 25 years and,
as I mentioned earlier, a lotof the people I work with in the
studio are people whose voicesI'm familiar with and who I know
really well because I've beenteaching them for a while.
I will sometimes record peoplewho I'm not as familiar with,
but things I guess that I couldimpart to people maybe who
(18:08):
aren't voice specialists.
So keep an eye on body language, first and foremost.
If you see the singer grabbingtheir throat a lot or, like
stretching their neck out a lot,showing signs of, like, some
kind of strain, you could alwaystake a moment Like this is
where pacing comes in to theequation Like, perhaps maybe we
(18:32):
can look at this section andcomp a little bit while you get
a chance to rest.
If you're feeling and be direct, ask them how are you feeling?
Are you feeling a littlestrained?
Do you need a moment to justloosen up for a second?
So body language.
Second thing is, if you start tohear excessive throat clearing
because the way you know it'stime to they'll often start
(19:11):
clearing the throat because thebody will start producing more
mucus to protect the vocal fold.
So you'll hear, you'll start tohear throat clearing and what
you do is you don't want to.
You want to gently be, like youknow, take it easy with the
throat clearing.
Why don't you grab something todrink and just, you know, have
a seat for a moment.
Let me just do a little bit.
You can do a little somethingin the recording, start comping
(19:32):
and whatnot, or playing back,doing a little bit of listening
or strategizing at that momentto make use of the time.
But ultimately the thing withthat is you've got to make sure
the singer is well rested andhydrated ahead of time, because
drinking water in the moment canhelp a little bit with the some
of the mucosal layer in thethroat, but on the vocal folds
(19:54):
themselves the water nevertouches it because the vocal
folds are in the larynx.
The epiglottis closes over thatarea when we swallow and the
water goes down the esophagus.
It never touches the vocalfolds.
If it does we would startchoking.
So you got to make sure thatthe singer is hydrated ahead of
time.
But if you run into it in themoment, oftentimes just a little
(20:16):
bit of like, just stop for asecond rest, see if you could
calm things down and sometimesthings will settle enough to
move on.
So but throat clearing is likea sign you could see things down
and sometimes things willsettle enough to move on.
But throat clearing is like asign you could see right away.
Sometimes it could be somethingin their throat.
They just need to go into thebathroom and gargle some hot
water for a second and thatcould clear it up.
(20:36):
Then you have the audible signs.
So things like a little bit ofhoarseness creeping in.
Let's say you did a few takeswith the singer.
Everything sounded clear.
You're kind of getting familiarwith their sound.
But now you're starting to heara little bit of extra
hoarseness creeping in, a littleroughness in the sound.
Oftentimes it'll appear at thebeginning of a phrase.
(20:58):
Sometimes there'll be might evenbe a slight vocal when the
vocal folds are getting inflamed.
There might even be a delay inonset.
When the voice is getting tiredthe vocal folds won't connect
right away, or at the ends ofphrases things will get cut off
a little bit.
You might hear voice cracking,so like especially at the
extremes of the range whensomeone's singing extra low,
(21:20):
either the voice will startbottoming out or you'll hear a
flip or a crack going into it.
Either their voice will startbottoming out or you'll hear a
flip or a crack going into it,or even in the high range when
they're going for the high notes.
Every time they're going forthat high note it's starting to
crack and flip.
So that could signify there's alittle bit of fatigue setting in
, maybe a little inflammation inthe vocal fold.
(21:41):
Oftentimes a break, just alittle bit of a break, let
things settle down, couldresolve those issues.
They might need a little extratime, like go have a seat, let
me do a few things, come backand then things like shift in
tone, a little bit of troublematching pitch, where maybe
earlier in a session it seemedokay, but now all of a sudden
we're getting a lot of pitchproblems.
That could be a little bit ofvocal fatigue, but also mental
(22:05):
fatigue as well.
Marc Matthews (22:07):
Right, yeah, some really interesting stuff you
said in there.
Because this is thisconversation couldn't come at a
more perfect time for me, really, because I've been experiencing
some.
I'm not a singer, but obviouslyI do a lot of talking for the
podcast and in my in myday-to-day as well, with a
content creation and whatnot,and I've noticed this.
(22:28):
So you mentioned thatinflammation of the of the vocal
chord, but the vocal chordsright yeah, the way you describe
vocal folds now vocal cords isthe old school term.
Rich Bozic (22:37):
Oh is it.
Yeah, there we go.
Marc Matthews (22:39):
I've just heard something new there there's me
parading around saying vocalchords, yeah, and it's vocal
folds, but I've noticed thatthis is going to sound random,
but I've got a.
I've got a cat and I don't knowif you're a cat owner or you
know any cat owners andoccasionally I like to meow at
my cat randomly, but I can't.
I can't do it at the momentbecause when I do it I feel a
(23:00):
bit of a bit of pain in my in myvoice, and I've been to the gp
and whatnot.
So it's all under investigation, but I have noticed this.
And, again going back to whatyou said, what I said previously
, I'm not a singer but because Iuse my voice a lot and I'm
doing a lot of delivery inparticular, I have noticed that
strain and it's something that Ineed to be aware of and I need
(23:21):
to work on and rest my voice,which I find really hard to do
because I talk a lot throughoutthe day.
But, yeah, the way you'vedescribed everything is really
interesting and it's making methink more now about my own
approach myself when it comes todelivering the podcast.
You know Sure.
Rich Bozic (23:40):
If I may offer this one's on the house, a little
routine.
A little routine that you coulddo like as someone who's not,
you know, like you're not tryingto, you know, be a full-on
singer but you use your voice alot for anyone out there, like,
even, sometimes, people in theirjob.
(24:00):
Like I teach a lot of peoplewho are, like, maybe, school
teachers or gym teachers andthey they're speaking a lot or
raising their voice a lot.
So there are little things youcan do to prep for the day.
So if you know you're going tohave I don't know how many
podcasts you do in a day, is itusually like one or do you do
more sometimes?
Marc Matthews (24:18):
well that you've got the podcast the podcast
themselves but I also create alot of content as well, so I'm
talking over that contentcreation also, so it's probably
a few hours a day.
Rich Bozic (24:29):
Okay, so what you could do, what I always
encourage people is first thingin the morning.
If you know you're going to beusing your voice a lot, well
obviously try to get a goodnight's rest, of course.
Second is hydrate right away,early in the morning Because,
remember, it takes about a bitof time for your body to digest
that fluid to get to all of thenecessary parts in the body.
(24:49):
So, like right away, I usuallyhave two tall glasses of water
first thing in the morning,maybe some tea, and so remember,
regular water, not beerflavored water, regular water.
right, that goes to whiskey, yesyes, so doing that kind of
thing Then there are a fewsimple things you can start
doing.
So what I would avoid is goingin cold.
(25:12):
So if you're going to be usingyour voice sometimes people who
don't sing they're like yeah.
Marc Matthews (25:17):
I'm just talking what do I have to worry?
Rich Bozic (25:19):
about Doing things like some humming.
Say, you're taking your showerin the morning nice hot shower,
get that steam in there, becausesteam is great for the vocal
folds Humming a little bit andmoving your voice around just
like a mmmm and kind of testingwhat's going on with your voice.
Some basic humming make sureyour teeth are apart on the
(25:39):
inside, close the lips, try toget a lot of buzzing in your
face going.
You don't need an instrument togive yourself pitch, you could
just do the humming.
Then something you could startdoing is from the humming you
could segue into, like just picka vowel and do the same thing,
oh, and just move your voicearound a little bit, use it a
(25:59):
little bit and then what youwant to center in on.
When you're someone who speaks alot Like I remember when I
first started teaching I wouldfry my voice by the end of the
day After like three hours ofteaching I'd be done.
Now I teach eight to 10 hours aday and I'm and afterwards I'll
(26:20):
do recording sessions and go torehearsals and have band
practices and all kinds of stuff.
Right, yeah, yeah, and it'sjust a matter of doing these
little warm-ups and also,throughout the day, checking in.
How do I feel?
Maybe I need to drink morewater, right.
Maybe I need to do another oneof those little humming moving
around kind of exercises toreset my voice.
(26:41):
Pay attention to the way yourvoice feels when you're speaking
.
If you're starting to talk downhere and get a little raspy and
gravelly and getting thingsstarting to tighten up, reset
your voice to a more comfortablepitch where you feel like it's
ringing clearly and easily.
I'm easily understood and itfeels good.
(27:02):
And then not to go too crazywith this, but pace yourself
when you speak, like take theopportunity to breathe, right,
don't feel like you have to,like just go on an endless
stream of you know soundoftentimes Cause I deal with
clients who have damaged voicesas well, like rock singers who
(27:24):
just go too crazy with theirband or R&B singers, or even
like the gym teachers who frytheir voice, you know, yelling
at kids.
Oftentimes.
What I notice with peoplewho've damaged their voices, the
one thing that is alwayssomething they have to learn,
that seems to be a unifyingfactor, is this idea of pacing.
(27:44):
Allow yourself to breathe.
People won't walk away from you.
If you take a breath, they'llkeep listening.
Right, so just a few littlethings.
I didn't want to go on too farinto that tangent.
Maybe we can meet some othertime and talk just technique or
whatever, I don't know.
Marc Matthews (27:59):
But yeah, yeah, I , I'd be well up for that
because, um, what you said, thatmakes perfect sense and it's
something that that, inparticular, the the exercises as
well, because, especially theway to think of it is, if I go
out for a run, I warm up beforeI go for a run and I also warm
down once I've been for a run aswell and I need to do the same
(28:20):
when I'm using my voice, when Imet, when, because I'm flexing,
is it classified as a muscle?
the vocal folds?
Are they classified as a musclearound there?
Rich Bozic (28:30):
well, there are muscles around the vocal folds
that pull the vocal foldstogether to create the vibratory
cycle.
Uh, the vocal folds are likelayers of of tissue in there
that move independently, butit's not like um, it's not like
the way the vocal folds are.
It's not like I gotta.
It's not like the way the vocalfolds are.
It's not like I got tostrengthen this muscle, like I'm
going to the gym to make myvocal folds like ripped.
Marc Matthews (28:51):
Right, it's yeah, it's more like yeah it's more
like coordination.
Rich Bozic (28:57):
It's more like and I and I'm just, it's like
developing a golf swing.
I don't golf, but I've heardthe golf swing is important.
It's like a coordination thing.
It's not brute force.
Same with the vocal fold it'snot brute force, it's
coordination.
Marc Matthews (29:11):
Yeah, fantastic stuff.
Lots to take in there.
Like I said, this couldn't comeat a better time for me in
particular with my I have toit's probably have to do in the
podcast now for sort of fiveyears and I'm doing more and
more talking throughout the daywith my day-to-day, so it's
certainly something that I knowI need to be more aware of, just
(29:31):
as not being a singer, but justin general, because I suppose,
like you say, you just assume oh, it's only my voice, I can talk
and I'm doing it now and Idon't need to warm up, but I
really do so, I think, in theinterest of time.
I think it's important that wemove on to the next topic here,
and that is capturing highquality vocal recordings.
(29:55):
So can you share how youapproach microphone selection
and placement as well, to suitdifferent vocalists?
Sure, sure.
Rich Bozic (30:05):
So become independently wealthy so that
you could afford to buy all thedifferent microphones?
No, no, I joke.
I joke a little bit.
I joke a little bit.
What I use actually is the.
It's the L22, the TownsendSphere they used to call it.
It is the modeling microphonethat it's like a dual diaphragm
(30:30):
stereo microphone that I thinkuniversal audio acquired from
Townsend Labs, I think, and it'sa stereo mic, dual diaphragm.
It takes up two channels in myApollo and what it allows me to
do is when you capture you putthe there's a plugin called the
(30:53):
sphere plugin and you pop thatbaby into the console.
I don't know what interface youuse, but the UAD ones have like
a separate kind of window thatpops up.
That's the console where youset yeah, yeah.
Complicating it all even more,but you know whatever, it is
(31:13):
what it is um, and so I use thesphere plugin.
And what's nice about thismicrophone is um.
It allows you to record and thenafter the fact you can go in
and change the microphone.
So it has a bunch of differentpresets, I think, for around
like, I want to say like 40something, 30, 40 something
(31:37):
microphones in there, theclassic ones that will cost you
like $30,000 or whatever, andthen like the more common ones,
and then you can go in there andpost recording because it
records with the dual diaphragmyou can.
You can change the sound, whichI find awesome, because then
(31:59):
I'm not as worried about itahead of time.
I mean, I have a few of mygo-to's in there that I like,
depending on the kind of voiceI'm dealing with.
But sometimes it's fun toexplore if you, if you get um,
you know a voice, a quirky kindof voice that doesn't fit any of
the, you know main categoriesthat you might split up in your
mind and you could try differentthings with it.
(32:21):
So that's how I, uh, I guess,avoid having to.
You know, I mean it'd be niceto have all those microphones,
but you know um.
Marc Matthews (32:31):
Yeah, I totally get you and it's microphones.
But you know, yeah, I totallyget you, and it's like you said
right at the beginning.
I know it was quite a candidresponse, but it was the regards
that if you haven't got allthat money, I've got this Shure
SM7B that I'm using here andI've got another audio technical
microphone and so I've got twomicrophones.
I did used to have a relativelylarge collection, but it wasn't
sort of like a high-end one, soI think, any sort of modeling,
(32:52):
and you, I do the same withguitars as well.
I used to have a uh, a messer4x4 with a pb6 505 on top, but
then I got rid of that and Iwent and totally in the box just
so I could open up the range ofsounds that I could create
using my guitar.
So the microphone that's withthat setup is, in terms of
response for the actualmicrophone itself, because
(33:13):
there's going to be a responsefrom that microphone, I'm
assuming.
It's not entirely flat withthat one.
Rich Bozic (33:20):
Yeah well, I mean, there's a lot of capability of
manipulating the sound.
It's just a lot, a lot ofoptions.
I think what they've basicallydone is they've created an
algorithm for each kind ofmicrophone where they try to
emulate that flat response fromeach or the character I'm sorry,
(33:42):
the character of eachmicrophone, right, the best that
they can, and then you can useit at your discretion and you
can even go in there and messwith the patterning of the
(34:03):
cardoid patterning and all thatbusiness if you really want to
get deep with it.
In our case, in RJB MusicProduction, burak, who's our
mixing mastering engineer, hehas that same software mastering
engineer, he has that samesoftware.
So once I capture everythingand I I pick a microphone in
kind of an alignment with whatthe singer is looking for as
much as possible, and then Ipass it on to Barack for mixing
(34:26):
and mastering and he could go inand further tweak that as he
communicates with the singer, torefine it even more if need be
yeah, interesting stuff.
Marc Matthews (34:37):
So it's a lot of it's done in post in theory.
Then, once you've done therecording, in terms of that
microphone selection, becausewhen you're recording a vocalist
they were, because I don't knowif you do this, but I remember
when I was in recording sessionsand I'd often put reverb in the
in the headphone mix, justbecause everybody loves reverb
(34:58):
and makes things sound better.
And if you can, make a vocalistthink that they sound
incredible, then they're goingto perform better in theory.
Rich Bozic (35:04):
Reverb is what I like to call the mama's milk of
effects, exactly, exactly that.
Marc Matthews (35:10):
It is.
It is indeed milk of effects.
Exactly, exactly that it is.
It is indeed um.
So what key questions are youasking yourself when it comes to
that sort of headphone mix fora vocalist?
When it comes to microphoneselection, I suppose it depends
on the vocalist themselves.
But, yeah, are there any keyquestions?
You ask the vocalist like whatdo you want to hear in your
(35:30):
headphones from this microphone?
Rich Bozic (35:32):
yes, that's a great question.
Yeah, um.
So what I um, what I uh like todo is, uh, my process is uh.
For that, the initial thing Ido right away is I put I have a
like a preset, that I use a uadplugin that I put in that I the
the reverb is just amazing.
I start with that and then Isay how does that sound, how
(35:54):
does that feel?
And if they're like, yeah, likeI like that, so I don't, I
don't mess with what's notbroken, right.
But I know that some people liketo add things like compression
and other, maybe even a delay orsomething like that.
I'll only do that if, um, byrequest, um, because I want the
(36:15):
singer, uh, I want, I don't wanttoo many things affecting, like
the um kind of the conceptionof their voice.
I want them to keep, I want tokeep it simple so they feel like
it's just their voice in aspace and then they can worry
about all of the effects andwhatnot later with the mixing
and mastering uh portion ofthings.
(36:36):
Kind of, keep the eye on theprize.
Like, what are you trying toexpress in this vocal session?
We're not trying to um produceuh the vocals here on that level
, uh, so my I err on the side ofsimplicity, unless I get a
special request.
Marc Matthews (36:53):
Yeah, makes sense .
Yeah, keep it simple, keep itstraightforward.
That way there's less factorsinvolved.
And then in anything in life,when there's more things
involved, more factors, there'smore to troubleshoot, of course.
Rich Bozic (37:06):
And singers are already high maintenance.
We don't need to add more.
Right, and I speak as a singer.
Yeah, I feel like I feel like Icould do that, but the the um.
The other thing to consideralso is what do you want to hear
from the track in yourheadphones that I think is uh,
that comes up more often, atleast with the people I've
worked with.
Uh, because sometimes there'llbe like some synth part in there
(37:29):
where like uh, it's too thatneeds to come down.
Or like I need to hear more ofthe guitar because that's where
I get my notes from.
Or I need the drums becausethat'll keep me in time.
Do you want a metronome?
Do you not want a metronome?
So that kind of stuff.
So asking them, when you playthe track, can you hear it?
Okay, like how does it feel tosing with that?
(37:49):
I usually, when I start thesession, I'll be like I'll fire
up the track and then I'll belike let's just sing it once
through mistakes and all just goon, no matter what mistakes and
all just to get them to loosenup.
We sing the whole song.
Then what I do is I analyze thewaveforms and I know, okay,
this section it's a distanceissue from the mic.
(38:19):
Maybe they got to back off alittle bit, maybe they got to
move closer on this section ormaybe they're out of tune a lot
in this section.
Could there be something aboutthe instrumentation?
Then I'll start probing andbeing like you were out of tune
a lot here and then they'll belike I couldn't hear myself or I
hear that synth again.
Not trying to rip on synths.
I know you love synths.
That's synth again, you know.
Yeah, yeah, not trying to ripon synths.
Marc Matthews (38:33):
I know you love synths, but I know what you mean
, though.
Synths are quite, um, they canclash a lot with vocals, and
that's in that particularfrequency range.
So often that is that is thecase.
So, uh, yeah, most definitely,and I think, from what you've
said, there is that continuousfeedback loop and checking is
everything going okay?
Can you hear everything?
So I think that's paramount.
(38:53):
Don't just assume it's a oneand done.
You've set it, let's record.
There's going to be thatcontinuous feedback throughout.
I think, pretty much, I wouldsay, like my experience being on
both sides of the glass, Ithink that's the same with most
instruments, but, like you say,with vocalists possibly more so.
Um, rich, this has been amazing.
(39:14):
Thank you so much for sharingyour, your insights on this and,
um, what I was going to saythere as well, is I can tell
that you, um, you're sort of aprofessional with the, with the
voice and the vocals, just bythe way you talk through the
microphone for the podcast todayand it is evident and it is so
nice to listen to to as well, soI just thought I'd throw that
out there you can really tellthat you take care of your voice
(39:35):
with the way you are talkinginto the microphone, the way
you're delivering as well, andthe pauses in the articulation.
So really, really, thank youvery much for sharing your
insights on this so before wewrap up that's my pleasure, my
pleasure.
Before we wrap up, uh, I justgive you the floor now, maybe to
talk a bit about face, yourears and and what you're up to
with general with regards tomusic, and where the audience
(39:56):
can find you online as well.
Sure, sure uh.
Rich Bozic (39:59):
So, um, face your ears podcast.
Uh, justin and I have thatgoing.
Um, we are uh, uh, we do it.
We release an episode monthlyat this point, um, we, we're
trying to kick that up a bit,but we cater to the people who
just are getting into it, theDIYs who are just starting to
(40:19):
get into things, and we'reslowly ramping it up.
Mark, I listen to some of yourepisodes.
There's a lot of really deep,nitty-gritty, advanced stuff and
that's fantastic.
We are trying to kind of getpeople started and get them in
and every once in a while we goon a tangent about something a
little more technical, but we'recatering to that.
We also sometimes go into, uh,some side rants about ai and
(40:43):
whatnot, and that'd beinteresting.
I'd love to talk to you aboutai at some point.
But, uh, yeah, so, so that's.
We have some guests on here andthere, but we're slowly.
We're a small, but a smallhumble podcast hoping to grow
things.
And then I, as you mentionedearlier, rjb Music Production is
(41:03):
our business venture in theworld of recording.
Justin um is the lead producerin that case and, uh, burak is
Burak Yildirimaz is our uh,mixing, mastering engineer, and
then I handle, uh, basically I,I prep, uh, the singers, I help
people finish their songs.
(41:23):
I deal a lot in that aspect ofthings prepping the, the
structure, the songwriting, thearranging and getting the
expression going in the song.
And then we put all thattogether.
And then my own personal voicestudio is Bozic Voice Studio and
you can find it like that, combozicvoicestudiocom, and I
(41:46):
specialize in training voicesand coaching people, prepping
people for the studio forrecordings, working with
troubled voices, working withfantastic voices that just need
a tune up.
Marc Matthews (41:58):
So, yeah, that's the.
That's the gist Fantastic stuff.
I will put links to everythingyou've mentioned that in the
episode show notes.
So, audience listening, do goand check out the facial is
podcast.
Check out rich online as wellwith those links, and and check
out the Facial Ears podcast.
Check out Rich online as well,with those links, and also check
out the episode with Justin aswell.
So there's, a few episodes back,so go and check out that one as
(42:19):
well, rich.
It's been an absolute pleasure.
Thoroughly enjoyed this.
Thank you for joining me on thepodcast today and I will catch
up with you soon.
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