I think the actual answer to this question might be Sinatra. Whitney and Mariah aren't even from the same school of vocalists! Whitney goes for big belting long notes while Mariah goes for melisma-laden fannydangle over four octaves.
Yeah, I thought it was "does Thom Yorke have the most irritated voice ever! I do find Thom Yorke's voice quite irritating a lot of the time. I hated his vocals on that Drugstore song Kill the President or whatever it was called. Not that I liked the song much anyway. Drugstore's 1st album was great, dunno what happened to them after that. Surely a case could be made for Curtis Mayfield having the most imitated voice - countless reggae singers and Pharrell Williams all come to mind.
Sam Cooke, people. The short answer is "no. LOTS of others are ahead of him in that race. And I agree that some of the folks you name as Yorke-influenced actually owe more to Jeff Buckley. There have been a few thousand 2Pac clones. Um, Lou Reed? Neil Young? Well, I'm here I was about to say Johnny Rotten too What's the first occurrance of the throaty bluesman voice? No contest. ACtually, I'm wondering about the original poster's question. Screamin' Jay Hawkins.
The original poster doesn't listen to much music, apparently. I'm surprised no one's mentioned Mick Jagger--it seems like every garage rocker since has stolen his Brit-drawl. So, anyone capable of singing falsetto is now a Thom Yorke clone? He should've patented it. I think every doo-wop group ever would have reformed just to kick his ass. Also: eddie veder is the only one i can think of that has a whole genre devoted to him.
My vote's for Eddie Vedder. Sure, other singers have been copied, and lots of people you could call vaguely Beatles-esque, but no one has been imitated as closely and as much as Vedder. It's a lot easier to imitated an extremely unversatile singer. More's the pity. The name you are all fumbling for is Louis Armstrong. The name you are all fumbling for is James Hetfield. Again, modelled valve units might help to get a bit more fizz at the high end in some cases.
Although you should be able to get pretty close to the 'Exit Music' tonality just with mic choice and technique, I suspect that you'll still need high-frequency boost above 16kHz to get all the way there.
It's also worth noting that lots of low-frequency content on a lead vocal can be difficult to blend into many mixes, so either leave enough space for it in your arrangement, as Radiohead have done, or be ready to filter out some low end, otherwise you'll risk a woolly overall production sound.
After that, you'll certainly need a fairly hefty dose of compression, which will help to bring up the lip noises, and maybe a little de-essing as well, given the brightness of the sound. If by this point you've not got enough of that high-frequency distortion, you could always add it with a psychoacoustic enhancer or some kind of saturation plug-in.
Thinking about effects, you can hear a fair bit of reverb applied to the lead vocal, but this doesn't really have the consequences you'd normally expect; namely distancing the sound from the listener.
The very dull-sounding reverb provides a real contrast with the prominent high-frequency content in the source vocal part, thereby emphasising the apparent closeness of the vocal. This is a clever mixing tactic which attempts to work around the adaptive capabilities of the ear. When you listen to a very bright mix for a while, it begins to sound less bright as the ear compensates for the excessive brightness by decreasing its high-frequency sensitivity.
This is one reason to reference your mix against commercial recordings when mixing. By putting a very dull reverb on the lead vocal, Godrich has encouraged the listener's ear to interpret what it's hearing as a bright vocal in an otherwise tonally balanced track, rather than just an over-bright track, for which it would try to compensate.
The result is that the vocal remains subjectively bright and therefore up-front even as the ear acclimatises to the overall sonics of the track. Nigel Godrich 6 always laughs at me. A lot of that I would put down to my partner, Dajana. Pause for a minute and see what happens. Yeah, I know. And unless you were prone to delusions of grandeur, that attention must be so disorienting. But I try not to have that negative reflex. I used to pretend they were separate, but that started to do my head in.
Did you have ways of tricking yourself into believing your private and public selves were separate? I got a little extreme about it. And I had impostor syndrome. For a long time my life was about being extremely self-critical and overthinking everything as a way of trying not to fall off the perch. Then you come to terms with everything in a good way with a fake smile, which was necessary to do. Or go mad. Even the way you dress and look is looser. How did that uptight, catatonic guy change?
I can choose to do something completely different and be stupid or jump around. I had to let go of the steering wheel. It was either that or stop, because my relationship to work was becoming unhealthy. You have to claim it for yourself and understand why you love it. So why do you? I just fell back in love with it. It was gradual. I mean, the last time we went out with Radiohead, we did three shows at Madison Square Garden, different sets every night, and that was my favorite touring experience in years.
This is maybe a heavy thing to bring up: There was a tragedy that happened in your life relatively recently. Certainly was. In my life, too, I have just had something awful happen, and I feel as if, among a million sad things, what happened diminished my relationship with music. And when I was thinking about your situation, I was wondering if what happened had an effect on your feelings about the limits of what music can do for us when something terrible happens.
I realize this is a selfish line of questioning. No, no. It was difficult to work after what happened. God bless Nigel and the others for gently pushing me to keep working. You end up being surprised by music.
It catches you unawares.
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