Robert Marleigh: Vocalist Services Instruction

Manual for Remote Clients

Chapter 1: Introduction
Hi, I'm Robert Marleigh (www.linktr.ee/robertmarleigh) a
vocalist performing vintage and classic songs in the style
of Frank Sinatra, Dean Martin, Bobby Darin, Tony
Bennet, Ella Fitzgerald, Louie Armstrong and others.

Welcome to my Vocalist Services Instruction Manual!

This guide outlines the necessary steps and
requirements for preparing materials for vocal
production services. Following these instructions meticulously will ensure a smooth
workflow and timely delivery.

Chapter 2: Materials Preparation

2.1 Sending Materials

Audio materials

For remote vocal tracking, several audio files are required from producer in order to
undertake a recording session from my side (see list below).

Please send your audio materials in high-resolution MP3 format for initial submissions,
preferably at 320 kbps. A .wav file will work as well, but MP3 generally suffices for
reference tracking purposes, so we might as well use these due to their smaller file size.

To be clear, I will be recording my final vocals in .wav format, typically 48/24 resolution
for delivery (flexible per needs of producer). But I will be recording along with the
playback of the MP3 reference files provided by producer (the instrumental track, an
isolated vocal track, and a melody / topline track). Basically, I'll have an over the ear
headphone on and will be listening to a low volume reference track, and I will be singing
multiple takes sequentially with the producer's MP3 a real-time guide.

IMPORTANT NOTE: Be advised that the composer/producer/client song (your song or

composition) may not reside in a key that I can suitably cover with my natural range
(*my voice is a low to mid tenor, nearly the same range as Sinatra's with a similar
timbre).

In fact, I've found in 33% + of jobs so far that I've performed remotely, that some
adjustment in key was necessary in the instrumental for me to deliver it with an optimal
performance.

What I typically do when first receiving materials (after being hired) is to do an

immediate listen-through of the instrumental guide track provided to me, and do a
rough sing along with lyrics.

If it's apparent that the instrumental is too high for me, or too low, I'll notify the
producer/client, then I'll use a pitch shifter plugin to adjust the instrumental on the DAW
(digital audio workstation) to match my range. Then I'll sing a rough record of a few
phrases for producer/client reference.

For example, I may pitch shift down 2 semitones, do a rough record of a section, then
raise it a semi tone and record that, etc., and then I'll send the producer the MP3 of that
scratch recording for further decision making.

The scratch recording I may make at this early, non-deliverable point is for reference
only, made in an untreated space at a desk ** It is not my final recording configuration,
but a rough/scratch demo record for quickly producing and recording options for
approval before moving forward **

Written materials

Written materials include comments and suggestions for performance, musical notation,
and lyrics. If including directions for performance, it's best to include them along with
lyrics in one convenient sheet: (*directions are optional of course, just let me know)

[Verse 1]

sung softly but with growing power and emotion

I'm providing instructions on how to prepare for a song

It's not hard, it's easy, to make things move along ...
 [Chorus/refrain]

with sustained power throughout, softening a bit at the end

We're making music, baby!

We're doing it our way!

Regarding lyrics sheets: Please write each section of the song out completely and
sequentially even if it's a repeating section. To clarify: if there's a repeated chorus or
refrain, please write out the entire chorus or refrain again even if it's exactly the same as
one that appeared earlier.

The reason for this is, when in the recording space and glancing at my tablet or printout,
I won't have time or ability to flick back to the original chorus on a previous page or
location to read it in full while the track is recording. I would also then have flick back
again to the place I was at in the song to catch the new verse, without risking some
impact in performance or losing my place, etc.

2.2 Required Materials

After I'm hired for a project, please provide the following:

1. Instrumental Track: (required) This is the final version of the instrumental track. This
should be the final, final, final version, as I'll be singing to this as a guide. (Any
preliminary issues with key can be addressed per the above section 2.1) - MP3
2. Melody Reference: (required) This is best provided as an isolated piano track with the
notes of the vocal melody played in rough imitation of the timing or phrasing of the
singer. It should be single notes only, not chords or intervals. Whatever instrument is
used, it should be isolated, i.e., delivered without the instrumental backing, so that I can
adjust it in the playback mix when I'm recording. - MP3
3. Vocal Reference: (optional, but very useful) An isolated track of someone singing or
humming the melody with approximate emotion and intensity. This often provides
insights I can't get from the Melody Reference track. - MP3
4. Score/Notation: (optional, can be useful) a score or notation for clarity. I tend to look
at this only as a last resort, if the melody reference or vocal reference is not clear - PDF
5. Lyrics: (required) Complete lyrics with every repeating refrain or chorus replicated
exactly as it would appear sequentially in the song - PDF
6. Additional Directions: Any additional notes about the song or specific instructions -
PDF
Chapter 3: Recording and Deliverables
3.1 Recording Process

*For those already familiar with engineering and/or recording-mixing-mastering on a

DAW (Digital Audio Workstation), you may find material in this section to be familiar
already

(actual tracks ready for delivery from a vintage Sinatra style project produced January, 2024)

I record in a treated space with a high quality vocal condensor mic, pop filter, interface
and workstation running a stripped down DAW for recording-only purposes. Basically,
I'll have an over the ear headphone on and will be listening to a low volume reference
track of the instrumental and/or Melody guide track(s).

I'll then sing multiple takes - each take on its own track - with the producer's MP3 as a
real-time guide.

During the recording process, multiple takes will be recorded from start to finish. This
number typically ranges from 5 to 10 takes, which, allows flexibility to the client /
producer in comping together a best final single take from pieces of the different takes
provided.
If there is a particularly challenging section, I may record separate takes just for that
section. This would be indicated from my notes when delivering.

Some studios with ample engineering support will punch in (surgically record over) a
phrase or small section where a vocal error or mistake may have occurred. I tend not to
punch in or pause, instead continuing on with the take and providing multiple complete
takes for the producer/client to use as a basis for comping the best final take of the total
session.

I've found that stopping briefly to punch in when I'm acting as performer-engineer
adversely affects the overall performance via the technical interruption. The overall flow,
feeling and energy of the song is from my experience better maintained and delivered
by recording through the entire song, and not pausing or stopping to correct or outtake
any flubs or errors (*these will be present and audible if that's the case, in the final
deliverables I provide, to be cut out by producer/client during post production).

Any errors or flubs should be easily edited (comped) out by client/producer during post
production.

It is expected and understood that the client/producer will undertake any normal pitch
correction and timing on vocals during post production as part of the overall production
agreement. Correcting timing and pitch in post-production requires significant extra
time, and would be beyond the scope of the affordable vocal-only services I provide.

In other words, latency in any recording setup, the need for the vocalist to pause and
breathe or other factors, may affect timing of the vocals such that they do not precisely
match the producer's intended composition timing. This is a natural part of the
deliverable process from the performer's side.

These vocal timing issues are usually solved in postproduction by cutting and sliding
vocal audio on the timeline of the producer's DAW to fit snugly with the composition's
timing, if needed. Specialized plugins can also be used, if required, to stretch or modify
phase length and timing with precision.

I will strive to hit all notes correctly of course, but it's probable that any vocalist will vary
from client-producer's composition at some point. In this case, client/producer would
normally utilize pitch correction tools, such as Melodyne, to perfect and proof - if
desired - the final vocals on the song.

Therefore, minor, occasional and incidental tone variances appearing in the final
recording should be adjusted first by producer/client with pitch correction.
However, performer can and will re-do any uncorrectable takes during the revision
process, if need be :)

3.2 Stem Export

Deliverables will be provided as raw stems, without compression, EQ, gate, or any other
processing, starting from the beginning of the instrumental guide track and finishing at
the end of the export region.

Stems will be labelled simply, but logically, ala: RM ''Song Name' Vox 1 - or similar if
producer/client requires.

Each pass may include variations for different sections. The format and resolution of the
stems will be .wav files at 48/24 resolution.

Stems will be uploaded to my cloud backup (Dropbox or Onedrive), with link provided
to client/producer for download, review, and use

3.3 File Format

All deliverables will be in WAV format, typically 48 kHz, 24-bit. No processing

(compression, EQ, or gate) will be applied, providing flexibility for further production.

Chapter 4: Timeframe and Revisions

4.1 Timeframe

The agreed-upon timeframe for delivery starts when all required materials are received.

4.2 Revisions

A certain number of revisions are allowed (please check our agreement or revision
information on the platform regarding number of revisions)

Changes requiring a total change in scope, such as a new and different instrumental
track requiring a whole new recording session, may be considered a new job.

Conclusion
By adhering to these detailed instructions, we can ensure a seamless collaboration,
optimized for efficient vocal production services. If you have any questions or need
clarification, feel free to reach out! Thank you for choosing me as vocalist for your
production / All the Best, Robert Marleigh (http://www.linktr.ee/robertmarleigh)