Tobias Forge Quotes

We've recorded over our voices once and double the harmonies, make them thick. The Four Freshmen do that.

There's nothing I love more in the world than layering voices.

I do some three-part harmonies on 'Throes of Rejection' and 'Hard Lines, Sunken Cheeks,' but I didn't go overboard with it.

Harmonies come really naturally to me. I don't have to labor too hard over them. I'll sing a lead vocal, and then I will immediately have all of these other ideas for vocal harmonies. I think that some of the most fun parts of recording, for me, are the vocal harmonies.

I have been a harmony enthusiast since I was a child, singing in choir and with friends growing up. I always put a ton of harmonies on my demos.

Singing and playing live can be difficult. Like, in the studio, I would record either the music track first or the vocal first. I don't necessarily do them together.

A lot of my vocals were the first time I ever sang the song.

It's a particular skill, I think, doing backing vocals. You're blending the vocals between the gaps, between the music.

I write my lyrics into the computer and I hum my music into the dictaphone.

The thrill of hearing your own voice recorded is still there, I still love it, going into the studio and thinking how can I sing this song and between the producers and the musicians you find a way of doing it.

It's no longer necessary to slave over the vocals. I don't sing the lyrics until I write them, and singing is the very last thing I do. I record the entire track, and then I worry about lyrics and vocals. The music will suggest where the words are going to a certain extent.

For a young band about to make a record, make sure you get the vocals right.

I never, my producer never, we never let myself just sing. We were always trying to get the perfect vocal.

I keep these songs in my head until I get behind the microphone. I never spend more than 30 or 40 minutes singing the vocal or it will sound mechanical. There are always mistakes, but it's about feeling more than being perfect.

'Dog Days' was recorded with pens and the wall, and half a stolen drum kit that was out of tune, in what was basically a cupboard. The only instrument I could really play was my voice, so we just layered everything a hundred times. It was enthusiasm over skill.

If I improvise vocals at an early stage of the song, I just kind of listen to the roll, and then I kind of have a little vocal hook.

My dad got me the same mic I use on everything now - this $200 mic from Guitar Center.

At the age of 15, I bought a USB microphone on a trip to the United States with my family, and that was my first recording studio.

I usually like to hide my vocals behind the music. I don't like to hide them consciously, but I have a tendency to prefer the vocal at the same level as everything else and put lots of reverb on it.

I record into my phone as soon as I hear a track. Melody comes first for me, and then my gibberish usually forms into lyrics and a concept from there.

Once a composition is complete I sing the track and send it to the director. He sometimes suggests I record them in my voice, and I go ahead.

People would call me up because they liked my voice, and they wanted some kind of vocal harmony. Sometimes I was asked to come in and sing all the harmony parts, and sometimes I would sing with other people.

I do more singing than dubbing.

It's the actual recording of the vocal that is the most boring thing you'll ever do in your life.

After I wrote 'Sweet Summer Day,' Jihyo did the guide recording. We did that in our apartment, revising the lyrics together, allocating parts to members and discussing the song together.