Splice Vocal vs. Original Vocal

Electronic Dance Money Episode 071 - Splice Vocal vs. Original Vocal

I get it, grabbing the Splice vocal is usually a sure fire way of using an amazing vocal that is not only already processed, but easy to use within your project.

Not only that, but it’s WAY cheaper than spending $500+ on an original vocal.

That being said, there’s a lot of issues with using a Splice vocal that you may not realize is holding you back, not just from getting signed to a record label, but maybe even from getting playlisted.

What about an original vocal? Well don’t worry there’s plenty of positives and negatives to an original vocal as well.

That’s why today, we’re cranking out the reasons why you would want to go with a Splice vocal, and the reasons why you would want to go with an original vocal.

What You’ll Learn:

  • The positives of a Splice vocal
  • The negatives of a Splice Vocal
  • Why record labels don’t want a track with a Splice Vocal
  • The positives of an original vocal
  • Where you can get an original vocal

and much more!

Episode Links


Electronic Dance Money Episode #047 – You Get What You Give with Björgvin Benediktsson – https://enivousaudio.come/episode47

Electronicd Dance Money Episode #005 – How to License Your Tracks and Create Passive Income – https://enviousaudio.com/episode5

Vocalizr – https://vocalizr.com

Airgigs – https://airgigs.com

Soundbetter – https://soundbetter.com

Mike Vaughn – https://open.spotify.com/artist/6oc8mfnwRq6UAh0F8N9pbD?si=6bsgwWyYRB6h_l9N00yQEQ

Electronic Dance Money Booklist – https://enviousaudio.com/booklist


Book Links


Contagious – https://amzn.to/3qMg0Xb

Automatic Episode Transcript — Please excuse any errors, not reviewed for accuracy

Hey guys, welcome to electronic dance money, your number one business resource for making money as electronic musicians and producers.

Hey guys, welcome back to another episode of electronic dance money. I’m your host, Kristian conceito. We’ve got another one coming out. Yes. So I think I’m working on a couple of new guests are going to come in which I’m hoping I can line up, I’m actually starting to dig back into the catalogue of it and find some old guests and bring them back on again, one of which I’m thinking to bring on to talk more about some email marketing is Bjorkman. If you guys don’t remember, he came on and talked about his book, you get what you give, which is essentially the Go Giver, but set up in the world of audio. So it’s super relevant all this. But if you don’t remember much about that episode, when we were first, in the first half of the episode, I guess, or the intro, we talked about your VINs background in the dude is a I mean, he’s an email marketing wizard. He’s got a massive email list that continues to grow. And so I think I’m gonna bring him on to talk a little bit more about email marketing, and see like, find out what are the new things going on. From that people learn from 2021, as well as upcoming throughout the year of the changes to email marketing, because I’m sure there’s, I’m sure there’s some changes. But for today, we’re going to talk about, you know, this is kind of dipping into the world of actual songwriting and production, but we’re going to try to reel it back to be more center focused on like, positives and negatives of getting, let’s say, either a splice vocal, or an original vocal, because I see a lot of like fantastic, amazing producers that are writing incredible music. And they’ve got a really good volte vocal on the track, but it turns out that it’s just a splice vocal, which there’s positives to splice vocal, but then there’s negatives to it. Just like there’s, you know, there’s positives to getting in original vocal, and there are some negatives to getting in original vocal. But ultimately, it comes down to what you’re really wanting to do. But when you actually lay it all out, there’s actually like more positives and negatives with going the right route of a splice vocal than there really are for an original vocal wit. Which is interesting. But that doesn’t necessarily mean that you want to go with the splice vocal. So today, we’re going to be talking about just Shrade. Straight up, what do you get with a splice vocal? What do you get with an original vocal? And how can that affect you in different ways of both getting your tracks signed to a record label? Getting playlisted? In legally, what are some issues that you can run into because because there’s there’s a lot of issues you can run into when you’re talking about the business side of the industry and working with vocals. So let’s first start with eight splice vocal. And I first want to start with some of the positives because I think there’s like I think there are really good positives to a splice vocal with everything. There’s positive positives and negatives. The first thing right off the bat was a spice Fogle’s that it’s inexpensive. It’s pretty cheap, right? You pay what is it now $10 a month for 100 credits and one vocal is one credit. So it’s, it’s like you’re paying pennies, essentially, to get a vocal, super, super, super cheap. The issue with that, though, is most of the time when you’re when you’re paying for splice vocals, and this is this is my, my major issue with a lot of splice vocals is that there’s like, sometimes there’s a couple verses. Sometimes there’s just one verse so you’re repeating the same verse, or there’s never really a chorus, maybe there’s a verse and a bridge and then there’s some other random verse in the pack that like has nothing to do with the original original verse you’re wanting to go so it’s your very restricted and what you get out of a splice vocal, your song could get repetitive. Now, you know that can be good for some genres bad For others, but when you’re working with a cheaper budget, and you just need to throw a vocal in, it’s a really great way, especially if you’re just wanting to get an idea of what a vocal would sound like and attract and then be like, Okay, I’m gonna send this I like this vocal, but I need something original. So I’m just going to send this off to an original vocalist that can record and write something for me. That being said, if you are going to go with a splice vocal, what I’ve heard from other producers and bigger ones is like across the board, what you need to do is make it very original.

This is pointed out to me by my buddy Mike bond, who I’ve mentioned in the podcast before awesome producer, check him out, if you’re interested in some sick fucking future house music. But he brought to my attention that when you are working with a splice vocal, like the most important thing, if you do want to potentially get signed to a record, label, or get playlisted, and it is clearly a splice vocal, make it very original, change it up, chop it up, make the processing super epic, like, you have to do something very, very interesting, different and unique. In order for you to get that validation for using the splice vocal that makes it that makes it original, it doesn’t make it as like ADD, I’ve heard this vocal before, this is kind of boring. Now when you’re working with something that’s cheaper like this, that just means you have a bigger budget for other things, right. The other the other things we talk about in the world of music. So when you’re talking about vocals, and you’re thinking about your budget, these are things to think about is okay, you know, if I if I if I don’t have the biggest budget, and I want a majority of my budget to be spent on some of the things that Krishna has talked about with either email marketing, running ads, submit hub, hiring people to either shoot a music video for me do photography, whatever it is, right, whatever the hell it is, that you’re needing to hire people for? Well, when you cheap out on a vocal weld that just lends you a bigger budget for other things like marketing, it’s also going to save you some money with not having to hire like a vocal producer or someone to edit the vocals right? Someone did Doctor them, someone to pitch correct for you, Doctor them comp them. That way, it’s, it sounds good, it’s easy to mix in. Otherwise, you got to spend your time, your very valuable time. And, and work with a lot of vocals to understand how vocal compression works, how I don’t understand how to make the vocal sound natural and impactful in a song that takes time like years of a skill to develop, if you’re not working with unprocessed vocals all the time. If you’re working with unprocessed vocals constantly. Well, now you’re going to be at a slight advantage over most people with making vocal sounds really good. And that won’t be difficult for you side. No, I am thinking about bringing Sam heights back on because he does vocal production and might bring him on to talk about what it’s like to start this sort of business in the industry. Because I’m sure there’s a lot of producers out there that listen to this, they’re probably actually really good at producing vocals. And more more producers need better vocals. And it’s a service that I think you could probably convince people pretty quickly that they they should hire you. Because most producers who get original vocals, they spend weeks banging their head against the wall, because they can’t get a vocal quite there. Now, what are some other benefits of getting a splice vocal? Well, it’s quick and easy, right? You just go to splice.com Search for vocal search for your genre key, find flip through a bunch of vocals that you like boom, hit download, takes all of five minutes, and then you can import it right into your track. Super nice. That means that you’re going to have more time to finish more tracks or other tasks, you get the thing done quickly. A lot of the time, they’re already processed as well, or they’ll be both wet and dry processing. But usually they’re at least compressed. So you don’t necessarily have to do much compression at all, which again is huge when we were talking about cheeping out on a splice vocal, and not having to hire a third party person or have to deal with vocals yourself because it can be a very daunting and exhausting task. One that feels like it’s never ending. So having an already processed vocal that you can just throw into a track is phenomenal. Throw a little reverb on little delay, good to go. Move on to the next thing. You can spend so much more time on other things that you may feel is important. Now we can kind of get to The negatives of a splice vocal. And I’d like to take what I just said, and start, start pushing that into what that looks like and what that means with the negatives of a splice vocal. Because like I’ve said, I’ve listened to a lot of producers who are just,

I mean, they’re fantastic. And they have no name, like they have no followers, they, they don’t have many streams at all, on Spotify, and I talk to these producers, and they find really, really good vocals on splice that they put in their track, and it makes our tracks on so much better. But now you run into an issue of, well, that vocals being used somewhere else. And you know, I don’t think it necessarily matters all that much. If it is, in my opinion, if it’s, if it’s a splice vocal, and it’s used in three or four different tracks, but the tracks are completely different. Awesome. It’s kind of like re mixing, like, sure, you might be using a similar element to another song. But if you’ve written something completely new and original, great, but there are people out there that don’t like that. They want original, they want unique, they want to find the new, Martin Garrix, right, that that’s what everyone is wanting when you’re talking about different labels or playlisting, collectives, radios, whatever the hell it is. They, they want the social proof, the social credit, to be able to say, I found that person there, they’re this big. And that’s because I gave them a shot like those are a lot. That’s usually what those people are thinking about. When we think about the book contagious, which we’ve talked about in the past, that’s like, chapter one is talking about social proof is like having this little card in the back of your pocket that you can pull out at any time in any social situation to show people how cool you are and why they should like you. And that’s the point of that chapter in the book is it’s like, people want to be the first ones to really cool things, so that when it blows up, they have some credibility, or that when they’re sharing it with all their friends before it blows up. They have more social proof and social credibility with their friends. And part of that idea, I’m sure plays into some producers too, who are just obsessed with just original vocals, Fox bifocals, they suck, never go with a splice vocal, I’m sure some of those producers are like, well, I want to find the next original, like have the most original thing out there. So I can tell my friends how great of a producer I am. I’m sure there’s some of that involving some of that ego. But when we’re really looking at the negatives of a splice vocal, it’s those third party people you may want to be a part of a label most likely won’t want to sign the track. I’ve seen that a lot. Which might be a benefit for you, right? Maybe you don’t want to sign with a record label. So that’s a benefit. Oh, okay. Well, the labor route is not the route that I want to go, I want to go the self releasing route. Now, when we’re talking about labels here. And this actually goes hand in hand with playlist curators, as well. So when we’re talking, what we’re about to talk about plays into both labels, and both curators. Now a good label definitely would not want to sign that track, just like a good playlist or definitely wouldn’t want to add that track to a playlist if they know what the original vocal is. Or if you’re honest with them, is this an original vocal? You say? No, it’s a splice vocal. They’re not going to want to sign that track, they’re probably going to say no, we’re talking about good label. Now, why is that? Well, that usually has to do with they know that there could be copyright issues with that. They know that there’s that comes signing that track comes with a caveat. Who knows what that caveat? Could be? Is it easy to get copyright stricken? Who knows no one knows. But it might not be worth the risk. There’s there are risks involved with signing that track. So they’re going to look to the person next to you that’s written just as good if not better track that has an original vocal, they’d rather go with that, then you who has something that may be may have an issue. I think it’s important to pause here for a minute as well. And I don’t want to get into binary thinking because I’m sure there’s some producers that are listening to this they’re rolling their their eyes like the fuck are you talking about? That’s just not true.

And you know, you you are right, in a sense like you did you have some ground to stand on there. There are big labels and there are good labels that will end in the future and have in the past sign tracks that you splice vocals, famous splice vocals, that happens. Why they sign that could be a million reasons why it could be that that artists is super connected and that label, they’re like, No, we trust you. This is fine. Maybe they have a connection with splice, so they won’t really have any issues. Maybe they have a connection with a vocal vocalist. There’s so many other things that could that lessen the friction or the issue of a record label having copyright issues with a splice vocal, because of third party factors where they’re more willing and open to signing it. That happens. That’s happened in the past, it will continue to happen in the future. But it’s just best to assume that a good and decent record label won’t want to sign a splice vocal. That’s not uncommon, that’s for sure. I’m also very curious if some vocalists have deals with artists or something built in their contract where they’re able to write an original vocal and not necessarily sign over an exclusive agreement. The artist has an exclusive the artist and record label may have an you know an exclusive agreement in the sense that they can release the track and it gets distributed in the art the vocalist is credited but the vocalist can then built into their contract or their deal after either extended period of time or immediately, they can release the Volkl out to the public to artists for them to download and use in their own tracks right on splice, essentially setting up licensing. I’m curious if that’s involved, I don’t know if it is. But I’d be I wonder if that’s part of some deals because essentially, this bigger artists who releases the track makes the tracks super popular makes the vocal popular and then people want to use that vocal later on. Using splice. I’m curious, I don’t know if that’s happening. But I’d be curious if that’s a part of some agreements or a part of some contracts. Because it’s, it’s a smart move, it’s not a bad idea, especially if a vocalist could cut the artist or the record label into the deal somehow. Now, if you’re writing tracks with like, quick to bar vocal loops, this is a little bit different, you can usually get away with that type of splice vocal. But what I find even more original and even better is like finding really obscure vocal loops, or rap lines or whatever, they’re just like two to four bars long that you can find on just a very obscure loot pack website, because then you’re probably going to be playing with something that no one has at least no one that has seriously released something like that, we’re using that sample. And you can really chop it up and make it original. Usually you won’t have many copyright issues with that, because again, you’re talking about probably very few people that are using that unreleased tracks, if at all, compared to splice where most vocals are being used in like hundreds of other songs that are posted on SoundCloud, or possibly even Spotify, but a good label or a good playlist or doesn’t want they want to deal with that they don’t want to deal with any issues or caveat that may come with your track. Now a quote unquote bad label won’t give a shit.

And I say bad label because that’s really my personal opinion is I see those labels as you know, I don’t I don’t want to, it may not even be bad. But it may not even mean that they’re bad. But they just they’re not thinking about that at all. They don’t really care. I think that’s kind of a bad thing I think they should think about those sorts of copyright issues are what like, what’s the worst case scenario that could happen if the worst case scenarios, Oh, I get sued for my entire label and business. I think that’s kind of an issue, you might want to steer clear from that. But but a label that just necessarily doesn’t care that that hurts other producers that hurt too. Because if they don’t care about copyright issues, which are serious when you’re talking about music, that hurts you as a producer, because what are other things that they don’t care about that could potentially hurt you. And this could be a negative to you in the future. At some point, I’ve been a part of bad labels in the past that signed like a clear rip off of a track and the entire label got shut down. So like that that’s a serious thing. So they don’t care about copyright issues that might come from a splice vocal, then you they might not give a shit of how copyright issues of someone just blatantly ripping off a song and signing on their label. So that can be a bit concerning. And I know I’ve got a good buddy who was telling me that he used to splice vocal, released it on a label this is another big negative of splice vocals. And now we’re getting into kind of the second big negative of splice vocals which is the the elephant in the room, which is copyright issues because it happens constantly. I’ve got a buddy who released a track with a splice vocal through a label. And when that track was posted on SoundCloud, they removed it. Because he didn’t have the license to put that track up. They were it was getting getting copied, they had a copyright strike on it. And it was because the vocal, the label couldn’t put the track up, he couldn’t put the track up. And it was because the vocal was used up another track, but his track was completely different from the other one, which again, I don’t think is that big of a deal. But this is the issue that you may run into, you may run into that issue with Spotify, potentially, you might run into that issue with radios, there’s so many different places, YouTube, especially YouTube, there’s so many different places that you may run into copyright issues that it’s just not usually it’s not worth it. And, you know, I say SoundCloud he got he got removed from SoundCloud, and they they can’t get the track up. But

I mean, in reality SoundCloud’s AI system with copyright kind of sucks. Um, and the reason for that, the reason why I say that is because there I mean, it was years ago, this isn’t this was in like 2015 or 2016. Some of you if you were deeply ingrained in house music during the time, and you followed cascade, you’ll remember this, he had like, a ton of his music removed from from SoundCloud, because the copyright was with Warner Bros, which he released his music from. So they it was it was hilarious, because they’re like, they would send them a message and say, So and so your your song, blah, blah, blah, by cascade was removed, because of copyright. The original owner of this song is cascade with Warner Bros. So it was like, they were telling cascade that cascade owns his music and that he can’t release his own music, or upload it on Spotify, because it’s cascades music, which is signed through Warner Bros. It was it was done. Now they quickly fixed it because he tweeted this out. And it was quite an uproar for about a week or so. SoundCloud is always getting themselves into trouble. But this is still an issue. Um, when I was first uploading my podcasts on SoundCloud, I was getting, I would keep getting copyright stricken for the intro and outro music. Now I have a legal license for that. So I would just send them I sent them my legal license proof of it. And they said, Okay, sweet, we’ll prove it. And I haven’t had any issues since then. Which I was telling my buddy that he just needs to do that. And he probably probably won’t have that issue. That in like, again, if you’re wanting to be original, most original producers who are really big, aren’t using spliced vocals, most are some are sure some do. But most of the time you’re hearing original vocals. So let’s get into get into original vocals, what are some of the benefits of getting an original vocal, there’s a number of benefits. Now, number one right away is a customized, unique vocal written for your tracks specifically for yours. That’s number one. And with that customized unique sound, it’s going to make it easier to market that track, especially and you’re also kind of you’re getting the other artists involved. If if the vocalist wants credit, you’re also getting a third party involved in your marketing efforts, which which can greatly help you greatly impact you, especially when it’s getting added to their Spotify play Spotify account as well. So there’s multiple ways, you’re essentially creating this network or spider web like a factor. You can even think about it in terms of SEO of link sharing that we’ve talked about in the past, right, you want high ranking websites to link from their website to your website. And that tells Google that your more trusted you look better they’ll they’ll push you up in the rankings and push more people to you. It’s kind of the same thing when you start getting linked to these other artists who you create this network or this web of other ways for you to get new fans get new stream so you don’t get that with a splice vocal you you don’t link people to a splice vocal. At least not that I’ve heard of with an original vocal if the vocalist wants credit on it, then you will and that that can that can definitely benefit you. It’s a lot easier to make original content to that as well. You can make different edits of the vocal with the with the vocalist themselves get different recordings to create different original content to create all this build up of the vocal. If the track does really well, you can do different acoustic versions in different orchestral versions, you can do club mixes you can do, there’s there’s a lot of different ways you can go or you’re still working with as a vocalist and essentially re releasing this track. If it does really well, so it’s easier to create more content out of an original vocal than you otherwise could with a splice vocal. Number two, no copyright issues, right, we just went over a heap of trouble that you can run into with a splice Volkl. And, in theory, you’re not going to get any copyright issues using an original vocal. Now, that’s not always the case. Maybe you’re working with a scummy vocalist, and they’ve already released this, this vocal on another track, and they’re lying to you. And they’re saying it’s yours when someone else says like that might be an issue. But I’ve never even heard of that. Like, that’s just some rare, weird thing that could potentially come out of it. But you’re going to have far more copyright issues with a splice vocal than you almost ever would with an original vocal in number three, label and playlist friendly across the board. 100%, they’ll probably know it’s an original, they probably haven’t heard it before. More than likely, I mean, like 99% chance they haven’t heard it before. And they’ll probably they’re going to be much more likely to want to actually sign your track or add your track to their playlist. So it’s just a lot across the board slightly easier, especially when the goes this display spoke well known they go Oh, sick, I like it even more, because I’m having to deal with another splice vocal and say, No, get out of here. We don’t do splice vocals. Now there’s probably some other benefits to an original vocal that we could sit here all day and talk about but I think those were kind of the main ones that make you stand out compared to the rest. So let’s talk a little bit of an a little bit about the negatives. What are the negatives? Well, one it can be sometimes it can be difficult working with a vocalist, especially if you have two different ideas for what you’re wanting to get out of the track. Right? If you send a track over to them, they think well I want to record this type of vocal with these types of lyrics and put place it here on the track and you get it back and go that’s not what I was expecting. I wanted it like this and you adjust things and the vocalist goes well that’s not what I was saying. Now you have kind of some head dead you know budding had issues of what the expectations are and what you’re wanting. So really, number one to fix that is to send reference tracks, let them know like, I’m wanting the vocal start here. And here. Now I always say like, don’t tell vocalist, what to write like don’t write lyrics for vocalist, I don’t always think that’s the best idea. Unless they’re a great singer and can write a great melody, but are not the best lyricist, then maybe write lyrics for them. But I think vocalists need to feel the music, right? They need to, they need to feel what they’re singing and what they’re writing. And that’s true from the heart. There are some rare acts and rare artists like above and beyond where they do everything. They write all the vocals and they work with like to one female vocal and one male vocal forever. And that’s just the way it is. But above and beyond are incredible lyricist. They write incredible lyrics. So if you’re that good, then I mean, yeah, go for it. But you could have bots with a vocalist that that is a negative that you can run into that I’ve run into that other artists have run into. So you need to make sure that expectations are really set from right from the get otherwise, that I mean, that’s just the best way to avoid that situation. Now the second real negative that I can come up with is it’s going to be more pricey. It’s going to cost more, it’s going to cost far more than $10 a month with splice, I can guarantee that right now. Anywhere from $200 up to $1,000. It really depends on what you’re wanting, and the the level like the tier level of the artists. Now, as you start getting bigger as your name starts having more weight as you get more streams as you get more followers, that price actually starts dropping pretty significantly. You’ll get to some, you’ll get to a point where vocalists will just be like no let me just write something for you. You can just have it and just give me credit because they also want the streams that you’re going to get from the track. So as you move up in level, you’re going to pay less and less for vocals. Eventually you’re going to constantly get free vocals you’ll have other vocalists, you can you can almost guarantee to go to for free and The mutual agreement there is like they’re going to get credit, they’re going to get, you know, 50% of the royalties or 25% of the royalties, and they’re going to get credit on the track so they can get streamed. So that is more than likely what the case will be as you move up, which is actually a benefit. But in the in the beginning, it’s going to be very pricey. $300 is a great price for for vocal, you usually get a really well rounded vocal for $300. And you get what you pay for. So when you have a vocalist that goes, I’ll do it for $100, you’re going to get $100 vocal, that’s not going to be that great. It’s going to be someone who’s probably pitchy super dynamic,

they don’t know how to control their voice on the mic, they don’t know how to record really well, they probably don’t have a studio, there’s so many things that you’re going to be struggling with there. So just remember that you get what you pay for, in almost always, when you pay more for vocal, you’re going to get a better vocal, as you start paying more, you’re going to get better quality, you’re going to get better songwriting, you’re going to get, you’re probably going to get processing, so they’re going to do the compressing for you, they’re not going to be super dynamic, which means it’s very difficult to fix the vocal with compression. It’s just across the board going to be so much better getting an original vocals more of an investment than anything else. So it’s important to realize that this isn’t hurting your bank account. It’s helping you as an artist, it’s an investment in yourself, you’re willing to pay a certain dollar amount to invest in yourself to get quality out of your music. And one of the other benefits out of this too, which I didn’t even write down. But you you’re connecting with newer artists I mentioned before, if they want credit on the track, that’s just another chain or a link that you create for new fans to find you. This is also a way for you to connect with other artists. It’s also a way for you to look through that artist Spotify and see who did they work with? And maybe reach out to those producers. If you find one you really like and go oh, I wrote this track with XYZ vocalist, do you want to work together? You know, I’d say the biggest thing the diff the bass difference between the negatives of a splice vocal the negatives of an original vocal is that you can turn the negatives of the original vocal into positives more than you can take the negatives of a splice vocal and turn them into a positive. So when you look at the end of the day, it’s easier to flip the script. It’s easier to notice all the benefits of original vocal, which is one of the reasons why I wanted to talk about this because like I said, I see so many producers with amazing tracks, but they cut short with the splice vocal. And then sometimes they don’t get what they’re expecting or they have issues releasing the track. There’s there’s a lot of issues, but I never see that with original vocals. The only gripe that I really sees that they cost a little too much. But think of it as an investment in own pay off for you. If you’re wanting to hire a vocalist for your track, and you just have nowhere to go, you have no idea what to do, there’s a couple of really good websites you can check out. The number one for me is Vocalizer Vocalizer is fucking awesome. I’ve been using it for almost 10 years now. Um, since it since they first launched, which I think was like in 2013 or 2014. But you can hire vocalist and you essentially it’s kind of like sound better, um, but the opposite. So you post your track and you say I’m looking for this vocal with this budget and people vocalist can go on there and they can bid for your track and you can check out their tracks, see if it’s a good fit. And then you can hire them and your money gets placed in escrow. So they don’t actually get the money until you approve of everything. You’ve gone through the revision process everything and then you release the money to them. It’s contract based so you essentially can write up a contract on there too, that you both agree to you both sign and it’s it just makes the process of hiring a vocalist Awesome. Now you can do the same thing with other producers. You can hire producers on there. You can hire hire remix people, just check it out. It’s awesome voc a LIZ r.com. And I’ll put that in the show notes. You could also go to sound better you can find vocalist on sound better. There’s air gigs as well. Air gigs is another place to find vocalist, but I’ll post those link links on the show notes. So if you’re wanting to hire an original vocalist, you’re not sure what to do, where to go. I’ll have those links for you guys. Thanks for hanging out. Checking out this episode electronic dance money as always, head to envious audio.com/episode 71 to check out the show notes. I’ll see you guys later. Take care

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