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Lost a good feature verse once because my friend didn't take his keys off his neck... And I was inexperienced with levels so it was super amplified at the end. Now you're lucky if I record you with a hat on lol
It’s a stylistic thing sometimes. I have an artist I record in which the chains clinging sound is what he wants in his songs bc it adds to his character off the mic. So I would say it all depends on what the artist’s vision is for the song and his brand
I recently found out you can hear Michael Jackson snapping his fingers in time on the isolated vocals tracks, I think it was Billie Jean. I think that is really cool, just from a historical icon perspective, although I doubt any modern recording engineer would ever allow that unless they are tracking a superstar.
I think a video on how a singer should breath musically and deliver sibilants properly with A/B comparisons would be golden if you haven't done it already
For mistake #5 -- I generally like to record vox multiple tracks -- verses, choruses and even if there's a bridge. It gives me more control and flexibility at the mix stage. Great stuff as always David!
The #3/#4 point cannot be stressed enough, you won't notice it at first, but then when you got to mixing and you try to use saturation, boost the highs, or even just use a fast compressor it's going to sound harsh no matter what you do. Just keep the peaks at -18 to -10 at the most and you're going to be good.
Great video again man 💪 A couple of other things else, is really having the song nailed down ie well reheased. Being well warmed up. Have the lyrics written down, with copies for the engineer/producer. Always record from the very first run through. Allow as much as you can the singer to set up the recording space to make them feel as comfortable/natural as possible. Always try to be positive and constructive.. build them up.. singers are notoriously sensitive souls🙏❤️
Yet more great, useful advice. I love your no-bullshit approach. Keep up the great work. One of the very best channels for mixing and production advice on RUclips.
When it comes to headphone mixes I always have a pair of headphones next to me and the headphone amp, so I could use the second output to hear what the singer hears. That helped me so much to understand what the singer is talking about when there is a problem.
Per Definition! In a small room (Vocal Booth) you canNOT ever get any form of room acoustic due to the small distances from the wall and ceiling. Early Reflections will stay within the HAAS zone causing phasing and thus combfiltering (resonances and disappearances of frequencies). So the only solution is to use at least 4 inches of absorption on ALL walls and ceiling (except the communication window ofcourse, use a mike absorber behind the mike). That pretty much absorbs the frequency span of most voices. Afterwards bring in a dedicated room with a convolution reverb. The extra advantage of that is that this will be in stereo. I've used this for over years now and it made my workflow a whole lot easier and gave me better sound quality
If your courses are 1/10 as potent as this vocal recording spotlight, MAN!... I'm there! Thanks so much for this. The value density in this video has the value meter in the red 100%.
Part of my job is helping voice artists create workable recording spaces for voiceovers, so I felt like I had to chime in and add to your first point. Small spaces don't matter too much if you have angled walls. Angle at least 1 wall and you'll often be able to avoid the annoying low mid resonances. Your booth ceiling should ideally be quite thick, because if you put a blanket or something thin the sound will still travel through it and bounce off the actual ceiling of the room. Thick pieces of foam (proper bass traps, thick pillows and the like) in the corners of the space will help immensely. A small investment for a big gain. Mic placement within the space is also important. This can be a matter of just moving it 10cm to the left, right, forward or backward, and you'll notice an instant change in sound. Failing all of that, just go into a walk in wardrobe, strategically place some pillows, and you'll probably get a decent sound.
Man! That number 1 and 7 are crucial - I had to find out! Do not use Kaotica eyeball even though I see plenty people use them, but it colored my voice wayyyy too much! I found that acoustic absorption panels on stands behind me and mic sides with back of mic area open gives me enough absorption and natural air (The side mic panels are about 7 feet apart). Added tip - mic distance is key - not too close or too far to get a balanced vocal!
From my experience while providing the headphone mix one common culprit is the LF too. Sometimes the track level is just right but due to dominating lows the singer don't hear themselves especially the low notes and therefore goes out of tune. A little high pass on their mix helps them stay in tune.
I have a question. I have a UAD Interface and a tlm 102 mic. Should record my voiceovers without anything on and later add the it or is it okay to record with the fx baked into it. The reason I ask is because my mic sometimes makes these squeaky sounds.
David, I am joking around because you are hurting my soul with these truthsssssss. LoL I mastered the headphone mixing, and I don't use Waves Nx but I use Acustica Audio's SIENNA suite.
Hi david, in the case of HipHop vocals that are louder, does the Kaotica Eyeball would be a reasonable choice for avoiding external noise? My house is made of brick walls but the street noise and dogs still get in my way. I know that the Kaotica muffles the sound in the low end, BUT in this case of Rap vocals this low end build up would be noticeable after EQ? Since the vocals are fast.
@@recordedbybrandon Do you think negative 3 is too hot based on what is said in the video? Just curious what people think. I've read neg 18db with peaks at 10..I usually have great results peaking around neg 6, but I'd never really thought about what was mentioned in this video -- where a lower quality interface could degrade sound quality closer to 0.
@recordedbybrandon7340 "Pump it to -3"?? What that even means? Why do you want to "pump it"? There's absolutely NO reason whatsoever to get even close to that, unless you're recording to tape and you have a noisy chain in which case, you have biggest problems. @countryguitaronline usually you don't worry about the MIX gainstaging when recording vocals unless you're really advanced and you were able to basically record everything at the gain staging you'll (or the engineer) will be starting the mix. But this is a practice that was used, again, with tape. Today nobody or almost nobody does that because mixing is much more advanced and full of processing. Just stay low, have a good 12db at least of headroom in the highest parts and don't worry about it. Recording hot has zero benefits.
@@mixbustvI removed my comment Because I can see how it can be misread but I was meaning record at -9 - -6 and then in the mix they are pushing it up but what I said was so vague!
Hey you should take a look at a new song from Duki (a musician from argentina) its called 'Jefes del Sudoeste" the bass and the kick blend in ways i never heard
On the split recording subject; should I record the parts in different tracks for a different treatment in mixing or everything in the same track. Thanks for your work, very useful information.
I use the IsoVox2 and it does cause problems in lower end and makes things boomie but I live in NYC and my block is extremely noisy and people playing music at all hours of the day/night. I use the Maag EQ 2 to add some air and I high pass in a EQ but I have no choice. I bought the Spirit Halo but it doesn’t work well enough to cut out the outside sounds. Maybe a try a blanket in combination with the Halo and see how that goes. I which I could put up panels but if you rent an apartment in NYC it’s not allowed 😩
Bro i'm thinking about getting the Kaotica eyeball, but i tested the isovox and the kaotica from a friend and realy sounds muffled BUT it cut the noise. Do you have a hard time with the EQ in the low end? Does it change a lot the voice? in my case i would use for fast rap vocals with no autotune.
@@nashse7en The IsoVox 2 adds a lot of low end your gonna have to eq out. Make sure use a mic and a mic preamp that doesn’t add a lot of lows. The company that made IsoVox made a condenser mic specifically for the IsoVox but I use the C414 XLS. Using the IsoVox will make you cut before and post recording
What about the distance to the mic? I always struggle with low mids in voice recordings. Even if i did the recording, somehow my low mids are always too boomy. Lately, I tried to place the artist farther away (about 4 fists) from the mic and the problem is still there. Maybe it's my mic but I want to master the recording before deciding to buy a better mic
Distance from the mic might be THE most important thing and it's an art. There's no set and forget distance, it depends on the song, the mic, the singer, the part. With some singers (see Bella) a 1/4 inch or less distance is the difference between fighting to mix the entire thing or having to do almost nothing to it. Height is also another thing especially for the low mids as you describe. You need to do tests.
@@mixbustv Yea I did plenty tests on my voice but every voice is different and it seems that my voice doesn't have that huge of a problem with the mids. I really should take the time for the next time and make tests on the voice of the singer. Thanks for answering!
I added the same tip in my comment and I also use my fists once I measured it and it is usually about 3 fists for me so about 11-12 inches back - any more past that and too much room sound enters. I had to get a mic with a mic pad (Neumann TLM107) so I wouldn't have to keep farther back to record and not get saturation, air from consonants etc., but I probably could have soften up the words like in tip 7 of this video, but the mic did the trick plus sound better than what I had - Sphere L22 and TLM103.
Yea I have a really small room with allot of slap effect and reverb. First thing I did was buy some 4in. Panels from Gik acoustic and used some old foam from Auralex (forgot they name lol). Last a moving blanket to cover up the windows each time I record I made attachable and detachable. I feel like in MY CASES my mic shield works idk what anyone else says lol they add a lil extra 10%. I got mine from Rockville 😎. However still had to do allot in post still...I know about diffusion and placement for them. But this room was not gonna benefit from that especially with them hard ass floors 😭
In post I would use a plugin to kinda take out more of the room. I gotta cop that new one from waves. Then use super super tight notches to take out lot of those resonances up to about 6db. But the way I mix the vocals is that on preamp (Avalon) I add a little of those mids in since I know I'm gonna take them out
I still struggle recording other artist especially rappers because I can never tell if they truly like a take or not. Then some are really careless. But now a days I just try to judge myself in a artist perspective and my owns like if their loud enough not in gain but in energy. And doing something over cause allot of these rappers like to sway from the mic when I'm recording them like stay still and already have them about 4in from the capsule 💀
@@thestreetdisciple3955 If the artist cannot stay still or move with a purpose, do not let them get too close, as an inch of movement closer or further away from the capsule has a much bigger impact if 2 inches away than it will if say 4 inches away.
IMHO, it literally muffles the ish out of the singer's voice. Having a good audio interface with a semi-decent to a lovely mic helps to get a clean signal into the box ITB. Look into the dbx 286 hardware channel strip; google it please.
Number 1 e 2: it's not that difficult to have a decent vocal sound. I managed to make plenty of vocal recordings that sound good in my room (about 2.5mX6m) and with a very cheap mic. Is it the best vocal sound ever? Of course not, not only for that but also since I'm not an awesome vocalist. But it's at least listenable. Number 3: aim for -6/-9 peak and you should be good to go. Number 4: oh yeah, not splitting parts will make vocal recording a nightmare 99.999999% of the times. I personally focus on the same section (verse, chorus, bridge...) until I get it right in every aspect before moving to the following. Number 5: maybe if the singer is out of pitch you could put the melody into midi in their headphone mix so they can hear the notes they're supposed to sing. I use it a lot for harmonies. Number 6: nothing to add, spot on! Number 7: singer sometimes do not understand how much importance those details have! Also breaths are a huge component. Great video David! Btw what do you think about pitch correction? I assume - but I might be wrong - you don't like it that much.
Pitch correction is often a necessary evil. But with the artists I do vocal production with I tend to sit there and track as much as needed to get the performance right
@@mixbustv agree. Especially with harmonies is very needed (unless you have like the new George Harrison in harmonies) but I personally hate when you take a sh1tty performance and run it into Autotune in auto mode turning the voice into the dumb equivalent of Siri.
![Jordan Adetunji - KEHLANI REMIX (feat. Kehlani) [Official Video]](http://i.ytimg.com/vi/EeJ8n5PxFGE/mqdefault.jpg)
USE THE SUPER THANKS IF YOU LIKED THIS VIDEO! 👆👆👆
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The amount of times I've asked rappers to remove noisy clothing. Jackets, jewelry etc. My God. Great bevel David!!
Lost a good feature verse once because my friend didn't take his keys off his neck... And I was inexperienced with levels so it was super amplified at the end. Now you're lucky if I record you with a hat on lol
It’s a stylistic thing sometimes. I have an artist I record in which the chains clinging sound is what he wants in his songs bc it adds to his character off the mic. So I would say it all depends on what the artist’s vision is for the song and his brand
I recently found out you can hear Michael Jackson snapping his fingers in time on the isolated vocals tracks, I think it was Billie Jean. I think that is really cool, just from a historical icon perspective, although I doubt any modern recording engineer would ever allow that unless they are tracking a superstar.
Brilliant. So practical for us bedroom producers with no proper studio. Excellent video.
I think a video on how a singer should breath musically and deliver sibilants properly with A/B comparisons would be golden if you haven't done it already
Yesssss! Could even do a collab/cameo type thing with a vocal coach. That would be super interesting
YES 🙌💯
Thank you David! These lists are my favorite videos!
Thank you very much, David, this has been, as always, of tremendous help! Cheers!
Loving these!!
For mistake #5 -- I generally like to record vox multiple tracks -- verses, choruses and even if there's a bridge. It gives me more control and flexibility at the mix stage. Great stuff as always David!
Great video, always bringing something new!
The #3/#4 point cannot be stressed enough, you won't notice it at first, but then when you got to mixing and you try to use saturation, boost the highs, or even just use a fast compressor it's going to sound harsh no matter what you do.
Just keep the peaks at -18 to -10 at the most and you're going to be good.
Great video again man 💪
A couple of other things else, is really having the song nailed down ie well reheased.
Being well warmed up.
Have the lyrics written down, with copies for the engineer/producer.
Always record from the very first run through.
Allow as much as you can the singer to set up the recording space to make them feel as comfortable/natural as possible.
Always try to be positive and constructive.. build them up.. singers are notoriously sensitive souls🙏❤️
Great list!!!
Nailed it
Yet more great, useful advice. I love your no-bullshit approach. Keep up the great work. One of the very best channels for mixing and production advice on RUclips.
Great advice brother. Appreciated. Blessings.
The realest producer💪I never heard this type of advice before🔥
Another great video! Thx:)
This advice was on point bro. Thanks a milly.
Gr8 video. N.4 Is so important.
Super vidéo... thx merciiiiii🎉
Great stuff.. Thank you David =)
Very helpful as always David. As a self recording singer, I’m always looking to improve on both sides of the mic.
Thank you 👊🏾
Thank You 🙌🙌🙌🙌 Very Helpful Video 🔥🔥🔥🔥.
Great Advice as normal D👌🏽🔥
Great video David! Cheers to you and Bella 🙏🙏 (I saw her on Killstar, 🔥🔥🔥🔥🔥🔥)
that was awesome.
very valuable content!
This is a must share video!
That was a good one 🤌🏻👏🏻
Very useful tips, thanks
This guy rocks the casbah! I have gotten some really useful advice from this channel.
This is fantastic. Dying to work with talented vocalists.
Also- so happy that your Number 1 was number 1😁
Best channael on YT!
Good tips, thanks
Thank you once again for some golden info & advice.
We are not worthy 🙇♂️
0:34 Clarity Vx DeReverb/Pro woot woot for the win-win!
When it comes to headphone mixes I always have a pair of headphones next to me and the headphone amp, so I could use the second output to hear what the singer hears. That helped me so much to understand what the singer is talking about when there is a problem.
Per Definition! In a small room (Vocal Booth) you canNOT ever get any form of room acoustic due to the small distances from the wall and ceiling. Early Reflections will stay within the HAAS zone causing phasing and thus combfiltering (resonances and disappearances of frequencies). So the only solution is to use at least 4 inches of absorption on ALL walls and ceiling (except the communication window ofcourse, use a mike absorber behind the mike). That pretty much absorbs the frequency span of most voices. Afterwards bring in a dedicated room with a convolution reverb. The extra advantage of that is that this will be in stereo. I've used this for over years now and it made my workflow a whole lot easier and gave me better sound quality
Top!!
If your courses are 1/10 as potent as this vocal recording spotlight, MAN!... I'm there! Thanks so much for this. The value density in this video has the value meter in the red 100%.
Indeed they are 🙏
I def gotta work on my S delivery.
Nice tips on the room too 🙏
Part of my job is helping voice artists create workable recording spaces for voiceovers, so I felt like I had to chime in and add to your first point.
Small spaces don't matter too much if you have angled walls. Angle at least 1 wall and you'll often be able to avoid the annoying low mid resonances.
Your booth ceiling should ideally be quite thick, because if you put a blanket or something thin the sound will still travel through it and bounce off the actual ceiling of the room.
Thick pieces of foam (proper bass traps, thick pillows and the like) in the corners of the space will help immensely. A small investment for a big gain.
Mic placement within the space is also important. This can be a matter of just moving it 10cm to the left, right, forward or backward, and you'll notice an instant change in sound.
Failing all of that, just go into a walk in wardrobe, strategically place some pillows, and you'll probably get a decent sound.
Man! That number 1 and 7 are crucial - I had to find out! Do not use Kaotica eyeball even though I see plenty people use them, but it colored my voice wayyyy too much! I found that acoustic absorption panels on stands behind me and mic sides with back of mic area open gives me enough absorption and natural air (The side mic panels are about 7 feet apart). Added tip - mic distance is key - not too close or too far to get a balanced vocal!
From my experience while providing the headphone mix one common culprit is the LF too. Sometimes the track level is just right but due to dominating lows the singer don't hear themselves especially the low notes and therefore goes out of tune. A little high pass on their mix helps them stay in tune.
I have a question. I have a UAD Interface and a tlm 102 mic. Should record my voiceovers without anything on and later add the it or is it okay to record with the fx baked into it. The reason I ask is because my mic sometimes makes these squeaky sounds.
Awesome video! David are there still tickets available for the class with Ministry?
Yes a few left
What are the 3 best vocal mics?
David, I am joking around because you are hurting my soul with these truthsssssss. LoL I mastered the headphone mixing, and I don't use Waves Nx but I use Acustica Audio's SIENNA suite.
I'm talking about the singer's headphone mix here, the feed not the song's mix
@@mixbustv Oh okay whew! 🙂
Hi david, in the case of HipHop vocals that are louder, does the Kaotica Eyeball would be a reasonable choice for avoiding external noise? My house is made of brick walls but the street noise and dogs still get in my way. I know that the Kaotica muffles the sound in the low end, BUT in this case of Rap vocals this low end build up would be noticeable after EQ? Since the vocals are fast.
No, you're better off with a heavy blanket seriously
How much head room do you usually like to have on your vocals when you’re gain staging?
@@recordedbybrandon Do you think negative 3 is too hot based on what is said in the video? Just curious what people think. I've read neg 18db with peaks at 10..I usually have great results peaking around neg 6, but I'd never really thought about what was mentioned in this video -- where a lower quality interface could degrade sound quality closer to 0.
@recordedbybrandon7340 "Pump it to -3"?? What that even means? Why do you want to "pump it"? There's absolutely NO reason whatsoever to get even close to that, unless you're recording to tape and you have a noisy chain in which case, you have biggest problems.
@countryguitaronline usually you don't worry about the MIX gainstaging when recording vocals unless you're really advanced and you were able to basically record everything at the gain staging you'll (or the engineer) will be starting the mix. But this is a practice that was used, again, with tape. Today nobody or almost nobody does that because mixing is much more advanced and full of processing. Just stay low, have a good 12db at least of headroom in the highest parts and don't worry about it. Recording hot has zero benefits.
@@mixbustvI removed my comment Because I can see how it can be misread but I was meaning record at -9 - -6 and then in the mix they are pushing it up but what I said was so vague!
Hey you should take a look at a new song from Duki (a musician from argentina) its called 'Jefes del Sudoeste" the bass and the kick blend in ways i never heard
On the split recording subject; should I record the parts in different tracks for a different treatment in mixing or everything in the same track. Thanks for your work, very useful information.
It is highly unlikely that you will use the same mixing for different parts
Do you have a Tipp for Lower Ceiling ?
I wish i had seen this video 10 years ago!
4:58 David, you're wrong because with Acustica Audio LAVA or any other mic modeling software/plugin, "all we need is one mic" - Nas (2001-2002)
I use the IsoVox2 and it does cause problems in lower end and makes things boomie but I live in NYC and my block is extremely noisy and people playing music at all hours of the day/night. I use the Maag EQ 2 to add some air and I high pass in a EQ but I have no choice. I bought the Spirit Halo but it doesn’t work well enough to cut out the outside sounds. Maybe a try a blanket in combination with the Halo and see how that goes. I which I could put up panels but if you rent an apartment in NYC it’s not allowed 😩
Bro i'm thinking about getting the Kaotica eyeball, but i tested the isovox and the kaotica from a friend and realy sounds muffled BUT it cut the noise. Do you have a hard time with the EQ in the low end? Does it change a lot the voice? in my case i would use for fast rap vocals with no autotune.
@@nashse7en The IsoVox 2 adds a lot of low end your gonna have to eq out. Make sure use a mic and a mic preamp that doesn’t add a lot of lows. The company that made IsoVox made a condenser mic specifically for the IsoVox but I use the C414 XLS. Using the IsoVox will make you cut before and post recording
What about the distance to the mic? I always struggle with low mids in voice recordings. Even if i did the recording, somehow my low mids are always too boomy. Lately, I tried to place the artist farther away (about 4 fists) from the mic and the problem is still there. Maybe it's my mic but I want to master the recording before deciding to buy a better mic
Distance from the mic might be THE most important thing and it's an art. There's no set and forget distance, it depends on the song, the mic, the singer, the part. With some singers (see Bella) a 1/4 inch or less distance is the difference between fighting to mix the entire thing or having to do almost nothing to it. Height is also another thing especially for the low mids as you describe. You need to do tests.
@@mixbustv Yea I did plenty tests on my voice but every voice is different and it seems that my voice doesn't have that huge of a problem with the mids. I really should take the time for the next time and make tests on the voice of the singer. Thanks for answering!
I added the same tip in my comment and I also use my fists once I measured it and it is usually about 3 fists for me so about 11-12 inches back - any more past that and too much room sound enters. I had to get a mic with a mic pad (Neumann TLM107) so I wouldn't have to keep farther back to record and not get saturation, air from consonants etc., but I probably could have soften up the words like in tip 7 of this video, but the mic did the trick plus sound better than what I had - Sphere L22 and TLM103.
Question : I am wondering if there's specific moments of when you choose to use a dynamic EQ over a multiband compressor?
My initial thought is to use it when you want more flexibility in choosing a frequency to compress.
@@thaexception3406 doesn’t Fabfilter Pro MB already do this with the parametric view
Broad strokes, "squeeze" effect and possibly timed pumping: multiban comp. Surgical, transparent: DynEq.
@@mixbustv Ahh okay thanks for the tips!
What do you think of the IsoVox booth?
10 kinds of no
That was great information. About gainstageing and converters..
Yea I have a really small room with allot of slap effect and reverb. First thing I did was buy some 4in. Panels from Gik acoustic and used some old foam from Auralex (forgot they name lol). Last a moving blanket to cover up the windows each time I record I made attachable and detachable.
I feel like in MY CASES my mic shield works idk what anyone else says lol they add a lil extra 10%. I got mine from Rockville 😎. However still had to do allot in post still...I know about diffusion and placement for them. But this room was not gonna benefit from that especially with them hard ass floors 😭
In post I would use a plugin to kinda take out more of the room. I gotta cop that new one from waves. Then use super super tight notches to take out lot of those resonances up to about 6db. But the way I mix the vocals is that on preamp (Avalon) I add a little of those mids in since I know I'm gonna take them out
I still struggle recording other artist especially rappers because I can never tell if they truly like a take or not. Then some are really careless. But now a days I just try to judge myself in a artist perspective and my owns like if their loud enough not in gain but in energy. And doing something over cause allot of these rappers like to sway from the mic when I'm recording them like stay still and already have them about 4in from the capsule 💀
@@thestreetdisciple3955 If the artist cannot stay still or move with a purpose, do not let them get too close, as an inch of movement closer or further away from the capsule has a much bigger impact if 2 inches away than it will if say 4 inches away.
So the koatica eyeball thing is a no go? Why is so heavyly promoted like its magic?
IMHO, it literally muffles the ish out of the singer's voice. Having a good audio interface with a semi-decent to a lovely mic helps to get a clean signal into the box ITB.
Look into the dbx 286 hardware channel strip; google it please.
pick numba three my lord
Number 1 e 2: it's not that difficult to have a decent vocal sound. I managed to make plenty of vocal recordings that sound good in my room (about 2.5mX6m) and with a very cheap mic. Is it the best vocal sound ever? Of course not, not only for that but also since I'm not an awesome vocalist. But it's at least listenable.
Number 3: aim for -6/-9 peak and you should be good to go.
Number 4: oh yeah, not splitting parts will make vocal recording a nightmare 99.999999% of the times. I personally focus on the same section (verse, chorus, bridge...) until I get it right in every aspect before moving to the following.
Number 5: maybe if the singer is out of pitch you could put the melody into midi in their headphone mix so they can hear the notes they're supposed to sing. I use it a lot for harmonies.
Number 6: nothing to add, spot on!
Number 7: singer sometimes do not understand how much importance those details have! Also breaths are a huge component.
Great video David! Btw what do you think about pitch correction? I assume - but I might be wrong - you don't like it that much.
Pitch correction is often a necessary evil. But with the artists I do vocal production with I tend to sit there and track as much as needed to get the performance right
@@mixbustv agree. Especially with harmonies is very needed (unless you have like the new George Harrison in harmonies) but I personally hate when you take a sh1tty performance and run it into Autotune in auto mode turning the voice into the dumb equivalent of Siri.
First!
*Second. Beat you to it 😎
1:34 3:23 3:52 I would have never thought that David was ghetto like we are. We are all in the same gang - West Coast Rap All-Stars (1989)
Mistake No. #8: don't let Mike Tyson talk nor sing. 😛
The resonance and sibilance would be too much. LmAo
Those puffer jackets are noisey as hell
"The pairing is much more important than the pricetag!" GREAT AZZZZ POINT