Can you not read? The comments literally says "eg. "Hey", and bridge". Pretty sure that mean he is talking about both the begin parts of each verse ("Hey") AND the later bridge section. Idiot.
I think that specific vowel in Mark's vocals was altered in the studio to prevent the S in "else" from interfering with Myles' vocals. It would sound like "nothing else sits alright". To prevent this the S sound in Mark's backing vocals was kinda removed.
Wrong. Most of them come from the multitracks that DJ's and or collectors get their hands on and share. Some are from GH or Rockband. But this has been a thing long before those games existed.
I think something was done in the studio that made it sound like that, like some little part of Mark's vocals was removed from the track that cut the word "else" in half.. very curious ...
hey dude where i can find more isolated tracks from alter bridge? please is for a cover of blackbird. a friend of mine passed away last week and its too important to me please
Echo and reverb. Probably some delay which could be tape delay I think there's some intentional hissing added. Sounds a lot like tape gone bad The beginning around 00:35 has a reverse effect added with fade in. Basically, Elvis took the "Heeeeeey", duplicated it, reversed the audio, stuck it at the beginning, and faded the volume up from zero Starting to think it's just a simple but not very good distortion plug in added to Myles' voice. And the EQ on it sounds too aggressive. Pretty sure Mark's vocals are clean. Or at least, as clean as he sang them. Definitely some EQ cuts to remove unwanted frequencies. For whatever reason, even the best mic (in the best studio going through the best outboard gear into the best audio interface into the best computer and the best DAW) just finds these weird ass frequencies that do not seem to exist in the room or vocal booth. Microphones just amplify everything and all that recording gear adds a subtle color to the sound. Even the best mic straight into the best interface straight into the computer picks up weird shit. Sooo, you grab an EQ plug in, give an extreme boost to really bring it out, hunt down the exact frequency, and then cut that frequency. If you RU-vid search something like how to use EQ home studio, you'll see what I'm talking about. I think of studio EQ as forcing the speakers and the listener's ear to hyper focus on the frequency range you want the listener to enjoy. Many mix engineers will also give a subtle boost to the high end EQ to add "air". Whatever the fuck that means, it sounds better. And of course, you have to roll off the lows below a certain frequency because too many competing instruments and vocals down low sounds muddy and shitty. But then you find that frequency where the meat of the tone lives, and you boost that. Toss in some compression, maybe an expander, a bit more EQ to clean those up, and panning left to right, and you've pretty much got a mix. The mastering engineer takes the final mix downs for an album, ensures uniform volume, adds an additional EQ to every song to more or less shape the sonic feel, maybe a touch more reverb, and he can also add a widening effect to the stereo field. However, he can't do anything to adjust the panning set up in the mix. Hope that helps
