First time experiencing Stray Kids BTS Recording Studio | Do It, 신선놀음 (DIVINE)

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I've done some behind-the-scenes analysis of other bands, bands that I'm a little bit more familiar with.

This is my first experience with raw behind-the-scenes Stray Kids.

Let's see how they interact. Let's see what they sound like just, you know, without all the stuff.

Do you want to do the same thing? Yes! If you check the lyrics,

There ain't no time for thinking Leave it all

Leave it all behind, I'm gonna do it baby Behind we, behind we

Behind we, behind we Here is behind we Behind we?

There ain't no, there ain't no, there ain't no time for thinking. Time for thinking is too late.

There ain't no time for thinking. Okay, okay. There ain't no time for thinking.

Baby, baby, how are we gonna do it, baby? I feel the...

This is so cool.

I want to highlight a couple things here. First of all, they're going over a very small section of a song.

Like, let's do this line or these two lines. They talk through it.

They talk about the nuances, what they want to bring out of the line, what to emphasize, what to not emphasize. And then he tries it.

And then there's feedback from someone else on the line. And then the vocalist offers feedback based on that feedback.

And they'll probably do it a bunch of more times. But how

different is this than the way that we perceive ourself needing to work when we're working on a song or learning a song?

Do we go in with this nuanced approach when we're learning a song, even if we didn't write it? No.

Most vocalists I know don't think to do this. They're like, oh, I'm going to learn this song that I really like.

I'm going to get a karaoke track or whatever, and I'm going to sing it. I'm just going to get through it and hit the notes. This is what it takes.

These vocalists don't have anything in their bodies or minds that you don't have as a vocalist.

They're just working really hard to pay attention to nuance. And you can hear when he's singing this, you know, and there's not all the production.

He sounds like a normal guy. I'm not saying he's not a good vocalist. What I am saying is that the goodness that we hear, the amazing stuff that we hear, it's not just production.

It is attentiveness to detail. and micro details going line by line,

making it the best it can possibly be, making sure that it's being represented in a way that will live forever and then they'll be proud of.

You can't do this if you just, oh, sing it, and then whatever comes out is what comes out.

There's room for that, certainly in live performance, but also here he's learning how to sing it for the live performance.

The work that he's putting in here is going to come out in the shows.

It's stickier than you think.

To plane.

So you hear the interaction between them.

They're trading the line back and forth, and it gets better and better because they're studying the line.

Finish

the hardest part So

they have a demo They have something that they're working off of and he's trying to capture the energy off that demo.

Crescendo, not Crescendo. Ah, yeah. Crescendo.

Okay, let's get it. Oh, yeah.

Okay, before we go on and we witness this interaction,

I just want to say that this is so incredibly refreshing.

These are the kinds of things as a vocal coach that I do with vocalists in my studio remotely.

And to see them going through the same sorts of procedures and then to also hear what comes out on the other end of all of this hard work.