-Although somewhat similar projects in the past have fused new vocals into the original tracks of iconic artists’ recordings (most famously Natalie Cole’s new vocal mixed into her dad’s classic “Unforgettable” recording), newer technology has allowed isolating the original vocal performances of classic recordings and mixing them into newly recorded updated arrangements. But none of these projects has been as technically demanding as this new Elvis album, and the CTD PhantomFocus™ System played an integral part. Using three different software programs, one of which is not even patented yet, an audio miracle was achieved. –
Nashville, TN – When multi-platinum engineer/producer Ed Seay pressed the solo button to hear Elvis Presley’s vocal on the original tracks they were going to lift it from, he was introduced to what would be a six-month-long demanding project of technology, sweat and passion for the new RCA gospel album release Where No One Stands Alone, released today, August 10, all monitored and mixed on the acclaimed PhantomFocus™ System.
Not only did he hear Elvis’s vocal when he soloed it, but also the entire band with backup singers and a three-second live chamber echo that was printed with the vocal to tape. This was the way those sessions were recorded back in the day at Nashville’s legendary RCA Studio B, in one big room.
Seay ended up utilizing three different software programs to isolate the lead vocal, iZotope RX 6 Advanced, Zynaptiq UNVEIL, and a yet-to-be-patented software program designed by Lacy Thompson of the Thompson Vocal Eliminator fame. One of the more dramatic examples of the latter’s use is Elvis’s newly created a cappella intro on “Crying In The Chapel”. You can listen to the whole fascinating story by clicking this link to Bobby Owsinski’s Inner Circle Pod Cast, Episode 221.
Seay states, “Being fortunate enough to work on a record and artist that has stood (and will stand) the test of time tends to make the listening situation more critical than ever. My PhantomFocus™ System not only gave me the articulate precision that the project demanded but also the confidence to trust my sonic decisions.”
Carl Tatz, TEC Award-winning studio designer and creator of the PFS, comments, “We’re grateful to have one of Nashville’s most revered engineers utilize our PFS for such a high-profile project.”