How MUNA Produced the Vocals for "Buzzkiller"

In this exclusive Guitar Center session breakdown, MUNA’s Katie Gavin reveals the band’s vocal-production strategies for "Buzzkiller" and shares some practical techniques for home-recording musicians, as well as how to keep your voice in shape and protected.“

I'm really on a journey of vocal health to be able to have this instrument for as long as I can,” says Gavin. “I know there are certain changes you can't do anything about, but I'm definitely committed to trying anything to just have the most use of my instrument.”

The Meaning Behind "Buzzkiller"

“I thought it was kind of funny to call it ‘buzz killer’ because that's obviously not the term—which is ‘buzz kill,’” says Gavin. “But I liked making it this active thing, such as, ‘I'm actively killing the buzz. I'm the buzz killer.’”

Finding the Right Vocal Microphone

“The Manley just matches my voice in the sense that it naturally brings out the frequencies I think are unique to my vocal palette,” says Gavin. “One of the things that's most beneficial for a singer is to have a unique tone. So, I do recommend when you're trying mics to pick whichever microphone you think naturally brings out your tone and makes you sound like you. The Manley is such a classic pop-music microphone, and I was kind of ‘shooketh’ that it was the one we ended up feeling like it was my soulmate. But she really is.”

Building the Vocal Performance

“I wanted the vocal delivery to start in a really kind of intimate space,” explains Gavin. “I wanted it to feel like I was talking to somebody and sharing a secret, rather than a performance of my singing. So, we recorded in a vocal booth with the Manley in front of me and two Soyuz condenser mics on both sides of me. A Sennheiser MD 441 was in the corner. We ended up using all the microphones in the final mix.”

Vocal Isolation and Pop Filters

“I've been through a lot of different setups in terms of trying to isolate the vocal sound,” says Gavin, “and I do recommend setting up in a closet or some type of enclosed space. If for some reason you can't do that, we have one of those microphone isolation shields I’ll put behind the Manley. You'd be shocked what you can use for a pop filter, but you will need one if you're using a condenser mic. You don't want to ruin a good take because it sounds funny when you say ‘p’s.’ There was a time when I didn’t have a pop filter and an art teacher friend gave me a piece of folk art that was like a butterfly [frame] with fabric stretched across it. So, I used this butterfly art as my pop filter.”

Creating the Right Recording Atmosphere

“It's all about vibes and what makes you feel inside of a song,” says Gavin. “For me, it's almost like playing it a trick on yourself so you don't really know you're recording. Honestly, turn all the lights off and sing in the dark. That's what I do.”