So when you either choose a song during a given week or when one is chosen for your group, who decides who’s going to sing what?

We actually get the song and then we kind of look around the room and kind of talk about who would fit the song the best. Whatever makes the most sense. So that was totally a new process for me to do, because you know doing a solo project it’s like obviously I know who’s going to be singing this. But you know it was cool because we got to like really step back and be supporting roles to each other which was really something that we hadn’t had to do in the past. So yeah, you’ll see kind of how we chose to push certain people in the spotlight and pull others back and everybody kind of got a little chance to shine. That was kind of a different, interesting process.

Has there been anything that’s really stretched you when it comes to singing in an ensemble as opposed to singing by yourself?

For sure. You don’t really ever have to think about keeping other people on track, on key. You can just go with the sound of your voice. I’ve always just kind of sung how I felt emotionally, and on certain days sometimes I have a raspier voice. I have to really control that and I have to really, really think about pitch and just the technical. I guess the way to say that is I think about the technical side more. I’m usually just either kind of by the seat of my pants and just hope for the best. And the band starts playing, I start singing and I hope for the best. And I think with The Sing-Off I have to really dive into my technical side and then on top of that, bring back the emotion and really feel the song, too, and communicate the song.

So yeah, there were just a few more facets. And you know sometimes when I’m not singing lead, I’m singing like these silly little syllables and words and sounds and noises that I’ve never done before because essentially when you’re in an a cappella group, for the most part, you’re making up for the band when it’s not there. So sometimes you’re making guitar noises, or bass noises or sounds effects and stuff. So that was really fun, but also really, really different.

How many weeks in to taping are you?

Five actually.

Can you say at this point which other group is your biggest competition?

You know it’s so funny to say that, because I’ve been asked that question and I’m like, “Oh yeah, it’s a competition,” because I always forget. I wouldn’t say that they’re our biggest competition, but I think they’re going to win because honestly we all realize that we’re new at this and we don’t think that we’re going to do the best. We’ve picked who we think is going to win and it’s a group called Pentatonix and they’re five kids like 19, 20-year-old kids have no idea how talented they are. They’re all like totally humble and sweet little angels, and then they get onstage and they’re just like this thing you’ve never heard before. Just totally like futuristic and innovative and amazing. We love them!

After you perform, is it scary to go through the feedback time when the judges are giving their critiques?

I think on some shows it would be scary with certain judges, but these judges are so musically legitimate that you actually want to hear what they’re going to say. And I guess the scary part comes in when there’s a camera right in your face, and they’re waiting for you to kind of have this certain reaction or make some kind of certain face. And so I think that the scary part is where you’re kind of like, you’re just under the microscope a little bit. But we all agree that like when [the judges] say something, they really are dead on. And actually on one of these episodes, you’ll see we are kind of laughing because they’re telling us exactly what we walked offstage saying. We walked offstage saying, “Okay we need to work on this, this and this,” and then we get onstage and that’s exactly what they say. It’s almost like we respect them so much that we’re not really afraid of what they’re going to say. We’re more eager and kind of curious about it.