Vocal Recording Techniques and Tricks of the Trade
Getting ready to record a vocal track? There are some basic techniques you should try to employ so that you get the cleanest and best quality recording possible. You can add effects and dirty up your vocals later, but starting with a clean track is always best.
Good mic technique is easy to achieve. Keep two things in mind: First, remember that the microphone's diaphragm reacts differently to the subtle variations in your voice, and the intensity of your vocal delivery. Second, your body position and proximity to the mic should be adjusted throughout the vocal delivery depending on the dynamics of your performance.
For vocal performance that remain soft and intimate from start to finish, the singer should stay positioned just a few inches from the mic. For louder, full volume singing, stand back two or three feet and let loose. If your delivery requires a mixture of both, then you need to move in close and back off the mic as needed. Start getting used to doing this even if its just for a couple words or a short phrase.
Ideally, your mouth should be as close as possible to the mic without overloading the level. If you overload the level, two things can happen. You will either end up with digital clipping on your track, or in the case of super-sensitive mics, the mic itself with temporarily shut down. Both of the scenarios effectively ruin your recording. The easy remedy here is just to aim your mouth slightly off to the side or above the mic during loud bursts.
Be aware of mouth pops and lip noise. If you are using a a stage mic like a Shure SM57 or SM58, the its likely that the pop filter is built in. Stage mics usually have a foam insert just behind the ball shaped mesh protective grid. Studio mics on the other hand, usually have a foam sleeve that slips over the mic. Many musicians and engineers argue that the foam sleeves tend to kill high end frequencies and prefer the nylon O-ring pop-filters. Positioning on of these between the singer and the mic will stop intermittent blast of breath from overloading the mic.
Avoid recording annoying mouth noise. Its and easily avoidable situation that requires minimal effort to correct, and makes a big difference in the end. Ok, brace yourself, here it is: drink lots of water, or have your singer drinks lots of water. It will go a long way towards eliminating unwanted mouth noise, and a few extra trips to the bathroom is a small price to pay.
Now that youve got your clean, noise free vocal track, you are free to add reverb and effects as you please. Starting with the best engineered track means that when you do, you wont have to worry about weird artifacts showing up when you add effects, and hours spent in the studio doing clean up work. - 2361
Good mic technique is easy to achieve. Keep two things in mind: First, remember that the microphone's diaphragm reacts differently to the subtle variations in your voice, and the intensity of your vocal delivery. Second, your body position and proximity to the mic should be adjusted throughout the vocal delivery depending on the dynamics of your performance.
For vocal performance that remain soft and intimate from start to finish, the singer should stay positioned just a few inches from the mic. For louder, full volume singing, stand back two or three feet and let loose. If your delivery requires a mixture of both, then you need to move in close and back off the mic as needed. Start getting used to doing this even if its just for a couple words or a short phrase.
Ideally, your mouth should be as close as possible to the mic without overloading the level. If you overload the level, two things can happen. You will either end up with digital clipping on your track, or in the case of super-sensitive mics, the mic itself with temporarily shut down. Both of the scenarios effectively ruin your recording. The easy remedy here is just to aim your mouth slightly off to the side or above the mic during loud bursts.
Be aware of mouth pops and lip noise. If you are using a a stage mic like a Shure SM57 or SM58, the its likely that the pop filter is built in. Stage mics usually have a foam insert just behind the ball shaped mesh protective grid. Studio mics on the other hand, usually have a foam sleeve that slips over the mic. Many musicians and engineers argue that the foam sleeves tend to kill high end frequencies and prefer the nylon O-ring pop-filters. Positioning on of these between the singer and the mic will stop intermittent blast of breath from overloading the mic.
Avoid recording annoying mouth noise. Its and easily avoidable situation that requires minimal effort to correct, and makes a big difference in the end. Ok, brace yourself, here it is: drink lots of water, or have your singer drinks lots of water. It will go a long way towards eliminating unwanted mouth noise, and a few extra trips to the bathroom is a small price to pay.
Now that youve got your clean, noise free vocal track, you are free to add reverb and effects as you please. Starting with the best engineered track means that when you do, you wont have to worry about weird artifacts showing up when you add effects, and hours spent in the studio doing clean up work. - 2361
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posted by Marcondes Allen at 12:54 AM
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