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Author Topic: Getting better vocals from the right mic  (Read 1273 times)

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Offline Glenn

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Getting better vocals from the right mic
« on: May 24, 2011, 05:49:23 PM »
Finding the right vocal mic is an art in itself,

Of course, it`s best to have an array of mics to choose from, so that when you want a certain `sound`- you can start with the right mic that is closest to the `sound`you`re going for.

This article can help you hone in on getting better vocal tracks starting with the right mic for the job.

Follow That Vocal Jul  1, 2006  4:47 PM, By David Weiss

Everyone wants their voice to be heard, and when it comes to recording music, it's all about nailing the vocal track. Arguably the most complex instrument that appears in front of a microphone, the human voice offers infinitely more attack and decay variations than a piano, and is as sensitive to heat and cold as a horn. It can also be an insanely tough source to troubleshoot when something sounds wrong.
Engineers, producers and artists never stop honing their techniques to make the almighty voice sound amazing. In this latest report on the state of the art for recording vocals, we go straight to the source, getting tips from top pros on getting that great vocal track. We'll move through the signal chain from mic selection to mastering, zooming in on techniques for rock, hip hop, reggaeton and choirs along the way.

At Studio G (www.studiogbrooklyn.com) in Brooklyn, N.Y., engineer/producer Joel Hamilton is quickly rising to the top tier of in-demand recordists. With credits including Elvis Costello, Tom Waits and Frank Black, as well as indie acts by the dozen, Hamilton is known for his strong work ethic and laser-accurate ears, as well as one of the most exotic microphone collections in the area.
When it comes to mic selection, Hamilton has plenty of choices, and he needs them, because to his ears, there's no instrument as singularly unique as each human voice. “It's the thing in the studio that's most like a fingerprint,” he says. “You can tell someone you're going to record a Telecaster through a Fender Twin, and everyone would get an idea of what that would sound like, as opposed to me saying, ‘You should hear Chris Johnson sing!’”

Once the singer is in the studio and it's time to choose a mic, Hamilton develops a strong empathy with the circuitry he's selecting. “You have to have a way to think like the microphones think,” he explains. “The more you do that, you get an idea that a Soundelux U195 will hear the voice one way, the Shure SM57 will hear it another way and the Neumann U47 another way. You have to think in 3-D, not just in the tonal range characteristics of the human voice.

“Sometimes when you're auditioning mics, you'll hear two that sound like a microphone and then the third just sounds like the singer. It's like the glass came down and somehow all the variables of the mic match up with all the variables in the human voice and you have a fit, unless it's a specific color you're going for.”

When pressed, Hamilton will admit to having his favorite mics, including the Neumann U47 (“obvious”), Soundelux U195 (“forward without being bright”), RFT 7151 (“sounds like whoever's standing in front of it”), Placid Audio Copperphone (“when we're trying to impart something on the signal”) and a vintage Tannoy ribbon mic (“for that Bing Crosby, superdark, woo-your-girlfriend sound”). ...


.... a really good read!

I hope it helps.

Glenn  :)
« Last Edit: May 24, 2011, 05:52:00 PM by Glenn »
Old Eastern saying "Man who run in front of car, - get tired .... man who run behind car, get exhausted"
I like to ride IN cars, it's less tiring and less exhausting :)