For some of you Dee Jays who have mastered the art of mixing and remixing are now getting into the art of production. Do you remember that kid in the side asking you if you can make a “break beat” for them to rap on and hopefully record them? Or maybe your significant other asking you to record them singing their favorite karaoke song? You grab a microphone and drop their vocals and wonder why they sound so “hollow” or maybe “tinny” and worst of all nasal. Yes……“been there done that.”
Before we get started here’s a brief description on microphones. Condenser microphones verses Dynamic Microphones, which is best for recording. Without getting technical condenser microphones are normally studio mics and dynamic mics are stage mics. Stage mics are for live applications. The industry standards for dynamic microphones are the Shure SM58s and Beta58s. Here’s my truth when recording vocals, I’ve actually used both types of microphones for recording.
The lead vocals I’d use a condenser mic and sometimes for back-up I’d use a dynamic mic. It also depends on the quality of the vocals you are recording. Like it or not, not everyone can sing like Mariah Carey and using a condenser microphone will capture every “nook and cranny” so to speak. The best way I can describe this is when using a camera. If you noticed when using a High Definition camera it captures almost everything including the flaws, but when using a lower resolution camera (3.2 pixels) it looks like there is a natural filter.
No matter which mic is used always start by recording flat. There’s that flat word again. Using Sound Forge to record the vocals I find the software very user friendly when cleaning the vocals. First thing I do is use the preset plug in “Graphic Dynamics”. I select the remove -35db option. This is a really good plugin for removing hiss. His hides around the -35 db range. Secondly I normalize to music around -16 db. When saving the file don’t overwrite the master (rename the file). Just in case the file was changed inadvertently, you have the master to fall back on.
Depending on your multi-track software, this is all you should do to the file. Try to keep it as close to the original sound. I use Acid Pro 7.0 for the mixdown. Acid Pro has a fantastic chain feature. I can chain my VST plugins and listen to the EFXs at real-time without physically changing the sound file. Talking about vocals can lead us to a discussion or lesson that could go on forever. My point in this simplified example is to make you aware at which HZ the tinny, hollow or nasal sound comes from. Start by cutting everything below the 80 hz and work your way up. Don’t roll off the frequency do a complete cut. A majority of the vocals I’ve worked with have been cut up to 400 hz in some cases up through 600 hz. In Acid Pro all these effects can be done at real-time. Now add delay, reverb to taste. Got questions, let me know.
A little bit later we can talk about the technicalities of recording vocals, everything from microphone placement, distance, pop filters, natural reverb, should I go condenser or dynamic, how is the attitude of my singer at the time of recording, composite recording. There’s actually a long list of things to look for when recording vocals.
Remember have as much fun as you possibly can, but be careful.
Peace Wil
More of the mix as the record spins!
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