Tips For Recording Vocals

Sound and Recording
B. Thomas Cooper
Editor

When it comes to recording vocals, misconceptions abound. So many talented singers, so little dependable information. We are all instantly capable of recognizing a strong vocal performance, but what goes into capturing that performance usually isn't so obvious.



It all starts with a good singer and a good song. From there, choose a reliable microphone. Many engineers prefer using large diaphragm condenser microphones, but I have no preference. After thirty years of intensive studio experience I have learned to rely on the vocalist, not the microphone. While working as a staff producer at the world famous Power Station Studios, I had at my disposal nearly every quality microphone imaginable. One quickly learns not every vocal should be captured with an expensive condenser or ribbon mic. Think hard about what it is you're trying to accomplish. Feel free to experiment.

Remember, good microphone technique and proper singing habits will profoundly effect your vocal performance. A microphone can only capture what you produce. Once the performance has been captured, it can be enhanced through various means, including reverb, compression, etc. but all the reverb in the world will not drown out a bad performance.

Singers tend to be a finicky lot, a fact I can personally attest to. Still, no two vocalists are alike. Do whatever it takes to make the singer comfortable and confident. A good headphone mix is crucial. If you can't hear what your doing, you stand little chance of doing it well. I can honestly say the Power Station had the best headphone systems I have ever experienced. It is little wonder to me why the studio produced so many hit records.

From here, things get somewhat slippery. A producer like Terry Date will not approach a vocal for the Deftones in the same manner Jim Steinman might approach a Meat Loaf recording. Even at the highest levels of the industry, approach can be radically different.




Depending on the vocalist, an engineer may determine it necessary to use a ‘pop screen’ or ‘wind screen’. The purpose of this device is to soften the ‘sibilance’ or hissing noises associated with singing. It might also prevent you from spitting into an expensive microphone. The distance one should sing from the microphone depends on a number of variables. Again, think it through, and don’t be afraid to experiment.

Unless all indications suggest to the contrary, go with the flow. In other words, don't rock the boat. Become a part of the process. Learn all you can about recording, and keep an open mind. A strong vocal track can make or break an otherwise average recording. It is our goal to recognize the difference.

Recording Keyboards and Synthesizers

Sound and Recording
B. Thomas Cooper
Editor

Over the years, I have learned not to be surprised by people who go to great lengths pontificating on subjects they no nothing about. Unfortunately, this happens far too often, and the subject of recording synthesizers has proven no different.

For starters, it is very rare to record a synthesizer running through an amplifier during a studio session. I have known exceptions, of course, but not many. This is simply bad science, and is not indicative of the process. Put away your microphones, we are running this baby direct.


B. Thomas Cooper

As a staff producer for the legendary Power Station, I worked on an array of projects, ranging from standard Jazz to Meat Loaf. Most of the Meat Loaf keyboard arrangements were recorded meticulously over a period of many months. This was usually assigned to a studio wizard by the name of Jeff Bova, who worked in his own facility, with no other musicians in the room. He would have little use for an amplifier under these conditions. A good set of headphones however, were of priceless value.

Live recording is somewhat different, but even then, a direct signal is tantamount. Unless the sound you are trying to achieve can only be accomplished through an amplifier, why would we even haul the amp out of the closet?

Furthermore, and like it or not, when a major act records live, you can bet the bank the recordings were brought back to the studio, where entire parts are added or re-recorded. A keyboard part run through an amp would likely be replaced for fidelity reasons alone. This is big business, folks. We don't make junk when we don't have to.

Still, feel free to experiment as you wish. There are no hard and fast rules that can't be broken. Recording should be fun, and the results artistically satisfying. Approach each aspect of recording with an open mind, and again, by all means, enjoy the experience.

Fresh As a Daisy - Chasing Unique Sounds

Sound and Recording
B. Thomas Cooper
Editor

For myself, one of the more intriguing aspects of the recording process is the merging of art and Science. When the two work in tandem, the results can be magical.

As such, it has long been the desire of many an artist or producer to create fresh sounds, something indeed unique. Predictably many long studio hours have burned away during such pursuit. Guitar tone, drum sounds, even vocal treatments are fair game, but just how much of this is really necessary?

For starters, let's try to focus on the song. When the song is right, it will usually tell you what it needs. A good producer will often recognize a songs strengths or weaknesses rather quickly. It's all about the song. A good song will always outshine the production sensibilities.

Of course, over the years there have been a number of songs that greatly befitted from unique recordings. Early examples include Do the Mess Around, written by producer Ahmet Ertegun and recorded by the legendary Ray Charles. The recording itself is of very poor quality, but the performance is truly and purely magical.

Another example of a unique recording comes to mind. Telstar, recorded by English producer Joe Meek, represents some of the most imaginative techniques ever applied to recording. Of course, Joe himself was more than a tad unique. I strongly recommend his work to anyone interested in the history of recorded music.

There are many more. Crimson and Clover, by Tommy James, and more recently, the early recordings of Nine Inch Nails, and industrial genius, Scraping Fetus From the Wheel. In each case, the uniqueness of the recordings were tantamount to their appeal.

The question as to how one should approach such a process is subjective at best. Obviously, if creating fresh sounds was really that easy, everyone would be doing it, which is far from the case. Let the song dictate what it needs and try to keep an open mind. Most of all relax and enjoy the ride. This is your experience. Make the best of it.

Exploring Pre-Production (Things to do in Preparation for a Recording Studio Session)

Sound and Recording
B. Thomas Cooper
Editor

As we have touched on in previous articles, properly preparing for a studio recording session is unlike preparing for a live gig. Each present a unique set of variables, both which we desire to attain at least some degree of understanding, and perhaps eventually even mastery.

A band should be well rehearsed before entering the studio. Know your material well. Work on getting your lyrics down straight and your parts as tight as possible. Take some time to define the melodies and any harmonies. Be sure the drummer and bass player are playing in the pocket.

As a staff producer for the world famous Power Station Studios, I quickly gained a reputation for pushing the song, rather than the players. Divorce yourself from your ego and play for the song. This is what the great one’s do best, and they do it instinctively.

I strongly suggest recording rehearsal whenever possible. I also suggest you get in the habit of playing along to a click track, or metronome sooner rather than later. Being in my late forties, I’ve heard every stupid excuse imaginable for not playing to a click track. My advise? Get over it!

There are other considerations. How familiar are the musicians with playing with headphones? Different music requires radically different headphone mixes. This alone can determine whether the session is a success or a failure, and is far too often overlooked.

On occasion, young bands would show up at the studio with a record deal, but no drumsticks or guitar strings. Needless to say, these bands had not been doing any serious pre-production. Show up prepared. If your drummer needs new drum heads, by all means, buy them. Procure extra strings, and rehearse. It is not a crime to relax before a session, but don’t over party. The studio is your chance to shine, through your recordings, rather than in spite of them.

Recording Acoustic Guitar, Pt. One Revisited

Sound and Recording
B. Thomas Cooper
Editor

Who says recording an acoustic guitar is difficult?

Oh contraire, my friends. Recording an acoustic guitar is no harder than recording any other acoustic stringed instrument. Oh sure, some simple sonic rules apply, but certainly nothing worth getting high strung about.



I’ll begin by addressing a few of the common misconceptions. Most microphones are designed with a general recording purpose in mind, but there are few hard and fast rules that apply to recording. Although a particular mic may seem appropriate for the setting, there are few guarantees. No two acoustic guitars sound alike, no two rooms sound alike, and no two players play alike. Each recording presents a different set of variables.

Some folks believe a good acoustic guitar sound can only be accomplished by placing the microphone inside the sound-hole of the acoustic. My advise is to forget such nonsense, as it falls dangerously far from the truth, and almost always results in a very poor recording. Even a high quality contact condenser mic mounted inside the instrument produces a compromised result and is generally not used for serious recording. You don’t stick your ears in the sound hole when you listen to an acoustic guitar do you? I certainly don’t.

Indeed, microphone placement is key to recording any acoustic instrument, but it need not be difficult. An acoustic guitar has wonderful ambient and dynamic qualities, often overlooked or misunderstood. Try backing the mic away from the guitar a few inches, pointing the diaphragm toward the sound-hole. Relax, and let the instrument breathe. Changing the axis alignment of the mic, even ever so slightly, can produce startling results. Most importantly, listen for the subtle changes, and learn what is meant by ‘critical listening’. Don’t settle for the first sound you dial in. Take your time, and by all means, enjoy the process.

Microphone Placement for Recording Amplified Guitar

Sound and Recording
B. Thomas Cooper
Editor

I recently spent a couple of very short hours advising some rather talented friends of mine on the fine art of properly ‘micing’ a guitar cabinet for recording. Over the course of the evening it occurred to me even the finest seasoned musicians can use a refresher course on common sense every now and then. Myself included.



Fortunately, this group of guys tend to be sensible by nature, a rare commodity for musicians as a whole. Our goal was to record ‘scratch tracks’ of the lead guitar lines for two tunes, and ‘keeper tracks’ for a third. We were recording in Sonar Studio Pro, I believe, an inexpensive, but highly recommended digital recording software.

Scott, the guitarist for the project attended the ‘old school’ of ‘big rock‘, if you catch my drift. We’re talking the classic, early sixties Gibson SG through a Marshall half stack. Of course, the Marshall ‘four twelve’ cabinet needs to be kicked pretty hard, just to get the old girl to bark. (translation: the amplifier needs to go to eleven) This is where our story really begins.



We are set up in a living room, with the computer and various interfaces off to one corner. The Marshall amplifier has been rolled into an adjoining bedroom. The occupant of room, along with his pet Salamander, have been given the boot.

We set the cabinet in the bedroom pointing the speakers toward the right side of the corner, across the length of the bed. We are careful not to point the cabinet directly at the wall, or directly into the corner, as both may produce unwanted response. Sound travels much like water. A pebble in still water will create even concentric ripples, whereas a larger stone is apt to make quite a splash.



At higher decibels, sound also tends to make quite a splash. Especially so, in cramped quarters. One of our greatest concerns will be avoiding the afore mentioned, and truly dreaded ‘square wave’.

The cabinet is about three feet from the edge of the mattress, at perhaps a forty degree angle. It is obvious the old Marshall tube amp will not produce the desired tone at a lower volume, so we don’t even drive down that alley.
Instead we concentrate on controlling the physical properties of sound.

A small collection of throw pillows are arranged on the edge of the mattress to create very subtle baffling. I don’t throw a blanket, or any other object around the cabinet. It normally isn’t necessary.

Next comes the actual ‘micing’ technique. ‘Micing’ is the term used to describe the process of microphone placement. More often than not, microphone placement is a forgotten art form. It is a process often neglected, or simply misunderstood.

There are no hard and fast rules. Use your imagination. That having been said, let’s discuss our situation before progressing any further. Simple guitar tracks, right? Perhaps.

One microphone, or two please? Would you like your sound dry and boxy, or would you prefer a tad of ambience? In other words, do we place the microphone close to the speakers, or far away. How close, or how far away, and why? Does the type of microphone make a difference?

For this situation, I highly recommend an ordinary, medium priced Dynamic microphone. Nothing fancy, mind you. Here’s my reasoning. The polar pattern of most dynamic stage mics responds most favorably within five to fifteen inches of the sound source. Get much closer, and the mic starts to get a little punchy. Back off too far, and the mic doesn’t reproduce transients. Transients are those are the little things, the stuff of which your sound is made of. We really don’t want to lose them in transmission.

The cabinet we are ‘micing’ contains four standard twelve inch Celestion speakers. Our goal is to place the mic close enough to catch the little things but far enough so as not to do the freak. Here’s a few quick don’ts. Don’t ever drape the mic over the front of the cabinet. Sound doesn’t work that way. Don’t ever put the microphone directly against the grill cloth or speaker.
Don’t ‘mic’ the center of a four twelve cabinet, and don’t point the microphone directly at the center of the speaker. That round looking thing in the center of the speaker, well, that’s a dust cover. It does not reproduce sound. Whenever possible, aim the microphone at an angle parallel to the paper of the speaker cone.

We set the mic about s foot or so from the cabinet, and after a quick listen, we moved the microphone forward perhaps two inches. It was all very simple, and very productive. Very little time was squandered twittering knobs and wiggling stands.

The session was a success on multiple fronts. Scott got to keep his tone, and Jon, the producer, got to keep his sanity. It was a pleasant evening for all. The moral to this story? Think about what you are trying to accomplish, take your time, keep it simple, and by all means, enjoy the process.

More Tips For Recording Vocals

Sound and Recording
B. Thomas Cooper
Editor

When it comes to recording vocals, misconceptions abound. So many wonderful singers, so little dependable information. We are all instantly capable of recognizing a strong vocal performance, but what goes into capturing that performance usually isn't so obvious.

It all starts with a good singer and a good song. From there, choose a reliable microphone. Many engineers prefer using large diaphragm condenser microphones, but I have no preference. After thirty years of intensive studio experience I have learned to rely on the vocalist, not the microphone. While working as a staff producer at the world famous Power Station Studios, I had at my disposal, nearly every mic imaginable. One quickly learns that not every vocal should be captured with an expensive ribbon mic. Think hard about what it is you're trying to accomplish. Feel free to experiment.



Remember, good microphone technique and proper singing habits will profoundly effect your vocal performance. A mic can only capture what you produce. Once the performance has been captured, it can be enhanced through various means, including reverb, compression, etc. but all the reverb in the world will not drown out a bad performance.

Singers tend to be a finicky lot, a fact I can personally attest to. Still, no two vocalists are alike. Do whatever it takes to make the singer comfortable and confident. A good headphone mix is crucial. If you can't hear what your doing, you stand little chance of doing it well. I can honestly say the Power Station had the best headphone systems I have ever experienced. It is little wonder to me why the studio produced so many hit records.

From here, things get somewhat slippery. A producer like Terry Date will not approach a vocal for the Deftones in the same manner Jim Steinman might approach a Meat Loaf recording. Even at the highest levels of the industry, approach can be radically different.

Unless all indications suggest to the contrary, go with the flow. In other words, don't rock the boat. Learn all you can about recording, and keep an open mind. A vocal track can make or break an otherwise average recording. It is our goal to recognize the difference.

Submitting Your Demo to a Record Company or Producer

Sound and Recording
B. Thomas Cooper
Editor

It's the dream of every aspiring musician. Whether one is a member of the hardest working club band in town or the next fresh face on American Idol, rest assured they long for a crack at that mythical pot of gold, the recording contract.

But what exactly is a recording contract? If you just shrugged your shoulders you answered correctly. You see, there are as many types of recording contracts as the mind can imagine.



As a staff producer for Power Station Records, one of my duties was finding and developing new talent for the label. In the music industry this is usually referred to as A&R, or Artist Development. The larger record labels may have several persons working A&R. None of them think alike and thus each may specialize in a specific genre. Furthermore, just because one guy in the office hates your new demo doesn't mean everyone else in the room feels the same.

A motivated musician learns quickly to become a resourceful musician. The old clich that one gets but a single chance in this business was not true twenty years ago and it's not true now. If you really want it bad enough, you will do whatever is necessary to bring your talent to the attention of the industry.

Although some might wish you to believe otherwise, record companies are not magical entities controlled by super-humans. They may sometimes appear larger than life but behind the curtain the man pushing the buttons needs you as bad as you need him. Believe me; if records companies thought they could make their millions without developing new talent, they would have attempted it long ago. Without you, the talent, the entire faade that is the music business, would crash to the ground.

Try not to feel intimidated by the scope of your endeavor. Surround yourself with equally talented people and learn everything you can about your craft. When approaching a record company or a producer with your demo be confident and be prepared. No-one expects you to hand them a finished record, but if you don't take your craft seriously, why would you think these individuals would take you seriously? Be sure you present yourself in a professional manner. Hire a reputable photographer and be prepared to hate every single photo. Like it or not, repeat the afore-mentioned process until the desired results are obtained. Having a friend or family member shoot your photos is generally not a good idea, unless of course this person happens to be a photographer.

Find some-one to write a bio that doesn't read like a bad book report. You really only need three or four paragraphs. Go light on the clichs, stuff like talent shows and battles of the bands. Be sure to have your contact information at the top of the page and be absolutely certain your contact number appears on the actual cd itself, as it is not uncommon for the cd to become separated from the jewel case.

Here comes the fun part.

Once you have your package organized and ready for presentation, I want you to pay a visit to your neighborhood office supply. Ask an employee to escort you over to the 91/2 X 121/2 clasp envelopes.
Select the most brilliant solid color available, like bright green or orange.

You see, somewhere within three point range of the A&R persons desk is a large cardboard box or plastic bin filled to the brim with demo packages, many which get neglected for no better reason than because it's lost in the pile. I always recommend you contact the person you are sending the package to, and let some-one know it's on the way. You should always follow up with a phone call as well. E-mail is nifty, but in this instance, it's apt to be ineffectual. Don't ever assume anyone on the receiving end will have any idea where your package went. This is where the large, brightly colored envelope pays off in spades. It's infinitely easier to pick out of the pile.

It is true that many of the larger record companies don't accept 'unsolicited materiel' but what does that mean, really? Truthfully, it makes good business sense for these behemoth companies to adapt such policies, as it limits possible copyright disputes. Don't let this minor little speed-bump deter you. Fear not, brave heart, there are limitless avenues one can pursue. Once again, I implore you to take yourself and your craft seriously. The best advice I can offer is to do your homework and do it well. Don't focus your energy on landing a record deal. Instead, I suggest you prepare yourself to be ready when opportunity comes knocking.

Go Session Cat, Go!

Sound and Recording
B. Thomas Cooper
Editor

So you want to be a session cat'.
Way cool, daddy-O! After all, those cats just may be the coolest musicians you'll ever work with, even cooler than the big stars themselves.



What's so cool about being a session cat, you ask? Well for starters, good old fashioned professionalism goes along way in this business. It's not about how many notes, or how many decibels, or even how agro' you may look with that new tattoo on your forehead. Being a session player requires a disciplined attitude toward your craft, and a level of musicality usually not appreciated by the average player. It means showing up early and being well prepared. It means listening to the ideas of the artist or the producer. Most importantly, it means learning to listen to music in a whole new way.

A great session player always plays what is right for the song. A drummer plays for the pocket and the bass player lays down the groove. I can't stress how important it is to build upon a theme, not on top' of it. As a staff producer for the legendary Power Station Studios I was fortunate to work alongside some of the most sought after session players in the industry. I needed only a few minutes to understand why they were the go-to guys,
because they had earned it.

Ego is the killer of all good ideas, and seems to prey hard on musicians. When at all possible, leave yours at home. Instead, show up at the session with an open mind. A bad attitude will not impress the producer, nor will drugs or the like enhance your playing. Show up ready to work. Making music should be fun, but business is business. Stay focused. Learn all you can about your craft, and by all means, enjoy the experience.

Tips For Recording the Acoustic Guitar Pt. One

Sound and Recording
B. Thomas Cooper
Editor

Who says recording an acoustic guitar is difficult?
Oh contraire, my friends. Recording an acoustic guitar is no harder than recording any other acoustic stringed instrument. Oh sure, some simple sonic rules apply, but certainly nothing worth getting high strung about.



I’ll begin by addressing a few of the common misconceptions. Most microphones are designed with a general recording purpose in mind, but there are few hard and fast rules that apply to recording. Although a particular mic may seem appropriate for the setting, there are few guarantees. No two acoustic guitars sound alike, no two rooms sound alike, and no two players play alike. Each recording presents a different set of variables.

Some folks believe a good acoustic guitar sound can only be accomplished by placing the microphone inside the sound-hole of the acoustic. My advise is to forget such nonsense, as it falls dangerously far from the truth, and almost always results in a very poor recording. Even a high quality contact condenser mic mounted inside the instrument produces a compromised result and is generally not used for serious recording. You don’t stick your ears in the sound hole when you listen to an acoustic guitar do you? I certainly don’t.

Indeed, microphone placement is key to recording any acoustic instrument, but it need not be difficult. An acoustic guitar has wonderful ambient and dynamic qualities, often overlooked or misunderstood. Try backing the mic away from the guitar a few inches, pointing the diaphragm toward the sound-hole. Relax, and let the instrument breathe. Changing the axis alignment of the mic, even ever so slightly, can produce startling results. Most importantly, listen for the subtle changes, and learn what is meant by ‘critical listening’. Don’t settle for the first sound you dial in. Take your time, and by all means, enjoy the process.

Learning to Avoid Damage to Your Voice

Sound and Recording
B. Thomas Cooper
Editor

The human voice is a unique and complex musical instrument. It is my principle instrument, and one I have spent years learning to master. Although I play many instruments, it was always my voice people wanted hear. Try as I might to establish myself as a respectable instrumentalist, there was always someone with better guitar chops, but a strong vocalist was and remains a rare commodity.

I love to sing. I cannot calculate how many hours I have spent singing. I sing on stage, I sing in the studio, rehearsal and yes, sometimes I sing in the shower. (try that with your electric guitar). It seems obvious then that I would want to learn everything available about my instrument and my craft, don't you agree?

Sadly, many young singers overlook the value of learning more about themselves. Many singers, especially those in the rock or punk genres, fear such information will somehow taint the authenticity of their art form. Oh contraire, ye of bruised larynx. In the event your new snare drum should take a nasty fall down a flight of stairs, it can usually be replaced with little difficulty. Your voice, on the other hand, cannot be replaced so easily.
Damage your throat and you risk your dream.

Don't think I'm not aware of the nerd quotient. I realize how ridiculous those ads look, the ones touting vocal technique. I get queasy every time I see one. Here's my advise get over it.

Mozart took piano lessons and Michelangelo took drawing lessons. There are no good reasons why a singer shouldn't seek out professional vocal training. I can't stress how important this is to anyone considering a career as a singer.

How To Copyright Your Songs

Sound and Recording
B. Thomas Cooper
Editor

For some inexplicable reason, many musicians are anxious about copyrighting their musical compositions. Anxiety is fear of the unknown, and indeed, it's amazing how little the average musician knows about the subject. Here's the low-down, my friends it's really not that scary.

Copyright forms can be obtained free of charge from the US Copyright Office, located in the Library of Congress. Needless to say, but I will anyway, they also have a website, and the last I knew the forms could be downloaded for free. You don't need to write out the notes or any of that tedious stuff. That went out way back in the seventies. Now all you do is fill out a simple form identifying the song and the composer(s), place a cd of the song into an envelope along with the form, and mail it to the Copyright Office. Oh, and there is a nominal application fee of $45.00 (payable to the copyright office), but don't let that stop you. It's worthy every penny.



Now I know none of you really want to hear this, but I strongly suggest you not rely on the so-called poor man's copyright', as it turns out to be more folklore than fact. Having worked on the inside of the industry for many years, I am not aware of a single example of where a poor man's copyright held up in a court of law. It is generally just a myth. Furthermore, I doubt very seriously you are so poor you can't afford a few bucks to protect your writing.

Send your package to:
Library of Congress
Copyright Office
101 Independence Avenue, S.E.
Washington, D.C. 20559-6000

Here is the website address for the US Copyright Office:
http://www.copyright.gov/

Building a Respectable Home Studio

Sound and Recording
B. Thomas Cooper
Editor

Once upon a time, not too long ago, mind you, building a respectable home studio' required a rather substantial investment in time and money. Back in the day, so to speak, we were still recording in analog, and a decent eight track tape machine cost a few thousand dollars at a minimum. Then there was the console (desk, mixer, etc.) consisting of perhaps twenty-four channels, which cost another couple grand. Of course, no home studio was complete without at least a couple racks of outboard gear. We had doozles and raddoids and multiple compressors and delay devices, each guaranteed to muddy up the mix. All of this was then routed together with cables and wires and strewn about in disarray. Getting it all to sound good was never an easy task.












These days things are little different. The advent of digital technology has changed much about how we record sound and music. Oh, we still have our share of doozles and raddoids, but now they are called add-ons' and they are included in the recording software. Most of the clumsy cables have long been chucked into the trash. We like to run a clean shop around here.

Over the years, I have designed and overseen the construction of countless studios. It's one of those things I do. From coast to coast, from sea to shining sea. Big rooms, little rooms they are all the same. The trick is to create an environment conducive to the recording process. The best advice I can give is learn to keep your sound pressure levels under control. Deafening volume levels are not a good idea in small enclosures. When in doubt turn it down.

There are numerous companies offering digital recording software at reasonable prices. Take your choice. For beginners, I would recommend Sonar for the initial recording and SoundForge for the mastering process. It's really not as hard as it sounds, and these days even a caveman like me can afford it.

Sound and Recording - Achieving a Brighter Vocal

Sound and Recording
B. Thomas Cooper
Editor

Let me guess,
Your lead singer doesn't seem bright enough. Chances are, he isn't.

Don't be too hard on him. It may be no fault of his own. Try as he might, his vocals simply won't cut through the dense fog rolling from the rhythm section. It's a common problem, and one I'll attempt to address, although I'll readily admit a little trepidation.

Much is dependent on the sound pressure levels in respect to the timber and projection abilities of the vocalist. Obviously, a live performance presents a considerably different set of variables than that of a studio recording. The two are as different as they are the same.

A brighter' vocal sound can be achieved a number of ways. Start by choosing an appropriate microphone. Unfortunately, what may seem the right mic tonight may not seem right tomorrow. When changes occur, even subtle ones, it often becomes necessary to switch microphones. An aware engineer may even determine to swap microphones from one song to the next.

Good microphone technique and proper singing habits will profoundly effect your vocal performance. A mic can only capture what you produce. Once the performance has been captured, it can be enhanced through various means, including reverbs, compression, etc. but all the reverb in the world will not drown out a bad performance.

A bright' vocal will tend to cut through the mix, like a megaphone, or the p.a. system at the racetrack. However, it is worth noting that a bright' vocal risks becoming strident, or worse a shrill distraction, plagued by incessant feedback. Sound familiar?

The cure requires patience and practice. Learn all you can about your craft,
and don't assume you know all the answers. Just keep plugging away, and before you know it, you'll be performing to sold out crowds of adoring fans, at which point you may conclude your vocalist seems a little brighter than usual.

Welcome to Sound & Recording

Welcome to Sound & Recording

The blog starts now.
Join us as we navigate the seas of sound and the realities of recording in an ever changing environment. We hope to keep it real, and we hope you find us useful as you grow with us…
Musically speaking, of course.


Dial us in from time to time, and please tell a friend. An informed musician is a happy musician.

Chow for now,
Brad