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.

Diamond Dave vs. Elvis Costello, Once More for the Glory Days

Sound and Recording
B. Thomas Cooper
Editor


The more things change, the more they stay the same. The year is 2007, but it sure feels like 1984. Why you ask? Well for one thing, I’m writing about David Lee Roth and his nemesis Elvis Costello in the same article.

I believe it was none other than David Lee Roth who once stated: "Rock critics like Elvis Costello because they look like Elvis Costello." David whom, you ask? My reply is, precisely. You see, it was also DLR who famously remarked: "Here today, gone later on today."

Perhaps both statements bear merit, with one distinction. David Lee Roth is a goner, and the rock critics are still writing about Elvis Costello, albeit, he's no longer this years model. True, David has rejoined the Van Halen brothers for an up-coming-reunion tour, but I wouldn’t hold your breath. We’ve all been down that road before, and it’s barricaded. Elvis, on the other hand, never really went away, releasing new music every year or so.

Elvis was born Declan Patrick MacManus on August 25th, 1954 in London England. A gifted songwriter, his quirky demeanor was quickly embraced by the early British punk movement. Costello's first album, My Aim is True' was released early summer of 1977. The album cover featured the now infamous photo of Elvis looking like Buddy Holly. The album spawned two classic singles in America, Alison, and the haunting Watching the Detectives'.

Elvis Costello has often been credited with possessing a virtual encyclopedia of songwriting ability. Three decades and countless releases into his career, critics still write about Elvis because he continues to be relevant in an irrelevant arena. Indeed, his contemporaries are mostly gone, with few exceptions. Elvis adapted to a career as an outsider years ago, and has come to represent the ultimate survivor. He is perhaps the most diverse and prolific songwriter of his generation.

Elvis Costello is currently touring Europe in support of his latest CD, Almost Blue', but don't shell out your hard earned cash expecting to see that skinny, knock-kneed kid from the seventies. Elvis has matured, as has his music. He has redefined the accepted parameters of Rock and Roll and contemporary songwriting. Yes, Elvis Costello still resembles a record critic. An old, balding, bearded critic perhaps, but is that really so bad? Long live Elvis Costello, always more jester than king.

As for Diamond Dave, the jury is out. It’s an uphill climb for David and the boys, and frankly, I’m just not convinced Roth can get a grip. I'm afraid that ship has sailed for the last time, and is currently taking on water at an alarming rate. My advice: abandon ship. Women and children first, of course.

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.