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.

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.

Choosing the Right Microphone

When choosing the right microphone for a particular application, an array of external variables come into play, including room acoustics, microphone placement, frequency response, sound pressure, etc. For this reason, different types of microphones are designed to address different sonic properties.

A microphone works by converting acoustic energy into corresponding electrical voltages, through a process known as transduction. There are various methods by which this process can be accomplished, however, the two most common types of microphones used in recording are the dynamic and the condenser.

With a dynamic microphone, a moving conductor cuts the magnetic field of force to produce electricity, or signal. There are two basic types of dynamic microphones, the ribbon mic, and the more popular, moving coil dynamic, in which a coil of wire is suspended within a magnetic field. Sound-waves strike the diaphragm, causing it to vibrate. This in turn causes the coil to vibrate, generating the desired signal. With a ribbon microphone, a thin strip of metal foil (the ribbon) is suspended within the magnetic field. Again, sound waves cause the ribbon to vibrate within the field, resulting in transduction.

There are dozens of companies who manufacture dependable, reasonably priced studio microphones. So many in fact, it would be nearly impossible to discuss all of them in this article. Therefore I will limit my suggestions to a handful of the more popular microphones
readily available at an affordable price.

Shure Bros. SM-57 & SM-58

Manufactured by Shure Bros. for decades without ever undergoing any notable changes.,
these two dynamic microphones have been the foundation of countless legendary recordings. Every studio, no matter how large or small, should seriously consider keeping a couple of these little workhorses around.

The SM-57 produces a unidirectional pattern, limiting unwanted noise, while capturing a warm, fat response. This mic is great for recording loud guitar amplifiers, horns, vocals, etc. and can usually be purchased new for around $100.00

The Shure SM-58 produces an omni-directional pattern, and is great for lead vocals. I have used this microphone for nearly every imaginable recording at one time or another. When all else fails, the SM-58 can always be depended upon for a clear, even response. Like the SM-57, this mic is also available new for around a hundred dollars, and is worth every dime.


The Electrovoice RE-20, another workhorse of the industry, and found in nearly every major studio in the country. Created especially for critical recording, broadcast and sound re-inforcement, the RE-20 produces a flat but fat response over an unusually wide frequency range. This is the microphone most often associated with radio broadcast (disc Jockeys, etc) and is ideal for applications involving sound pressure in excess of 160 dB.
The RE-20 can be purchased for around $400.00.

I would also recommend the AKG C-414. With five polar patterns, this is indeed a versatile microphone, although some may find it a little pricey, as it usually sells for just under a $1,000.00 This microphone is ideal for vocals, brass and woodwinds, and is often a favorite for film scoring.

Predictably, as you become more familiar with the recording process, you’re microphone collection will grow accordingly. Don’t be afraid to experiment with whatever mics you may have available, as there are no hard and fast rules. Information on the subject is vast and easily obtainable, but nothing beats good old hands on experience. Recording should be fun.
Take your time, and enjoy the experience.

B. Thomas Cooper