Developing your own style and sound

B. Thomas Cooper - Editor

Sound and Recording - blogment - National News wire - The Infinite Echo

I recently began production on two albums worth of material for two different artists. Rather than record these projects at an established studio in the Phoenix area, we chose instead to build a facility, allowing for greater creative freedom.


Last night we tightened the proximity on the drum mics, resulting in greater punch and articulation. We also discussed stylized recording techniques, such as the Philly or Memphis sound, and the variety in approach... and how these variations have developed over time.

Surprisingly, each city has a tendency to develop a sound that is unique to the region. NYC, Memphis, Philly, Seattle, L.A. Nashville, Toronto, Detroit... each has its own recognizable sound.

My point is that the success of a record is seldom if ever the result of the snare treatment or technical wow! A good record is the result of focusing on any number of creative factors, and nurturing an environment conducive to the creative process. Countless million dollar studios have failed, not due to lack of the latest recording innovations, but because of a lack of understanding.


When I worked at the Power Station, I noticed early on that many engineers attempted to divine magic by imitating sonic trends, rather than allow the sounds to grow and shape naturally. I also became aware of the fact that nearly everyone was afraid the next big sound would come from a kid with a broken four track in his basement. My advise... don't go there!


Instead, we are best served to develop a game plan that can be successfully implemented using the creative tools at our disposal. Expensive mics are nice to have around, but a good performance is much more important. As a vocalist, I have developed a reputation for sounding good through even the crappiest microphones. This happens because I have confidence in my voice to carry the performance, rather than rely on the mic to make me sound good. If I down a handful of suck pills before a vocal performance, there is nothing an expensive mic can do to save me.


There is a fundamental difference between a great recording and a great record. Countless great recordings never see the light of day, but a great record is instantly recognizable... Making a good recording is the easy part. Making a good record, however, requires something a little special.


Brad

B. Thomas Cooper - Editor

Sound and Recording - Sound Foundation - National Newswire - The Infinite Echo - Impeachment Now! - Skate the Razor -
Skate the Razor Blog - blogment

More Tips For Recording Vocals

B. Thomas Cooper - Editor

Sound and Recording - blogment -
National News wire - The Infinite Echo

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.

B. Thomas Cooper - Editor

Sound and Recording - Sound Foundation - National Newswire - The Infinite Echo - Impeachment Now! - Skate the Razor -
Skate the Razor Blog - blogment

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.