To ensure that the vocal is mixed at the right level in the song, listen to the mix from outside the room and see if the song has the same balance as something you might hear on the radio. The vocals are the Continue reading “LISTENING TO THE MIX OUTSIDE THE STUDIO”
When you’re using prominent echo or delay effects on a vocal, try to get them in time with the song, either by calculating the delay needed to match the tempo or by using the tap-tempo facility if Continue reading “WARNING ON ECHO AND DELAY USAGE”
If you do have to de-ess the vocals, try to use a split-band de-esser rather than the simpler compressor with an equaliser in the side-chain, as the split-band approach produces fewer undesirable side effects. It’s always best to try to avoid sibilance by moving the mic slightly or by using a different mic, rather than trying to fix it afterwards. Pointing the mic slightly above or below the singer’s mouth sometimes helps.
Use reverb sparingly: vocals recorded in a dry acoustic environment need reverb to give them a sense of space and reality, but don’t use more than the song really needs. As a general rule, busy songs need Continue reading “USING REVERB (VOICING)”
Don’t run amok with the EQ: on most budget desks the EQ only sounds decent when used sparingly or to cut unwanted frequencies. Mid-range boosting usually results in a nasal or phasey sound, so use as little EQ as you can. If you’ve picked the right mic, and taken the time to fine-tune its position during recording, you shouldn’t Continue reading “BE CAREFUL WITH EQUALIZERS DURING VOICING”
Don’t gate the vocal while recording. A badly set-up gate can ruin an otherwise perfect take, so save gating until the mixing stage. Use the gate before any further compression, but don’t gate so hard that you remove all the breath noises preceding words, as these are part of the character of a vocal performance, and the recording will sound unnatural without them.
Use suitable compression — even well-disciplined vocalists tend to sound uneven against the very controlled dynamics of a pop mix, so it helps to apply a little compression while recording. Err on the side of using less compression than you think you will finally need, and use a compressor that has a reasonably neutral characteristic. Aim to achieve 5-8dB of gain reduction on the loudest signal peaks, and if the compressor has an auto mode, use it.
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Where possible, mount the microphone on a stand. Only let the singer hold the mic if to do otherwise would compromise their musical performance. When the singer is hand-holding a mic, particularly if it’s a cardioid model, make sure they Continue reading “KEEP TRYING TILL YOU GET THE BEST VOICE MIX”
After the “SONGWRITING” We have been discussing on a fresh topic “VOICING” If you’ve got a storming vocal on tape you’re halfway towards a great production. T.A.J music team offers some tips on perfecting this most important of recording skills.Even if all the music you make is created via MIDI, the chances are that at some time or other you’ll have to record vocals using the traditional tools of a singer and a microphone. The vocal line is invariably the focal point of a song, so it has to be good, and because the human voice is the natural sound with which we are most familiar, any flaws in a vocal recording are immediately evident. Fortunately, providing you have a vocalist who can sing in tune, getting a good vocal sound isn’t rocket science — you just need to follow a few basic guidelines, and perhaps take advantage of a few tricks of the trade to help you get a professionally produced vocal sound.
Use mic technique to help control level: if the singer can be persuaded to pull back from the mic slightly when singing louder notes, there’s less risk of Continue reading “MIC LEVELING TECHNIQUE (STILL ON VOICING)”
Minimise the room’s influence on your sound. The mic picks up both direct sound from the singer and reflected sound from the room. Reduce the room’s contribution by keeping away from the walls and by improvising screens using sleeping bags or duvets behind and to the sides of the singer.
Put the mic at the right distance, because if you get too close to it you’ll increase the risk of popping and the level will change noticeably every time the singer moves slightly. Cardioid mics also exhibit a bass-boost ‘proximity effect’ that varies as the singer’s mic distance varies. On the other hand, if the singer is too far away from the mic the room reflections will colour the sound, making it seem remote and boxy. As a rule, a mic distance of around six to nine inches (15-24 centimetres) is ideal.
Pick a mic to suit the singer. Singers with thin or excessively bright voices may actually sound better with a Continue reading “BE CAREFUL OF MIC DIFFERENCES”
Use a good microphone: it doesn’t have to be anything too special, but you should avoid low-cost ‘bargain’ models or those designed for use with home stereos or portable cassette recorders. Professional studios generally use capacitor microphones
, but in the project studio a good back-electret mic or even a good dynamic vocal mic can produce excellent results. It determines how good your voicing would be.
it is good to always have a compatible STORAGE system that can store any files and can be used remotely by any device to recover the files, when recording your songs in the studio session, make sure you record all the sessions on a DEVICE, it might serve a purpose later, especially when remixing a song
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Always use a pop shield between the singer and the microphone. Failure to do so will almost certainly result in unnatural ‘pops’ on plosive ‘b’ and ‘p’ sounds that can’t be Continue reading “USING A POP SHIELD ON THE MICROPHONE (VOICING)”