Recording Vocals (Part Two – The Microphone) by Breck Alan
Part Two of the Five Part Series "Recording Vocals" by Breck Alan will explore various microphones used for this task in the studio.
Recording Vocals (Part Two – The Microphone) (click here) by Breck Alan
The elusive “magic” vocal track is an age-old drama in the recording world and no matter how good technology is getting, recording vocals is still an art form in and of itself. There are several factors involved. In Part One of this series we talked about the “Room.” In Part Two we will discuss the “Vocal Mic.”
This often takes a lot of trial and error and no one mic is perfect for every vocalist. A lot of producers both new and old refuse to be fussy and choose mics that fit most easily into the mix. This is especially true if it’s a highly produced song with a lot of things going on. I’ve seen some very high end recording situations where producers use a Shure SM 57, 58 or SM-7 instead of the many much more expensive mics available to them. Many singers that have had unsuccessful recording sessions using high-end mics actually remain loyal to these cheaper mics throughout their career. Cheaper dynamic mics act as a kind of filtering device and help tame and flatter the qualities in the singing voice that high-end super detailed mics tend to reveal. I personally don’t tend to use the lower end mics very often as I feel they lack the detail and dimension I like to hear in vocals, but I’ve been fooled a lot of times by how good they can sound in the right situation, often when used for rock vocals. Certainly, for more stripped down situations (voice and just one or two other instruments) you will be very glad to have a nicer mic. The detail and dimension gained from a high-end microphone is a glorious thing. It’s also very important to remember that the classic situations (Bono Shure 58, Sheryl Crow and James Hetfield SM7 etc.) where an inexpensive dynamic mic is used are also situations where the rest of the gear used is incredibly powerful outboard gear and consoles (we’ll talk about recording with outboard gear in the next 2 installments of this series) which makes a huge difference in the quality of the recording.
Mics are typically referred to as bright, dark or neutral (clean). Of course different types of bright and dark exist. The classic Neumans have certain raising characteristics in the upper mid range with some dips in frequencies in certain harsh areas and then rise again in the upper frequencies. This makes vocals with these mics stand out in the mix but also gives them a pleasing smooth quality. But some vocalists will just tickle the wrongs spots in any given mic and make it come off as glassy, hard, spiky and spitty. That’s when you try to either find a better combination of pre amp and possibly compressor for this mic with this singer and song, or if it’s just too much fighting, then you reach for a different mic. Which one of these denominations you choose will depend on the singer, the song, the room you’re recording in and the type of mix you’re going for. This is one reason that people often get the wrong idea about certain mic. I’ve heard a lot of examples where a singer sounded horrible on a great mic only because the other components (mic pre and or compressor) where inappropriate for the specific singer or song. More on mic pres and compressors later.
Probably the best place to start in choosing a higher-end mic for recording vocals is with a large diaphragm condenser mic. Of course the classic places to start with a large diaphragm condenser (LDC), are with mics like the Neumann U87, AKG 414 and Sony C38. Many would classify the U87 as a bright mic, the 414 as a dark mic and the C38 as neutral. There have been a lot of variations on these models over the years and the different models can vary quite a bit. There are a lot of great companies on the market today making high and not so high quality LDCs in many assorted sonic colors. So do some research and start experimenting until you find the right mic (or mics) for you. I sometimes like a small diaphragm condenser (SDC) mic when I want the vocals to fit more tightly into a highly produced and loud mix. Again, this requires some experimentation. As you are experimenting with these mics (especially the condenser and tube versions) be sure and play with distance. If you have a good sounding room it’s quite often very helpful (especially in more dynamic pop/rock type vocals) to back off the mic 8-12 inches. Experiment with this, because how close you are or aren’t to the mic can really affect the bass response. This is called proximity effect. For some music it’s great to be close and have a huge fat bassy vocal. For other recordings it will just sound boomy and even dull. Back off and you’ll suddenly hear some space around the vocals that can make it sound much more natural in the mix. This is less true of dynamic mics as they are built to be sung very close to. You will need to use a pop filter if you are singing directly into the mic, which is much of the time in the recording environment. It’s good to use one of these even with a dynamic mic in a studio situation. The best way to position an LDC or Tube mic is up above the mouth at about eyebrow height, pointed down at the nose. This is often the very best overall angle to get the most balanced, resonant tone from the vocal instrument. If done right at about 10-12 inches from the singer, a pop filter is often un-necessary. If the singer constantly lifts their head to reach the mic, and or if it’s the kind of vocal that works best with a singer getting real close for the quiet parts and backing off for the louder parts, then definitely grab the pop filter.
Vintage tube mics are certainly a favorite among singers and producers for producing amazing presence, warmth and detail. They can be very costly though, and require a bit of know-how in choosing the right one. The classic places to start here are of course the Neumann U47, U67, M49, AKG C12 & Sony C37. There are a ton of other very cool vintage tube mics out there as well, that can sometimes be had for much less than these standard classics and still offer a lot of the qualities that we love in this kind of mic. As with mics of all types there are a lot of current companies doing a nice job making tube mics for a fraction of what the vintage classics cost. Given the choice it is very hard to compete with the originals but there are great vocals being cut every day on new mics. I’m a big fan of tube mics and find them well worth the extra expense, set up time and sometimes maintenance. This is especially true if you’re trying to get a very upfront natural sounding vocal. Not that intimate vocals can’t be done with other mics, but things will quite often fall into place a little easier with a nice luscious tube mic.
Another often times great vocal mic is called a ribbon microphone. These are notorious for being very soft, warm and natural sounding and can be great for either attaining a cool vintage sound or warming up a harsh sounding voice. The classic examples of ribbon mics for vocals are the RCA 44 and 77 series mics, and the Coles 4038. The downside of these is that they often lack the openness and sparkle of LDC and tube mics and require a mic preamp with a lot of gain to sound good. There are some great modern ribbon mics being introduced that address some more modern requirements and can often compete with LDC and tube mics in terms of clarity and usefulness in vocal recording. Probably the best I’ve heard are the AEA and the Crowley and Tripp ribbon mics. As usual, research and try some things out. It’s fun!
Next on the list would be dynamic mics. We went over these a bit already so I won’t indulge too much. These are the mics typically associated with live performance. Their greatest asset is often their rejection to sounds that aren’t coming right onto them at a close distance. They don’t tend to have the detail of the other types of mics we’ve already listed, but that is often the reason they are chosen over other mics for certain situations. Classic versions of these used in vocal recording would be the Shure SM57, SM58, SM7, Sennheiser MD421, MD409, EV RE-20, 635 and some other unsung heroes out there. Of all the dynamics mentioned the SM7 certainly gets the most rave reviews in recording contemporary rock music. If used with an appropriate preamp and compressor it can sound great with those singers with huge dynamics that often create various distortions on the higher end mics.
If imitation is the greatest form of flattery or proof of anything in terms of usefulness then the Neumann U47 is certainly the most imitated mic on the market. So much so that you have to be very careful with some companies spouting similarities. There are a lot of great sellers out there that will let you try things before you buy. That is a great idea with all things related to recording equipment. Tastes vary wildly and voices especially can be very particular and what works great on one doesn’t work at all on another.
I will just ad a quick note here on multiple micing techniques. When done correctly this can really give you your cake and eat it too situation when it comes time to mix vocals. The simplest example of this would be to use a combination of your favorite dynamic and LDC or tube mic. If you set the LDC or tube mice up as mentioned earlier (slightly above mouth, pointing down from 8-12 inches) then you have space to stick the dynamic right under it. This makes it pretty easy for the singer to sing close into the dynamic and be a good distance from the other mic. This combo works great as singer is going from soft to really loud in different sections of the song. You would typically use the LDC or tube in the softer parts and the dynamic in the louder parts. Obviously some finesse in the blending of the two mics is necessary but pays off nicely. To make matters even more fun I will often add a room mic to the equation. This gives me some nice distance and ambiance with the vocal and often serves as a natural reverb.
Join us in Part Three of this series to discuss mic preamps, compressors and EQs.
To contact Breck Alan or learn more about the Art of Body Singing please visit http://www.bodysinging.com
The elusive “magic” vocal track is an age-old drama in the recording world and no matter how good technology is getting, recording vocals is still an art form in and of itself. There are several factors involved. In Part One of this series we talked about the “Room.” In Part Two we will discuss the “Vocal Mic.”
This often takes a lot of trial and error and no one mic is perfect for every vocalist. A lot of producers both new and old refuse to be fussy and choose mics that fit most easily into the mix. This is especially true if it’s a highly produced song with a lot of things going on. I’ve seen some very high end recording situations where producers use a Shure SM 57, 58 or SM-7 instead of the many much more expensive mics available to them. Many singers that have had unsuccessful recording sessions using high-end mics actually remain loyal to these cheaper mics throughout their career. Cheaper dynamic mics act as a kind of filtering device and help tame and flatter the qualities in the singing voice that high-end super detailed mics tend to reveal. I personally don’t tend to use the lower end mics very often as I feel they lack the detail and dimension I like to hear in vocals, but I’ve been fooled a lot of times by how good they can sound in the right situation, often when used for rock vocals. Certainly, for more stripped down situations (voice and just one or two other instruments) you will be very glad to have a nicer mic. The detail and dimension gained from a high-end microphone is a glorious thing. It’s also very important to remember that the classic situations (Bono Shure 58, Sheryl Crow and James Hetfield SM7 etc.) where an inexpensive dynamic mic is used are also situations where the rest of the gear used is incredibly powerful outboard gear and consoles (we’ll talk about recording with outboard gear in the next 2 installments of this series) which makes a huge difference in the quality of the recording.
Mics are typically referred to as bright, dark or neutral (clean). Of course different types of bright and dark exist. The classic Neumans have certain raising characteristics in the upper mid range with some dips in frequencies in certain harsh areas and then rise again in the upper frequencies. This makes vocals with these mics stand out in the mix but also gives them a pleasing smooth quality. But some vocalists will just tickle the wrongs spots in any given mic and make it come off as glassy, hard, spiky and spitty. That’s when you try to either find a better combination of pre amp and possibly compressor for this mic with this singer and song, or if it’s just too much fighting, then you reach for a different mic. Which one of these denominations you choose will depend on the singer, the song, the room you’re recording in and the type of mix you’re going for. This is one reason that people often get the wrong idea about certain mic. I’ve heard a lot of examples where a singer sounded horrible on a great mic only because the other components (mic pre and or compressor) where inappropriate for the specific singer or song. More on mic pres and compressors later.
Probably the best place to start in choosing a higher-end mic for recording vocals is with a large diaphragm condenser mic. Of course the classic places to start with a large diaphragm condenser (LDC), are with mics like the Neumann U87, AKG 414 and Sony C38. Many would classify the U87 as a bright mic, the 414 as a dark mic and the C38 as neutral. There have been a lot of variations on these models over the years and the different models can vary quite a bit. There are a lot of great companies on the market today making high and not so high quality LDCs in many assorted sonic colors. So do some research and start experimenting until you find the right mic (or mics) for you. I sometimes like a small diaphragm condenser (SDC) mic when I want the vocals to fit more tightly into a highly produced and loud mix. Again, this requires some experimentation. As you are experimenting with these mics (especially the condenser and tube versions) be sure and play with distance. If you have a good sounding room it’s quite often very helpful (especially in more dynamic pop/rock type vocals) to back off the mic 8-12 inches. Experiment with this, because how close you are or aren’t to the mic can really affect the bass response. This is called proximity effect. For some music it’s great to be close and have a huge fat bassy vocal. For other recordings it will just sound boomy and even dull. Back off and you’ll suddenly hear some space around the vocals that can make it sound much more natural in the mix. This is less true of dynamic mics as they are built to be sung very close to. You will need to use a pop filter if you are singing directly into the mic, which is much of the time in the recording environment. It’s good to use one of these even with a dynamic mic in a studio situation. The best way to position an LDC or Tube mic is up above the mouth at about eyebrow height, pointed down at the nose. This is often the very best overall angle to get the most balanced, resonant tone from the vocal instrument. If done right at about 10-12 inches from the singer, a pop filter is often un-necessary. If the singer constantly lifts their head to reach the mic, and or if it’s the kind of vocal that works best with a singer getting real close for the quiet parts and backing off for the louder parts, then definitely grab the pop filter.
Vintage tube mics are certainly a favorite among singers and producers for producing amazing presence, warmth and detail. They can be very costly though, and require a bit of know-how in choosing the right one. The classic places to start here are of course the Neumann U47, U67, M49, AKG C12 & Sony C37. There are a ton of other very cool vintage tube mics out there as well, that can sometimes be had for much less than these standard classics and still offer a lot of the qualities that we love in this kind of mic. As with mics of all types there are a lot of current companies doing a nice job making tube mics for a fraction of what the vintage classics cost. Given the choice it is very hard to compete with the originals but there are great vocals being cut every day on new mics. I’m a big fan of tube mics and find them well worth the extra expense, set up time and sometimes maintenance. This is especially true if you’re trying to get a very upfront natural sounding vocal. Not that intimate vocals can’t be done with other mics, but things will quite often fall into place a little easier with a nice luscious tube mic.
Another often times great vocal mic is called a ribbon microphone. These are notorious for being very soft, warm and natural sounding and can be great for either attaining a cool vintage sound or warming up a harsh sounding voice. The classic examples of ribbon mics for vocals are the RCA 44 and 77 series mics, and the Coles 4038. The downside of these is that they often lack the openness and sparkle of LDC and tube mics and require a mic preamp with a lot of gain to sound good. There are some great modern ribbon mics being introduced that address some more modern requirements and can often compete with LDC and tube mics in terms of clarity and usefulness in vocal recording. Probably the best I’ve heard are the AEA and the Crowley and Tripp ribbon mics. As usual, research and try some things out. It’s fun!
Next on the list would be dynamic mics. We went over these a bit already so I won’t indulge too much. These are the mics typically associated with live performance. Their greatest asset is often their rejection to sounds that aren’t coming right onto them at a close distance. They don’t tend to have the detail of the other types of mics we’ve already listed, but that is often the reason they are chosen over other mics for certain situations. Classic versions of these used in vocal recording would be the Shure SM57, SM58, SM7, Sennheiser MD421, MD409, EV RE-20, 635 and some other unsung heroes out there. Of all the dynamics mentioned the SM7 certainly gets the most rave reviews in recording contemporary rock music. If used with an appropriate preamp and compressor it can sound great with those singers with huge dynamics that often create various distortions on the higher end mics.
If imitation is the greatest form of flattery or proof of anything in terms of usefulness then the Neumann U47 is certainly the most imitated mic on the market. So much so that you have to be very careful with some companies spouting similarities. There are a lot of great sellers out there that will let you try things before you buy. That is a great idea with all things related to recording equipment. Tastes vary wildly and voices especially can be very particular and what works great on one doesn’t work at all on another.
I will just ad a quick note here on multiple micing techniques. When done correctly this can really give you your cake and eat it too situation when it comes time to mix vocals. The simplest example of this would be to use a combination of your favorite dynamic and LDC or tube mic. If you set the LDC or tube mice up as mentioned earlier (slightly above mouth, pointing down from 8-12 inches) then you have space to stick the dynamic right under it. This makes it pretty easy for the singer to sing close into the dynamic and be a good distance from the other mic. This combo works great as singer is going from soft to really loud in different sections of the song. You would typically use the LDC or tube in the softer parts and the dynamic in the louder parts. Obviously some finesse in the blending of the two mics is necessary but pays off nicely. To make matters even more fun I will often add a room mic to the equation. This gives me some nice distance and ambiance with the vocal and often serves as a natural reverb.
Join us in Part Three of this series to discuss mic preamps, compressors and EQs.
To contact Breck Alan or learn more about the Art of Body Singing please visit http://www.bodysinging.com
Comments
Basil email -
Basil email -
Alexandre Avelar email - www.bandasdegaragem.com.br/samsara-maya
Great info....I'm learning alot.
Can't wait for part three.
Basil email -
Very good Info.
I've learned alot and looking forward to next part of the series.
Thanks for sharing
Basil
Alexandre Avelar email - www.bandasdegaragem.com.br/samsara-maya
Great stuff! unfortunately, i don't have access to most of those mics...