Vocal Recording Essential Techniques
Before you record your next vocal track, take a moment to consider a few basic best practices which will improve any vocal recording. Keep in mind that once you get the performance down, you can always add effects or dirty up your track later, but starting with a clean track is always the best.
Good mic technique is basically made up of two components. Number one, remember that the microphone's diaphragm reacts with great sensitivity to all of the subtle variations in your vocal performance. Number two, learn how to adjust your body position and proximity to the mic depending on the dynamics of your vocal delivery.
For vocal performance that remain soft and intimate from start to finish, the singer should stay positioned just a few inches from the mic. For louder, full volume singing, stand back two or three feet and let loose. If your delivery requires a mixture of both, then you need to move in close and back off the mic as needed. Start getting used to doing this even if its just for a couple words or a short phrase.
Ideally, your mouth should be as close as possible to the mic without overloading the level. If you overload the level, two things can happen. You will either end up with digital clipping on your track, or in the case of super-sensitive mics, the mic itself with temporarily shut down. Both of the scenarios effectively ruin your recording. The easy remedy here is just to aim your mouth slightly off to the side or above the mic during loud bursts.
Getting rid of mouth pops and lip noise is crucial! Depending on the type of mic youre using, there may already be a pop-filter built in. Stage mics generally have the pop-filter built into the ball-shaped mesh grill that also serves to protect the sensitive parts. However, studio mics generally come with a foam sleeve that slips over the mic itself. Many engineers argue that the foam variety kills some of the high end frequencies and prefer the newer, nylon stocking O-ring pop filters. Positioning one of these between the singer and the mic will prevent blasts of breath from overloading the mic.
Mouth noise can also be equally as irritating if not dealt with at the time of recording. Don't worry, the solution is simple. drink lots of water or get your singer to drink lots of water throughout the recording. A few bottles of water and a few extra trips to the bathroom and voila! no mouth noise.
Follow these simple rules and you will get a nice clean vocal track. Once you have that, you can freely add reverb, effects, and whatever else you can think of without worrying about enhancing the bad stuff while you're trying to get at the good stuff. These simple best practices will save hours of fix-it time in the end. - 23815
Good mic technique is basically made up of two components. Number one, remember that the microphone's diaphragm reacts with great sensitivity to all of the subtle variations in your vocal performance. Number two, learn how to adjust your body position and proximity to the mic depending on the dynamics of your vocal delivery.
For vocal performance that remain soft and intimate from start to finish, the singer should stay positioned just a few inches from the mic. For louder, full volume singing, stand back two or three feet and let loose. If your delivery requires a mixture of both, then you need to move in close and back off the mic as needed. Start getting used to doing this even if its just for a couple words or a short phrase.
Ideally, your mouth should be as close as possible to the mic without overloading the level. If you overload the level, two things can happen. You will either end up with digital clipping on your track, or in the case of super-sensitive mics, the mic itself with temporarily shut down. Both of the scenarios effectively ruin your recording. The easy remedy here is just to aim your mouth slightly off to the side or above the mic during loud bursts.
Getting rid of mouth pops and lip noise is crucial! Depending on the type of mic youre using, there may already be a pop-filter built in. Stage mics generally have the pop-filter built into the ball-shaped mesh grill that also serves to protect the sensitive parts. However, studio mics generally come with a foam sleeve that slips over the mic itself. Many engineers argue that the foam variety kills some of the high end frequencies and prefer the newer, nylon stocking O-ring pop filters. Positioning one of these between the singer and the mic will prevent blasts of breath from overloading the mic.
Mouth noise can also be equally as irritating if not dealt with at the time of recording. Don't worry, the solution is simple. drink lots of water or get your singer to drink lots of water throughout the recording. A few bottles of water and a few extra trips to the bathroom and voila! no mouth noise.
Follow these simple rules and you will get a nice clean vocal track. Once you have that, you can freely add reverb, effects, and whatever else you can think of without worrying about enhancing the bad stuff while you're trying to get at the good stuff. These simple best practices will save hours of fix-it time in the end. - 23815
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