Thursday, September 20, 2012

A Vocal Recording Checklist

Vocalist image from Bobby Owsinski's Big Picture music production blog
Here's a series of things to check before recording a vocal that I culled from the Recording Engineer's Handbook and The Music Producer's Handbook. They cover everything from mic position to signal path to singer comfort, but you'll find if you following them you should have a pretty good session (providing that you have a great vocalist, of course).

  •  Did you select the correct mic for the singer’s voice? Choose a mic with a lot of body for a thin voice and one with enhanced high end for a dark voice. 
  • Did you select the correct microphone preamp?  Certain mics come alive when they’re paired with the right preamp. Also, a certain mic/preamp combination can be just the right color for a vocal.  Experiment.
  • Did you select the correct microphone pickup pattern? Not every vocal needs to be recorded with a cardioid pattern. An omni pattern will cut down on proximity effect and a figure 8 can help with isolation from speakers or other instruments.
  • Is proximity effect wanted or needed? Remember that the closer you get to a cardioid mic, the more the low end will become exaggerated. This could make the vocal too big for the track. Try the mic on omni if you really need to get a close and intimate sound.
  • Is the singer the correct distance away? Too far away and you’ll hear more room, which could change the vocal sound or take away the intimacy. Too close and the vocal might sound too big or too close due to the proximity effect of a cardioid mic. If the singer is singing softly and breathy, keep the singer close to the mic. If the singer is shouting, screaming, or just plain loud, back the singer off the mic from two to three feet.
  • Is the singer drifting off-axis? Some vocalists drift around the room and off-axis of the mic if they feel it’s too far away.  Put up a dummy mic that they can get close to so they can feel anchored. This also helps when putting up different mics to determine which one works best for the vocalist.
  • Is the singer popping the mic? Place the mic at eye level and point it down at the singers mouth, turn the mic slightly off-axis, switch the pattern to omni, back the singer off the mic until the pops disappear or use a pop screen.
  • Would a handheld mic work better? Some singers aren’t comfortable unless they feel like they’re on stage. Give them an SM 58 and don’t worry about the sound. A great performance beats a great sound any day (and a 58 isn’t all that bad combined with the right preamp).
  • Are you limiting the signal? Just a few dB of limiting can help keep the vocal under control and stop overloading the signal chain. Don’t use software compressor/limiters because of the latency.
  • Is the headphone mix at the correct level? The phone mix is crucial to a good performance. If the track is too loud, the vocalist may sing too hard which might not be the sound you want. He may also sing sharp as a result. If the track is too soft, the singer may not sing aggressive enough.
  • Is the ambience conducive to a good vocal?  Most singers like the light down low when they sing.
For additional tips and book excerpts go to the excerpt section of bobbyowsinski.com.

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2 comments:

mondal said...

Nice post. Thanks for sharing.I am so grateful to read this such a wonderful post.Thank you for discussing this great topic

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mike said...

for singers that tend to creep up on the mic, putting a pop filter in place even if they're not really doing a lot of plosives has helped me quite a bit. They always know about how far they need to be for the average note.

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